academic portfolio - architecture

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ITY itectu r Bach ITY O e elor of En F MA Dean vir ’s N SEN Honour Lisonmental ITOBA . WIN Desig T t, ED Fren INEL n, Fa 2 SE ch culty NIPEG ART Immersion CONDA of Ar chite RY S 2007 cture Mult S UMB C - 201 i me R H ELL O dia d SKIL 1 O L A rawin LS g cla 2007 s s e Mod s - 201 e 1 Auto l making , Han Cad, INTE d In draw Desig RES ing 1999 n, Ph TS - 200 otos (freeha Draw hop, nd a 4 ing, nd d Il u s tr A Spor raftin ator, ts (h rt, Indus g), P Sketc ocke Spain h tr oto ial D hUp, y, Rhin graphy, York , France skiing, g esign, M ocer , Sea , Be olf, te WOR usic os r tt li n ( n le ele nis K , Pra ) gue, , surfing ctric an EXP d cla ), Tra ERIE Vien ss na, M ve NCE ARC idwe l (Copen ical guita st U Mak HITEC nited hagen, It r), ing m TUR aly (refe odels Sate AL A ren s, N , ,r S ew DES ce availabenderings SISTAN , I le G T a nd by re N AS · Mak ques assista Nick M in S il nt in t) (refe g models ISTAN desig kovich A renc , T d r · n ph r DES e availab awings, a Grant & ase chitects le by n S Mak IGN AS 2011 requ d assista inclair A ing m S e n - pre r I st) c t in d odels STAN sent WIN esign hitects T a n L E · d gra td. phas Mors CON Taph phics e e De SUL ouse for p s TAN Wine Sum CON aren ign Stu T mer S d t’s bu 2010 Resid STRUC hop, Par sines io k s entia T R I o O y al Vil N l hou & Pa W la se co inter O ge AWA /Job 2005 nstru RKER RDS Site ction - 201 / Man HON with 0 a g OUR Form er fo E N r S VIRO 1 La Colle nd In ge P Dean N M co ro Pa Sum E ’s mer inting rporated BC M Honour LisNTAL DE 2008 Ltd. EXH t ED SIGN IDGE & 20 2 IBITI 09 T S P u O PUB mme ROV LICA NS/ P r 200 I N S C u or 6 TION mme IAL r 200 & 2007 S No t Magazin HOC 5&2 Re e KEY 006 R.A.W morse S C HAM tu PION Netw Gallery dio, Ga stow ork M of Ar 2 n 008 Ferry chite a / cture - Vancou Build gazine 2003 2009 ve & De ing A & 20 sign r, BC rt Ga 04 - Win llery nipe - We g, M st Va anito ncou Marc b ver, a h BC Febr 2013 u Febr ary 2012 u May ary 2011 2 Marc 007 h 2006 #2-4 000 Rue Sain UNIV

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03 BACHELORS ENVIRONMENTAL DESIGN 2, 3, 4 18 M A S T E R S A R C H I T E C T U R E 38 A R T W O R K 2 0 0 2 - 2 0 1 2 44 W O R K NG IRC AK NMTI L K+O VSIICNHCALRACIHRI T EL CT TDS. UNIVERSITY OF MANITOBA 2007-2011 McGILL UNIVERSITY 2012-2013

abstract_ abstract_ composition composition abstract_ ED2 ED2 composition intent intent ED2 studio professor: Sasa Radulovic studio professor: Sasa Radulovic

Students are to build 40 lines, 30 planes and 10 Students are to build 40 lines, 30 planes and 10 cubes, using 1/16” thick basswood. each stick is to cubes, using 1/16” thick basswood. each stick is to measure 9’-0” long, each plane to be 9’-0” x 9’-0” and measure 9’-0” long, each plane to be 9’-0” x 9’-0” and each cube to 9’-0” x 9’0” x 9’-0” at 1/4” = 1’-0” . These Advisor: Sasa each Radulovic cube| 5468796 to 9’-0” xarchitects 9’0” x 9’-0” at 1/4” = 1’-0” . These are to becomes structural building blocks for students are to becomes structural building blocks for students to explore spatial composition while being mindful of of to explore spatial composition while being mindful INTENT scale, proportion, order, order, axis, symmetry, hierarchy, scale, proportion, axis, symmetry, hierarchy, Students are to build 40 lines, light 30 planes, texture, and 10 rhythm, datum, transformation, rhythm, datum, transformation,shadow, light shadow, texture, cubes using 1/16” basswood.

