Krushalni Mohanarathnam Portfolio - Selected Works 2024

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Krushalni Mohanar athnam

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Hello! My name is Krushalni Mohanarathnam. I am a 24 year old graduate student pursuing my Masters of Architecture degree at Carleton University in Ottawa, Ontario. I obtained my Bachelor’s degree in the University of Toronto. Over the course of my educational and work experience, I have been immersed in the world of architectural design. During my graduate career, internships and personal projects, I was introduced to a variety of architectural design processes and their implications on the urban landscape. My experiences have shaped my understanding of the urban landscape in hopes to offer alternative solutions to the connectivity between the history of design, technology and sustainability During this final year, I have chosen to delve into the history of traditional building styles and how they begin to inform current design decisions with the aid of upcoming technologies as my thesis topic. My thesis aims to offer unique and sustainable spaces of meditation which reflect on my understanding of the urban landscape and historical methods of design. I hope to expand on my skills and knowledge within the industry to aid in future sustainable designs of space.

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Urban Landscapes of Toronto

Pg. 4 - 5

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Organic Tr ansformations

P g . 6 -1 1

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Sparks Street Intervention

Pg. 12 - 13

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The Fun House

Pg. 14 - 17

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Project Zero

Pg. 18 - 24

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[Un] Cover & Sub [E ] Merge

Pg. 25 - 29

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Interiors of Isolation

Pg. 30 - 31

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Clonsilla Apartments

Pg. 32 - 33

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P ho t o g r a p h y S t udy & I nc om e S t udy

01

Urban Landscapes of Toronto Univers it y of Toront o | W i nt e r 2 0 1 9 | I n dep en da n t p ro j ec t

This was a research-based project analyzing a 2km by 2km preassigned lot located in the Greater Toronto area. This analysis was depicted through a series of drawings, all displaying different landscape features studied over the course of this research. This research was split into three consecutive studies. The first study wasbased upon the surrealist’s collaborative technique “cadavre exquis” and was meant to establish a collective representation of the area you were assigned. The second study was based on spatial analysis and classification, which took specific areas of study, such as building types, public street lines, and etc. to draw conclusions and form relationships to the built forms of the given landscape.The final study was based on observation based analysis, which consisted of a conducting a study based off observations madeduring the two previous studies. It considered the challenge of communicating aspects of the lived experience, infrastructural dynamics, and/or “local knowledge” of the built environment through drawing.

Building Styles & Blo ck Study This isometric drawing displays the different building types located within the lot, a major part in my findings. It considers the abundance of different built forms within a category. For example, the different types of residential units that occupy the space, such as individual units versus apartment buildings.

Furthermore, it accentuates and maps the flawless transition point between the three main types of built forms, residential, commercial and industrial.

Building Styles & Blo ck Study 2

[A] H i s t or ic a l Revi ew This drawing is a conceptual approach to understanding and contemplating the timeline of buildings that exist within this lot of space. Inspired by the Lessons of Las Vegas drawing found in the book Learning from Las Vegas, this drawing compares and contrasts the different building types distributed across this lot of space. Simultaneously, it also considers the timeline in which they were built. Based upon the history that prevailed this area, the industrial sector was the first to exist. Following this, two residential sectors were built, followed by a commercial sector, all of which are connected yet also split using the infrastructure of the landscape, such as the railway and roads.

[C ] Street A na lysis Taking the images and historical data into account, this second conceptual plan drawing outlines the three main street lines of the residential and commercial sectors and have been overlaid with the photographs taken in the first collage. These photographs have been organized to form an elevation of the street line and have been labelled early, mid or recent built. Along the left side of the drawing, a description is also given in the material and attributes that are found in each era of built form.

[B] P ho t o g r a p h y S t udy & Site Visit By splitting two of the three main sectors, residential and commercial, into three prominent sections that lay along the main street line, a photographic study began of the different façade types. These facades have been documented into a collage.