Each stick is (2) to models measound.

Each student is to produce two (2)two models sound.

Each student is to produce cubes). sure (27’-0” 9’-0” (27’-0” long, each cubes).plane to be 9’-0” x 9’-0”, and

each cube to be 9’-0” x 9’-0” 9’-0” at 1’-0”=1/4”.

(ED2 studio brief) brief) (ED2 studio These are to become structural building blocks for students to explore spatial composition while being mindful of scale, proportion, order, axis, symmetry, hierarchy, rhythm, datum, transformation, light, shadow, texture, sound. Each student is to produce two (2) models (27’-0” cubes).

-ED2 studio brief

wohnungED2 Advisor: Sasa Radulovic | 5468796 architects

INTENT Students are to design a dwelling for a family of 3 + 1 dog + 1 vehicle.

Total project area: 729 sq/ft x 3 floors = 2,187 sq/ft.

Total volume: 19,683 cubic feet.

While maintaining the volume and area through addition, subtraction, composition, overlapping, intersecting, stretching, skewing, morphing - as modifiers of the initial condition, students are to produce individual designs following their discoveries and explorations from framework and composition stages.

Introduction of programme and function offers an opportunity to produce spatial and formal configurations through careful consideration and exploration of domestic conditions.

-ED2 studio brief

SOUTH ELEVATION

SOUTH SECTION

WEST ELEVATION

MOKSHA HOUSE Moksha (sanskrit: liberation) refers, in general, to the liberation from the cycle of death and rebirth. In higher Hindu philosophy, it is seen as a transcendence of phenomenal being, of any sense of consciousness of time, space, and causation (karma)

WEST SECTION

FIRST FLOOR PLAN

SECOND FLOOR PLAN

THIRD FLOOR PLAN

ROOF PLAN

containerED2 Advisor: Jae-Song Chon

OBSERVE real people in real life situations to fin out what makes them tick, what confuses them, what they like, what they hate, where they have latent needs not addressed by current products and services.

VISUALIZE new-to-the-world concepts and the customers who will use them. This is often the most intense phase of the process. This can be done by drawings and models. Visualize the user’s experience by creating composite characters and storyboard scenarios.

EVALUATE the prototype in a series of quick iterations. No idea is too good that it cannot be improved upon. Think of the process as a series of improvements.

IMPLEMENT the concept for production. This phase is often the longest and most technically challenging in the development process.

-(ED2 studio brief)

winnipeg_marketED3 Advisor: Terri Fuglem

1/ A two-storey new market hall to accomodate individual stalls (fresh produce, meat, fish, and poultry, etc.). The hall will provide open, covered market space in the summer, and closed, heated space in the winter. It will allow for natural light and the structure should be elegant feasible, allow for run-off and snow removal, have overhangs and well-detailed foundations, connections, moveable parts, etc.

2/ A small café/wine bar/public eating house. The exact nature of the food serving venue is up to the student.

1/ NEW MARKET HALL As shown in cities such as Zanzibar, markets are constantly evolving based on economic and agriculture conditions, weather, politics, etc. Markets stalls are constantly being added and/or taken away in conjunction with these unpredictable circumstances. By choosing a post and beam structure for my market building, market stalls can easily be added without disturbing the overall scheme of the buildings. Each structural bay measures 15’-0” x 15’-0” with one stall per bay.

As an ode Winnipeg’s former hay market from early 20th century, I wanted to use hay as a visual component in the architecture. By using the bales as a layer of exterior insulation, the building serves to store the hay bales after they have been cut and tied in order to keep them safe until spring returns when the market can open its doors and the bales can be returned to the farms. Hay bales measure 36” x 18” x 14”, thus becoming the module for the entire market building.

EXCHANGE DISTRICT, WINNIPEG, MB

THE BAKERY SYMBOLIZES STRENGTH AND STABILITY, OFFERING A WARM RETREAT FROM WINNIPEG’S COLD WINTERS

2/ 24-HOUR BAKERY The bakery juxtaposes the fragility of the market building by symbolizing strength and stability. The bakery contains four stone ovens and 2 communal firplaces to exoke a sense comfort, a warm retreat from Winnipeg’s cold winters. Five windows are punctured into the brick walls to allow passer-bys to witness the baking process first-hand. With conventional loafs and baguettes, there are essentially five steps in the breadmaking process: 1/ mixing 2/ fermentation 3/ scaling/shaping 4/ proofing 5/ baking The fifth and final window serves as a pickup window where the loaf can cool off and be picked up by an awaiting customer.

enacting_studioED4

A means to enact Maw’s Garage - a stop-frame animation is projected onto a 1/2” = 1’-0” model of Maw’s Garage from the historic Exchange District (Winnipeg, MB). The film explores the notions of dualities inside Maw’s garage. Over 800 drawings were drawn on a 24”x36” blackboard.

Advisor: Neil Minuk

More often than not, architecture is designed without the consideration of how it might be activated or lived. Not necessarily how it might function but in the larger sense, how it might support meaningful actions and how lives already existing on a site can be engaged and enhanced.

Select a program that you have a set of conditions to design for. The program is developed from the narrative or poetic activation of the site.

The site conditions, activations and speculation of poetic enactments on site will shape and generate the architectural proposition. Work in drawing, model, and active medias. Please work in a manner that thinks about the architecture as a living setting.

Additionally, we will attempt to activate or animate our projects in a way that suggests a possibility for their life.

-Enacting Studio Brief

“THE ARCADES AND INTERIORS ARE RESIDUES OF THE DREAM WORLD” -Walter Benjamin, The Arcades Project

INVERTING THE TRUSS Maw’s Garage was built in 1907 for the purpose of storing and showcasing automobiles. Today the structure is intact while the roof has degraded over time.

Maw’s Garage consists of sloped trusses spanning 60’-0” at every 15 foot interval. The distance from the bottom chord is 15’-0”, as is the distance from the bottom chord to the ground. The trusses are steel construction and the walls/ pilasters are brick.

By inverting the trusses, the existing trusses can be used to accomodate housing units above without compromising the integrity of the existing building.

Therefore, the space below serves as a public arcade with shops, offices, and studios that extend across the entire lot from King Street to Princess Street. Similarly, the housing units, designed to accomodate couples and small families, extend from King Street to Princess Street for a total of fourteen units.

SITE: MAW’S GARAGE

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By keeping the parking at ground level and elevating the arcade to the +15’-0” level, the arcade extends overtop the nightclub through to Princess street. This creates a public street that cuts through the city block. The public street consists of a series of catwalks that meander through the trusses and into the shops, offices, rental studios, picnic areas, and the adjacent bars and taverns. By inserting a series of courtyards, the public street and the apartment units above receive sufficient daylight at all times.

Loft apartments located at the +30’-0” level range from 700-900 sq/ft.

+30 LIVING UNITS +15 PUBLIC STREET 0PARKING

MASTERS ARCHITECTURE

McGILL UNIVERSITY 2012-2013

M1

Advisors: Manon Asselin + Katsuhiro Yamazaki + Sinisha Brdar

step 1: MATERIAL PLAY

step 2: PHYSICAL PROTOTYPE

This phase of the work is a study of the experiential and perceptual effects of materials. The matter of choice this year will be non-traditional to the field of architecture: it will be organic in nature (fruits or vegetables). The study aims at highlighting the physical properties (Manuel De Landa) of a spoecific matter “by playing� with it directly, somewhat instinctively and blindly, and especially without preconceived ideas about the final outcome. The purpose of the exploration process is to arrive at the discovery of a visual effect (an ambiance or an aura) that is dramatic and unexpected.

This phase of the work looks at the iterative and speculative modelling of physical prototypes. The team will build a 1:1 scale mockup considering material, light, fabrication techniques, and budget. The mock-up serves to translate the material effect from step 1 into a full-scale architectural protype. The mock-up phase will serve as a database that will foster reflection for step 3.