[D] A rc hitec tur a l T y polo gy Study The final drawing of this study takes the three main sections, and the data collected on the era of the built forms within these sections and organized them into readable graphs. These graphs are supported with singular exploded axonometric drawings of the structuresand their façade and material types which accompany them.

02

Organic Tr ansformations Univers it y of Toront o | Fa ll 2 0 1 9 | G roup p ro j ec t

Architecture has long engaged kinetic action the eminently utilitarian to miraculous visions of the future. With the advent of kinetic developments, architecture and allied art practices have seen incredible innovations in the use of kinetic action across a spectrum of practicality—from deployable structures to adaptive and responsive architecture. At the core of this rich territory are specific, easily-definable forms which was the base of our studio project. My partner and I began with the study of Thomas Heatherwick’s Rolling Bridge and its corresponding kinetic system. By working and researching the system involved in the movement of the bridge, we formed our own kinetic structure, developing a technical proposition for pushing the imagined existing limits of kinetic architecture. We each took half of the responsibility for every part of the process, such as half of the drawings, half of the pattern study, half of the environmental study, and so on. I was especially responsible for the final rendered drawings, the environmental study, and the material/pattern study.

Movement of the Piston & Hinge Points scale 1:40

The piston operates similar to the mechanism of the screw in the scissor jack. The two arms rest at their hinge points, expanding the bridges as it unfolds. *Movement Arrows in Red

One of its arms rotate clockwise while the other rotates anti-clockwise at each of its hinge points. This causes the piston to rise in a linear motion, and thereby the bridge to gradually roll. *Movement Arrows in Red

Both the arms rotated at its full capacity causing the piston to rise to its maximum limit. At this point, the bridge is fully coiled. *Movement Arrows in Red

Redefining the Brid ge Po ssibilites to tr ansform the existing

Propo sal 1 | The Unrolling Facade With the study of the Rolling Bridge as a precedent and basis for the kinetic structure and transformations, the development of our own kinetic structure began. Several ideas were brought into consideration. The first idea was that of a façade which rolls onto the structure of a built form and then folds into itself to form a façade shading system.

Propo sal 3 | The Pavilion The final idea which we expanded and chose to be ourkinetic structure was that of a transforming pavilion. This pavilion would ideally be a façade along a building. When needed it can then be transformed into a shading roof system forming a pavilion. This is explained in three movement drawings. Using the same truss and piston technique as that of the bridge, the pavilion is made of several truss and piston connecting pieces. These pieces are bound together using fabric which acts as theshade. The interesting aspect of this system is that every line of trusses ends at different points.

This means that while all the trusses move at the same rate and pressure, each line of truss stops moving at a different time. Thus when an elevation of the pavilion shading system is done, it is not a singular arc form rather an organic form created through the series of transformations in the trusses.

Propo sal 2 | The Hidden Bench A second idea was that of a bench structure. This too would run on the same kinetics as the façade and bridge, but in a more vertical sense. The bench would be installed into the groundmaking it apart of the ground structure.

When needed the bench would be able to rise up and the trusses on the side would rotate 180 degrees to form the legs of the bench.

The Development of Proposal 3 : The Pavilion Designing for Venice

Movement 1 | Stagnant This position of the line of trusses is when the pistons are at their max. length producing ramrod straight truss lines creating a flat façade. The fabric which connects betweenthese trusses thus forms the façade which will rest against a building face.

Movement 2 | Mid Point This position of the line of trusses is when the pistons are at the mid points. Keep in mind that due to the differences in where the pistons stop, every piston’s mid point isdifferent. Thus in reality when the piston of the highest standing truss is at its mid point, the movement will not look like this.

This is rather a conceptual vision to help show the difference in the truss stopping points and an idealized version of how the trusses might look if every piston were at its mid point.

Movement 3 | Complete This position is the final end point of the trusses. It is when the pistons are at their minimum length, producing the organic shading structure that constructs the pavilion like built form. This drawing provides insight into the idea behind every truss line stopping at a different point, as it forms a closed yet open space with multiple entrances and exits. This results in a constant variation of movement patterns, making the structure more interesting to every human being who inhabit it.

Pavilion Cover | Detail During the exploration of how the fabric would need to hang on the trusses in order to facilitate movement, we found that there were discrepancies between the computer-generated model and the realistic model. In the computer-generated model, the fabric would be pulled tight regardless of the length between the trusses at any point in time. But realistically this is not possible, as it would put a great amount of pressure on the trusses. This would impair the functionality of the structure, thus in order to facilitate this, there was a study conducted on how the fabric would be attached to the trusses. This was then presented in the drawing above, in order to demonstrate and explain why the draping technique of the fabric is needed.

Pat terning & Fabric Explor ation

Fabric 01 : Thin Silk

Fabric 02 : Thick Cotton

Pat tern & Connections | Detail Once the pattern and fabric had been finalized, they wereadded into representational drawings. In order to provide insight into the connection between the elements of the structure as well as the movement of individual trusses versus the structure as a whole, three drawings were produced.

Each of which acted as an exploded axonometric representational drawing, zooming into the details as they proceed from one to another. This exploded axonometric drawing was taken as a representation of the movement between two individual trusses. Furthermore, another exploded axonometric was taken from this drawing, to provide detailing on how the different parts of the trusses were connected to one another.

Fabric 03 : Combining & Layering

Below Mask Detail

03

Sparks Street Intervention C arleton Uni v e r s i t y | Fa ll 2 0 2 1 | I ndep en da n t P ro j ec t

As the first project of my graduate career, we were assigned a portion of Ottawa, known as Sparks street, as the site for an intervention. This intervention would aid people in meeting with their loved ones during a pandemic. This project was to act as a response to the ongoing Covid-19 pandemic during the time. The [In]Extrovert Pods and The O’Hare AirMasks was my unique solution to address the issue of social distancing and its effects on mental and physical health. The O’Hare Air Masks area digitized facial mask system that allow for alarge amount of interaction to occur between individuals and they’re surrounding environment in a safe way.

These everyday-wear masks connect people directly to the filtration stations located alongside the (In)Extrovert Pods on Sparks Street.These filtration stations filter and clean the detachable mouth guard of the masks using the filtration/inflationsystem of the Pods.During this time, visitors could enjoy the activities in the pods located along Sparks Street.

The (In)Extrovert Pods offer a safe haven of consistently filtered spaces,giving both Introverts and Extroverts,and everyone inbetween,a place to enjoy themselves without the barrier of a facemask.Ranging from highly interactive to highly isolated pods,these pods are inflatable and deflatable on your command, allowing for a consistently changing envrionment depending on what type of space you wish to use.

Lef t Short Section : Connection to Existing Buildings

Right Long Section : Placement of Pods

04

The Fun House : Bank Street Long Term Care Home C arleton Uni v e r s i t y | Fa ll 2 0 2 1 | I ndep en da n t P ro j ec t

The intent for this project was to create a fluctuating barrier between the private and public spaces,encouraging interactivity between residents and engagement with the surrounding environment.In many cases, longterm care homes don’t see social interaction between those within the facilityand the public realm outside of it as a key factor in the organization of the building. The Fun house aims to break this pattern and create a connection between the surrounding public realm along BankStreet and the facility.

It doesn’t omit the barrier between the two, rather it creates a fluctuating barrier. One that will help create more opportunities for social interaction through a variety of ramps that act as the main circulating and organizing factor of the care home. These ramps mainly run along thecentral atrium of the building and are labeled in different colors according to the type of circulationthat will most likely take place upon it, while also opening up opportunities for lounge areas by widening the span of the ramp. The ramps act as a wayfinding strategy for any who enter the buildingand also those who look into the building from the exterior. This is because, majority of the walls facing Bank and Frank Street are curtain walls, which also include an intricate extruded glass façade that follows the direction and shape of the ramps along the edge of the building. Not only does this add an interesting layer of transparency to the circulation within the building but it also helps optimize the amount of daylighting.