Kristian Morse, Kim Landry, Alexandre Lapierre, Nathan Bonneville

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step 3: EVENT BOX

Group: Kristian Morse + Nathan Bonneville

Reflecting the premises of the studio, the investigation into the nature of materials and their relationship to programme, site conditions, light and perception is to be understood as the generator of the architectural concept.

PROGRAMME The intention is to orchestrate a vibrant place for activities celebrating life and arts.

It is meant to be open [or closed], dynamic and informal. It aims to be a uniquely free and inclusive cultural playground - an open platform allowing for as many diverse manifestations as possible. With this as an overarching objective, we are proposing a programmatic cocktail in the range of 1500 m2. The main components of the programme are listed below. The definition of the programme in this case should be thought of as a field of relationships and as a process of creation of desirable situations rather than as a mere functional programming. There is a flexibility allowing for adjustment along individual groups’ programmatic scenarios.

Lecture/ Gathering/Concert Hall/ [~300 people capacity] [500m2, including support spaces, a/v, change/prep, etc] Multipourpose/Exhibition/QdS information area [200m2] Reading Room /Arts Lounge [150m2] Bistro/Restaurant/Karaoke Lounge [~50 seat capacity] [250m2] Entrance/Lobby/Vestibule [75m2] Reception/Tickets/Cloak Room [25m2] Administration [100m2] Youth lounge [75m2] Washrooms [~75m2] Storage/Maintenance [~200m2] Mechanical [~200m2] Outdoor public space able to accommodate and foster a variety of public events and activities, formal and informal, day and night, all seasons.

AXONOMETRIC

1. Existing building converted into a squat (co-op) for artists 2. Program integrated into the cloud including spaces for performing and producing art 3. Sky pathway as a public sky park 4. Cloud pathway with main structure 5. Cloud composed of laminated lumber walls 6. Ground flood converted into a public market 7. Bike shop and repair-center 8. Café-bar 9. Multi-function public plaza

SITE Montréal’s Quartier des Spectacle

GROUND FLOOR PLAN

SECOND FLOOR PLAN

ROOF PLAN

advanced_constructionM1 Advisor: Maria Mingallon Kristian Morse, Ji Won Jun, Jason Treherne, Vi Ngo, Maxime Madeck, Ivy Wong

CHALLENGE The project consists of the design and fabrication of a sunscreen aimed to prevent excessive sunlight through the windows of the first-year studio. Located on the first floor of the Macdonald-Harrington Building, this studio room is oriented southwest and thus, suffers from excessive sun radiance from early afternoon until sunset. During the winter months while the sun is at a lower incidence angle, glare and excessive light is the main concern. However, from April onwards, students suffer as well from excessive heat gain. The goal of this assignment is to find a sustainable solution that works in all seasons, capable of eliminating the disadvantages of a southwest facing room, without compromising its advantages.

DESIGN / CONCEPT Our sunscreen provides users with local control and freedom over their exposure to sun, glare, heat, and shade at any given time. It is important for the user to experience and appreciate the subtleties of natural light, however, we want the observer to experience these multiple dimensions at their own will.

Glare and heat-gain are the main issues in the studio at the MacdonaldHarrington building. However, instead of blocking the sun out altogether, we wanted to reduce glare while still providing a well-light room.

We envisioned our sunscreen as multiple local light fixtures based on a single design concept. Using the sun as our light source, we wanted to achieve a device that is playful, beautiful, and effective. We opted to use a fabric with enough translucency to diffuse the light throughout the space. The user, through a simple act of pushing or pulling, can stretch the fabric to various degrees in order to allow for a different concentration of light and shade. When opened, the fabric stretches in a radial direction and protrudes toward the user, as if the light fixture was blossoming. The structural grid produces a parallax effect and the depth creates varying conditions of light and heat. The device becomes an object that resembles a jellyfish, stretching over a curved surface to diffuse light in multiple directions.

Our sunscreen can easily be expanded to various site conditions. Each fixture adheres to the same design concept and can be modulated by extending the rails to add more fixtures, allowing the sunscreen to cover virtually any surface size.