BASEMENT FLOOR 1:200 FLOOR PLANS NOTES 1. MULTI-PURPOSE ROOM 2. MULTI-FAITH AREA

NOTES

1

1. ENTRY RAMP

1

2

3

4

D01 501

5

2

3

4

3. LOUNGE AREA

5

4. OPEN TO BELOW AREA

2. PUBLIC GARDEN 1 3. RAMP TO UPPER FLOORS 4. VESTIBULE/RECEPTION 5. LAUNDRY ROOM 6. NURSES STATION 7. CONSULTATION ROOMS 8. GENDER NEUTRAL WASHROOM

BANK STREET A

7

NOTES

A 1

1. KITCHEN/DINING AREA

8 6 5

B

B UP

UP

DN

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UP

1

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4 DN

2. GENERAL ATRIUM AREA, POSSIBLE USE FOR PUBLIC GATHERINGS

DN

UP

02 301

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3. PUBLIC MARKETPLACE/EXTENDED DINING AREA

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4. FREIGHT ELEVATOR

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5. PASSENGER ELEVATOR 1

2

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6. PASSENGER ELEVATOR 2

D 3

7. EGRESS SCISSOR STAIRS

4

8. GENDER NEUTRAL WASHROOM 9. MOVING/ROTATING PARTITION WALLS 2ND FLOOR 1:200 BASEMENT FLOOR 1:200

BANK STREET

NOTES 1. KITCHEN/DINING AREA

1

2

3

4

5

2

3

4

5

02 301

NOTES

2. GENERAL ATRIUM AREA, POSSIBLE USE FOR PUBLIC GATHERINGS

1. VISITORS LOUNGE 2. LEARNING/MEDIA CENTRE

3. PUBLIC MARKETPLACE/EXTENDED DINING AREA

1

4. FREIGHT ELEVATOR

2

3

4

3. DAYCARE

5

4. OPEN TO BELOW

5. PASSENGER ELEVATOR 1

5. OPEN TO BELOW

6. PASSENGER ELEVATOR 2 1. MULTI-PURPOSE ROOM 7. EGRESS SCISSOR STAIRS 2. MULTI-FAITH AREA 8. GENDER NEUTRAL WASHROOM 3. LOUNGE AREA 9. MOVING/ROTATING PARTITION WALLS 4. OPEN TO BELOW AREA

6. GENDER NEUTRAL WASHROOM

NOTES

1

A A 1

A

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7 DN

UP

1 6

B UP

DN

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UP

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2 DN

UP

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01 301

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02 301

3RD FLOOR 1:200 GROUND FLOOR 1:200 2ND FLOOR 1:200

|7|

|8|

FRANK STREET

B

NOTES 1. VISITORS LOUNGE 2. LEARNING/MEDIA CENTRE

1

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3. DAYCARE

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4. OPEN TO BELOW 5. OPEN TO BELOW 6. GENDER NEUTRAL WASHROOM

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WALL DETAIL

NOTES 1. ONE BEDROOM RESIDENTIAL SUITE 1A. LIVING ROOM

1

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1B. KITCHEN

5

1C. BATHROOM

01 301

01 301

3RD FLOOR 1:200

FLOOR PLANS

C

NOTES 1. ONE BEDROOM RESIDENTIAL SUITE

1

1D. BEDROOM

2

3

4

1A. LIVING ROOM

5

1B. KITCHEN 1D. BEDROOM 1E. TERRACE

2E 3E 2D 1D

A

5. OPEN TO BELOW 6. READING/QUIET ZONE

5. LOUNGE AREA 6. READING/QUIET ZONE 2

7. LOUNGE AREA

2A

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4. READING/QUIET ZONE 1

3D

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3. TWO BEDROOM RESIDENTIAL SUITE 3A. BEDROOM 1 3B. BEDROOM 2 3C. BATHROOM 3D. LIVING ROOM 3E. KITCHEN 3F. TERRACE