We sought fabrication techniques and materials readily available at the School of Architecture at McGill University. The plasma cutter allowed us to generate a form with steel that would otherwise not be possible through traditional construction methods. This particular means of fabrication also allowed us to fully explore the future of digital parametric design and further push the limits of the material and uncover the potential for advanced fabrication.

As such, our sunscreen seeks to blur the boundaries between a functional shading device and art installation.

barcelona_masterplanM2

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Advisor: Judith Leclerc

HIGH DINING The proposal includes creating a food transportation network that connects the beach and the Cuitadella Park with Barceloneta Park (along with a new school for gastronomy) and the rest of the residences in Barceloneta.

By partially excavating Cuitadella Park, the old fortification walls will be exposed to reveal a part of Barcelona’s history. Within this space are a combination of covered and open-air spaces that can programmed to accomodate an informal event space and performances.

A large stage at ground level extends onto a sloped spectator platform extending out of the Cuitadella and over the train tracks. The spectator platform also serves as a walkable green roof underneath of which are greenhouses dedicated to hydroponic and artificial food production.

This walkable green roof merges with a green platform dedicated to more urban agriculture and storage. Food can then be distributed to the School of Gastronomy located on the opposite side of the track.

The School of Gastronomy is a very porous building that incorporates a series of studios dedicated to displaying the process of food production to the public. From the school, new experiments with food can be distributed to a series of rooftop restaurants within the housing district of Barceloneta. Visual connections are made from the viewer to these satellite restaurants based on their elevated view-point. Graphical elements on the sidewalks at ground level serve as directions, aiding him/her to reach their desired destination.

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ASSEMBLY OF ROOFTOP RESTAURANT AXONOMETRIC Hydroponic food pallettes are transported to the Culinary School before being re-used to construct temporary rooftop restaurants in the dense housing district of Barceloneta.

These “pavilions” can be easily dismantled to create rooftop hydroponic gardens, creating a self-sufficient Barceloneta.

CULINARY SCHOOL + BRIDGE BISTRO BAR NORTH SECTION

CULINARY SCHOOL + BRIDGE BISTRO BAR WEST ELEVATION

arctic_research_stationM3

Advisors: Aaron Sprecher + Elisabeth Bouchard Kristian Morse + Darren Soobrayen

Week 1 & 2 | Form-making will focus on the analysis of historical and current projects located in the Arctic and Antarctic regions. Based on a form-making process, team members will establish a strategy of superimposition of information originated from drawings, scale models and computer simulation. This first design phase will lead to a specific research track and design topic to pursue. 25 case studies will be investigated and will lead to the building of a lexicon to be shared in the class. Each case study will be approached in terms of the following 5 aspects or parameters: Programmatic distribution, structural solution, material definition, construction process, and environmental responsiveness.

Week 3 to 6 | Form-finding aims at transforming the architectural object from a static to a dynamic condition. Here, the protocol will lead to the development of a computational engine that propels architectural morphologies. While the development of the building design and its relation to the computational procedure is an important aspect, the association of parameters will provide a handle on complexity as it hints to directions in which the solution can be developed.

Week 6 to 8 | Form-manufacturing will unite techniques to investigate consequences of envisioning the architecture as a sensitive system that reacts to its extreme environment. This last phase will culminate with the fabrication of fullscale prototypes using digital fabrication technologies such as multimaterial 3d printing and CNC milling.

Each one of these three protocols will be analyzed on the level of ontology (the principles shaping the discourse), design strategy (design organization and process), and the approach toward technological tools. These three subjects will be analyzed in a broader context of theories and practices related to technology and in particular its influence on the architectural object.

FIRST FLOOR PLAN

SECOND FLOOR PLAN 01_Dining Room 02_Kitchen 03_Meeting Room / Research Space 04_Machine Room / Snow Melter

05_Hot Tubs 06_Lobby 07_Theatre 08_Library

09_Washroom / Changing Room 10_Ski Entrance / Storage 11_Exercise Room 12_Garage

13_Research Space 14_Hotel Room 15_Permanent Dormitories 16_Temporary Dormitories

EVOLUTION OF FORM 1.