3F

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4. PUBLIC GARDEN 2

3D

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2. ONE BEDROOM RESIDENTIAL SUITE VERSION 2 2A. BATHROOM 2B. KITCHEN 2C. LIVING ROOM 2D. BEDROOM 2E. TERRACE

3. TWO BEDROOM RESIDENTIAL SUITE 3A. BEDROOM 1 3B. BEDROOM 2 3C. BATHROOM 3D. LIVING ROOM 3E. KITCHEN 3F. TERRACE

3F 3E

2D

9

1C. BATHROOM

1E. TERRACE 2. ONE BEDROOM RESIDENTIAL SUITE VERSION 2 2A. BATHROOM 2B. KITCHEN 2C. LIVING ROOM 2D. BEDROOM 2E. TERRACE 2E 1E

1D

3C

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2C 1C

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2C 1C

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1B

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B UP

DN

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UP

7

UP

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UP

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1500m

5

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D 4TH FLOOR 1:200 6TH FLOOR 1:200

5 NOTES 1. ONE BEDROOM RESIDENTIAL SUITE

1

2

3

4

1A. LIVING ROOM

5

1B. KITCHEN 1C. BATHROOM

I

II III

NOTES I. 2’ X 4” METAL & WOOD STUDS

1D. BEDROOM 1E. TERRACE

II. 0.006M POLYTHENE SHEET - AIR & WATER BARRIER

2. ONE BEDROOM RESIDENTIAL SUITE VERSION 2 2A. BATHROOM 2B. KITCHEN 2C. LIVING ROOM 2D. BEDROOM 2E. TERRACE 2E 3E 2D

A

III. 0.38M DRAIN CAVITY IV. 0.15M BRICK VENEER

3. TWO BEDROOM RESIDENTIAL SUITE 3A. BEDROOM 1 3B. BEDROOM 2 3C. BATHROOM 3D. LIVING ROOM 3E. KITCHEN 3F. TERRACE

3F

1E

1D

V. 0.1524M RIGID INSULATION VI. 0.052M GYPSUM BOARD

4. READING/QUIET ZONE 1

3D

5. LOUNGE AREA 6. READING/QUIET ZONE 2 2A A 1A

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D01 - WALL DETAIL 1:50

5TH FLOOR 1:200

| 10 |

WALL DETAIL NOTES 1. ONE BEDROOM RESIDENTIAL SUITE

1

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1A. LIVING ROOM

5

1B. KITCHEN 1C. BATHROOM 1D. BEDROOM 1E. TERRACE 2. ONE BEDROOM RESIDENTIAL SUITE VERSION 2 2A. BATHROOM 2B. KITCHEN 2C. LIVING ROOM 2D. BEDROOM 2E. TERRACE

2E

02 301

3. TWO BEDROOM RESIDENTIAL SUITE 3A. BEDROOM 1 3B. BEDROOM 2 3C. BATHROOM 3D. LIVING ROOM 3E. KITCHEN 3F. TERRACE

3F

1E

3E 2D

1D

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4. READING/QUIET ZONE 1

3D

5. LOUNGE AREA 6. READING/QUIET ZONE 2 2A

6

1A

3C C

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1500m

|9|

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GROUND FLOOR 1:200

D

|7|

FRANK STREET 6TH FLOOR 1:200

5

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II III

NOTES I. 2’ X 4” METAL & WOOD STUDS II. 0.006M POLYTHENE SHEET - AIR & WATER BARRIER III. 0.38M DRAIN CAVITY IV. 0.15M BRICK VENEER V. 0.1524M RIGID INSULATION VI. 0.052M GYPSUM BOARD

Above Floor Plans

Lef t Front Elevation

Right Long Section

05

Project Zero C arleton Uni v e r s i t y | W i nt e r 2 0 2 2 | I n dep en da n t P ro j ec t

Project Zero reimagines industrial design, approaching it from the outlook of the sustainability and interaction. The historically rich site located along the Lachine Canal in Montreal, Quebec was once the home to many industrial factories, and is the main site. This project encourages the public to delve into the process of textile production, from growing ingredients to creating fashion pieces to be shown on the runway. The materials used in the building have been uniquely chosen and placed to encourage visitors and workers to reconnect with the natural environment. Unlike the typical factory setting, one of Project’s main goals is to reduce the amount of pollution it creates and to help eliminate existing pollutants in the Lachine Canal through a sophisticated design of diagrid columns. They act as structural components, in addition to housing plumbing lines that transport filtered water throughout the building. The Project explores the remediation of the canal water as it main source of power. Project Zero will be a factory that standardizes and solidifies a connection between sustainable production methods and interactions through a variety of equitable spaces.

3% peop

le 1815 - Nazreth renamed to be called Griffintown

1974 1825 - First Iteration of Canal Built; built with help of the Irish community in Griffintown

1834 - Slave Abolition Act was passed

1843 - Canal widened; helped by Irish Community 1847-1945 : Industrial Sector built up

1850: St. Antoine began to expand, became the home to several Black working class people; Griffintown grew to be apart of the industrial hub 1893: Saint-Henri was created, although it emerged as an area of living from the earl 1620’s, it was established as a neighbourhood 1902: - The Coloured Women’s Club (CWC) was established in St. Antoine in as a reaction to many mainstream White, Anglo-Saxon women's groups

1907: The Union Congregational Church was also established in St. Antoine to meet the community’s needs.

50

%p

195 5

eo

ple

1907: Two breweries established in Griffintown combined to becomed the National Breweries

1919: Members of the West Indian community launched the Universal Negro Improvement Association (UNIA) in St. Antoine 1927: The Union United Church women established the Negro Community Association in St. Antoine to alleviate social, economic conditions and to promote racial advancement in greater Montreal

le

op 95% pe

1930: Economy slowed greatly affecting the neighbourhoods especially Griffintown following the Great Depression

1972

1950: St.Antoine and St.Joseph merged to form Little Burgundy

1955: The Black Community innLittle Burgundy were no longer welcomed and pushed out, moving to other areas east or west of Little Burgundy

1963: Area was re-zoned for industry; causing schools and basic facilities needed for the people to be closed down

1970: St Ann’s Church; a major monument for the community of Griffintown was demolished

1972: Lachine Canal fell to disuse as the ships began to take the St.Lawrence rather than the canal; almost all factories closed resulting in the loss of income for several families in surrounding neighbourhoods

1974: All the remaining Irish families following the fall out of the industrial hub left the area

1990: Griffintown fell to gentrification as the area surrounding it began to develop

1996: Only 2 percent of the Black Community in Montreal is now housed in Little Burgundy

2002: Canal re-opened to public use for boating, with the influx of condos and private developments not far behind

2007: Proposal brought forth to gentrify and build within the heart of Griffintown was dropped due to public disapproval

90

2013: In order to preserve the Irish history of Griffintown, a community group called for the preservation of the Horse Palace

%p

eo

190

0’s

ple

2014: The NCC closed in 1989, and with little to no care, the building was demolished 2014