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1:20 WALL DETAIL

The wall of the wind tunnel is lined with multiple miniature wind turbines (36 cm x 20 cm) that are connected to a gear box with a dynamo. The interior wall contains wiring with AC current running down to converter on the ground level.

Since positively (+) charged snow particles are attracted to the negatively (-) charged electrode, voltage of the collector rises due to a gain in potential energy. This potential energy can converted and stored as electrical energy.

A R T W O R K 2002-2012

girl sitting in cafĂŠ contĂŠ on stathmore

church in Saint John, New Brunswick ink and watercolour on stathmore

sketch of Notre-Dame cathedral in Montréal - exterior conté on stathmore

sketch of Notre-Dame cathedral in Montréal - interior conté on stathmore

study of female form contĂŠ on newsprint

study of female form

pastel on construction paper

study of female form ink on newsprint

study of female form ink on newsprint

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NICK MILKOVICH ARCHITECTS G R A N T + S I N C L A I R LT D .

1

Grant & Sinclair Architects Ltd. vancouver, british columbia, canada

The design for a house on the coast of Hawaii posed numerous design problems. Primarily, the house had to comply with the region’s strict design regulations for a client who wanted anything but a conventional house. The main regulation saw that the roof must be designed in the “Dickie” style, a double pitched roof system that has been adopted by the majority of the houses on the island. During the early phase of the design process, several schemes were produced between myself and the Principle architect, Paul Grant, in hopes that the client would lend its interest to one of the them.

The following are the four study models I produced, the design for which were were developed based on Mr. Grant’s original scheme.

Client: Site: Project: Lot Area: Building Footprint Allowed: Percent Open Required:

The Dickie style of architecture poaed posed problems for the client who thought its roof often created dark, heavy spaces. Our first scheme suggests that, from the street, the house adopts the dickie style, but in fact only adopts half of it. The side of the house facing the ocean opens up to bring in light and maximize the view. The pool is also re-oriented so that part of it enters the Great room.

This will cause an interesting effect when the light reflects off the ripples from the pool and onto the ceiling and walls.

Family of four Hualalai, Hawaii Vacation home 24,584 sq/ft 7375 sq/ft 50%

2

This scheme resembles the original design proposed to the clients before I started working at the office. Similarily, this design is composed of numerous roofs that twist and collide into each other. The main focus in this scheme was to create more fluidity between spaces while maximizing the view of the ocean.

3

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This scheme adopts a more modest and straight-forward approach. The plan emphasizes a main path running down the central axis with rooms on either side with an inner courtyard and waterfall in the centre.

This scheme proposes that parts of the roof be extended into several shading devices. These devices can either be covered in glass or vegetation. Unlike the first scheme, this one completely complies to the “dickie style� roof while giving the illusion that it does not. Similar to the Scheme 3, this plan shows a clear entrance to the Great room. The guest is led down a shaded pathway straight to the common area.

nick milkovich architects inc. vancouver, british columbia, canada

The design of an office headquarters for a Chinese curtain wall company in Hangzhou, China began with lengthy team discussion and several sketch models. The schemes were eventually narrowed down to two options that were presented to the client. I was able to participate in the planning discussions and helped compile presentation material for the client. I constructed 3D and physical models and took photopgraphs of the chosen scheme (option two, opposite page) and constructed basic SketchUp models to graphically convery Building Circulation and Program Massing.

Hangzhou, a city in Eastern China, has a population of 8.7 million people. The site is one million square feet and lies in the industrial part of the Qiantang River Valley. The headquarters is comprised of: 72000 sq.m office space 73000 sq.m conference space 4000 sq.m reception 5000 sq.m dining (underground) 1200 sq.m library (underground) 500 sq.m hotel rooms 4000 sq.m restaurant 48000 sq.m parking and mechanical _________________________________

option 01 CIRCULATION

option 01 PROGRAM MASSING

option 02 CIRCULATION

option 02 PROGRAM MASSING

98000 sq.m Total Building Area Among others, one of the most important aspects I learned from working on this project was how to work efficiently in order to satisfy deadlines. The clients for this project, in particular, expected expeditious results.