Lef t

DOG PARK

~4

Short Section : Connection to Existing Buildings op

ds ar w on

pe

5:45 PM

0

’s 20

ople

18

Walk 6 mins, Bus 63 8 mins ride, Walk 4 mins

ROSYLYN ELEMENTARY SCHOOL

Right

le

1955

0 ,0 00

Walk 5 mins to dog park

45% pe

WESTMOUNT ATHLETIC GROUNDS

Long Section : Placement of Pods

Drop off groceries, get ready to go to park

5:30 PM

551 AV. GROSVENOR, WESTMOUNT

9 AM

Drop off Kid at school, 4 mins walk

5 PM

Take kid to athletic grounds for sports club, take the dog to park

4:30 PM

Head to pick kid up from school, 5 mins Bus 124, 5 mins walk

COFFEE SHOPS

1:30 PM 9:05 AM

ARCELOR MITTAL CANADA INC. steel fabrication

Arrive at work

3:30 PM

’s

MAIN BUS ROUTES (NOT INCLUDING LOCAL BUSES RUNNING THROUGH NEIGHBOURHOODS)

HOSPITALS AND PHARMACIES

106,500 people 00

le

700 peop

pe

op

le

848,800 people 492,000

SCHOOLS

people

178,000 people

84

AVERAGE HOME VALUES IN NEIGHBOURHOODS OF ETHNIC AND LOW INCOME GROUPS

535 242 228 535 20 65 20 10 40 55 35 0 0 0

le

le

1,8

34,000 people

MEDIOCRE AMOUNT OF ETHNIC - SAMPLE SIZE FROM GIVEN DATA Total Population Dwellings Households Total visible Minority Population South Asian Chinese Black Filipino Latin American Arab Southeast Asian West Asian Korean Japanese

eop

eop

204,500 people 93,500 people

le

57.4% 25.0% 33.3% 65.5% 15.2%

ORANGE METRO LINE

AVERAGE HOME VALUES IN THREE MAJOR NEIGBOURHOODS

BY THE CANAL

00 p

00 p

op

GREEN METRO LINE

22,0 71,5

57.9% 50.0% 33.3% 65.5% 18.2%

204,000

pe

HIGHEST AMOUNT OF REMAINING IRISH SETTLEMENTS

1,184 1,042 713

1,175 40 15 970 165

436 ,0

00

54 3,0

00

MAJOR BUS ROUTES

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MOVEMENT OF BLACK PEOPLE - GLOBAL & LOCAL MOVEMENT OF IRISH PEOPLE - GLOBAL & LOCAL

TYPICAL HOUSE VALUES IN THE AREA BASED OFF SAMPLE DATA

SAINT-HENRI : 699, 000 to 1, 599, 000 - Single Family Units

HIGH AMOUNT OF ETHNIC - SAMPLE SIZE FROM GIVEN DATA Population Dwellings Households Total visible minority population South Asian Chinese Black Filipino Latin American Arab Southeast Asian West Asian Korean Japanese

591 325 297 591 105 0 200 60 25 85 15 0 0 0

people

00

HIGHEST AMOUNT OF ETHNIC GROUPS

LOWEST INCOME AREA - SAMPLE SIZE FROM GIVEN DATA Population Dwellings Households Low Income Measures Total - Low-income status in 2015 for the population in private households to whom low-income concepts are applicable 100% data 0 to 17 years 0 to 5 years 18 to 64 years 65 years and over Prevalence of low income based on the Low-income measure, after tax (LIM-AT) (%) 0 to 17 years (%) 0 to 5 years (%) 18 to 64 years (%) 65 years and over (%) Prevalence of low income based on the Low-income cut-offs, after tax (LICO-AT) (%) 0 to 17 years (%) 0 to 5 years (%) 18 to 64 years (%) 65 years and over (%)

8,5

MEDIOCORE OF ETHNIC GROUPS

eople

1830

LOWEST INCOME AREAS

00 p

50,0

Finishes work, goes grocery shopping Bus 138, 10 mins ride

1,13 2,5

00

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LITTLE BURGUNDY : 639, 000 to 1, 699, 000 - Single Family Units

GRIFFINTOWN : 549, 000 to 1, 079, 000 - Single Family Units

DECARIE SQUARE : 299, 000 to 1, 499, 000 - Single Family Units

LE PLATEAU MONT ROYAL : 299, 000 to 1, 299, 000 - Single Family Units

6,5

00

IRISH SETTLEMENTS - SAMPLE SIZE FROM GIVEN DATA Population Dwellings Households Minority / Origin Total - Ethnic origin for the population in private households 25% sample data European origins British Isles origins Irish

506 288 240

pe

420 100

1731-1775 Slave Trade Across Globe 1825-1970 Irish Settlements Across Globe

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Creating Barriers through Gentrification

9:19 AM

Coffee Break, head to coffee shop, 4 mins walk

MIGRATING COMMUNITIES

7% pe op 20 le 00 ’s

Leave for work, Bus 138, 9 mins ride

MARCHE -DUN

Lef t Site Analysis & Patterns

Center Parti Diagrams

Right Floor plans

Below Long Section Perspective

Lef t Construction Detail 1 & 2

Right Construction Detail 3 & 4

06

[Un] Cover & Sub [E ] Merge C arleton Uni v e r s i t y | Fa ll 2 0 2 2 | I ndep en da n t P ro j ec t

In light of the rising topic of climate change, Ottawa’s Experimental Farm has planned to begin an initiative regarding the planting of trees across the city. Our site explores the starting point of these genetically modified trees before they venture out on their journey through the city of Ottawa and elsewhere. [Un]Cover & Sub[E]merge explores the given landscape as a transitory stop for these trees, offering haven for a limited amount of time. The landscape is designed to allow this stop to be an educational experience for visitors, letting them submerge into and emerge out of the landscape before reaching their destination of the urban knowledge center. The project hopes to allow people to reconnect with each other post pandemic and with the environment in a meaningful and educational way.

Lef t Landscape Progression | Bottom to Top

Center Parti Diagrams | Development of Building

Right Floor plans

Below Long Section Perspective

Lef t Long Section with Landscape Strategy Details Above

Right Short Section with Interior Spatial Organization

07

Interiors of Isolation C ompetit ion | Summe r 2 0 2 0 | Pe r s ona l P ro j ec t

Over the course of summer, the University of Toronto COVID-19 student award winners developed a competition. This competition was named interiors of isolation, due to the fact that many of us have been isolated within our home over the course of the summer. The competition was created as the means to investigate how students, architects and designers have adapted to their quarantine environments, and how this may be explored through the use of representational and contemporary drawings.

Through the use of two drawings and a short paragraph, four questions were to be answered: 1.

2.

3.

4.

Has the pandemic affected your work/living environment?

Where/how do you spend most of your time within your home?

Have you come up with creative design solutions to adjust your space to your needs?

How do you think about your space now compared to pre-quarantine?

My drawings were based upon to conveyingmy life during the quar was considered mymain space, and I spent was within it. Over the cour were changes that I made to my reg ment of my furniture which helped different. In addition, I also spent areas, thus the plan of my room, be press these changes and specific are drawing is more playful and designe and ladders as inspiration. Snakes a chance, and by adapting this idea in the game of chance that influenced m house throughout quarantine. Since interior space, I tried my best to ma daily routine. Everyday would be a those changes are in how I spend m the amount of time I spent in each of chance.

n a conceptual approach rantine period. My room as such most of the time rse of quarantine, there gularroutine and placed make everyday a little a lot of time in specific ecame the means to exeas of interest. My second ed using the game snakes and ladders is a game of nto my drawing I convey my movement across the e I was stuck in the same ake slight changes to my little different. Whether my time in each space, or space, it was all a game

08

Clonsilla Apartment C ob ourg | Summe r 2 0 2 3 | I nt e r ns h i p

Over the course of summer, I worked at Andrew Smith Design Inc. in Cobourg. During my work I was assigned to design an eight storey residential apartment building which would be situated in Peterborough, Ontario.

The design included preliminary concepts, site plan analysis, development of unit and floor plans, elevations and renderings.

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Krushalni Mohanar athnam