Lucas Akira Druet - Architectural Masters Portfolio '19

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Lucas Akira Druet

contents 02 Making 14

Pursue Local Craft

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Pique Curiosity

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Lucas Akira Druet

2019 Portfolio

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making.

// My relationship with craft The act of tinkering and making have been at the heart of all of my passions. I remember, as I child, destroying half my toys through

dissection, trying to find the mechanism behind

it. I remember the array of components that laid on the floor when I exploded my first guitar piece by piece, and the relief and excitement I felt

when it still played upon reassembly. It is this emotional attachment to making and working with

my hands that I strive to bring forth in my work — this intimacy with action and reaction that yields a more in-depth understanding.

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the

making

cycle.

sketch

build

• The compulsion to make is triggered:

Perhaps to satisfy a need, to fill a void, to amuse my interests, or to right a previously failed experiment.

• The realization of a concept

• A series of responses to fulfill a need, to add value

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• The trial and error of devising methods to move forward • An evaluation of resources • A test of patience,

persistence, and precision.

pl a y

weather

• Interacting, testing, performing

• Granting the time to age and mature naturally

• Finding delight

• Showing character through wear

• Embracing flaws • Stepping back to see the composition as a whole

• Revealing weaknesses through stress • Learning lessons to carry forward

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s le ru ne fi e

de

ta

il

de ss ne ch

ar

ac

te

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fi r ye la

project

325.

fl

es

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Having a variety of guitar builds under my belt, with varying levels of success, I wanted to approach this project with more patience and rigour than ever before.

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This project, a tribute to the timeless design of late 1960’s Rickenbacker guitars, would be one of the most custom and complex builds I have tackled.

I began defining the profile using four arcs of varying radii. From there, layering detail all the while imagining the staging of the construction and potential roadblocks.

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project

325

cont.

Having a limited shop with few tools at my disposal meant one of the biggest challenges was devising methods to achieve each step of shaping and assembling the guitar. It is this aspect of defining steps, evaluating resources, and yielding results that drive my passion for craft and design.

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9

project

maple

burl.

Scrounging through a parts bin in a Portland Oregon antique store I found an old battered guitar blank coated in a quarter inch of blue shellac. Holding the body against the light, I noticed a brilliant maple burl grain hidden by the finish, giving the piece potential well beyond its $10 price tag.

I took on this rehabilitation project as a study in composition, materiality, as well as ergonomics. The volatile nature of burled maple made the reshaping of the body a delicate but rewarding procedure. The completed guitars remarkable comfort, playability and finish is a result of the careful handling and adaptive processes during the build.

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bridging

mediums.

I find great satisfaction in challenging myself creatively. For me, utilizing tactile and sensory rich processes helps to drive the design forward. Additionally, I find that breaking down problems into iterative steps leads me to simple solutions that can be scaled and adapted through different mediums. Approaching each medium with patience and persistence yields both delightful and educational results.

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13

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P U R S U E LO C A L C

C R A F T.

// MakeLocal Having the means to express, promote, and develop the creative spirit of Vancouver is imperative to the cultural sustainability of the city’s communities.

The tools and knowledge through which to express such an identity should be easily accessed by the community.

The skills and knowledge used by artists and makers should be a free-flowing energy that cross-pollinates, helping build this identity.

A makerspace located in the False Creek Flats would offer prospective and established artists with the tools, knowledge, and environment to practice their craft.

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iterative

studies.

Managing the difficult geometry of the site was an early challenge. By recognizing a system of structural grids and studying the program needs, it became more clear what massing option would yield the most efficient, interactive and practical use of spaces on the interior.

response

to

site.

THE EAST side of the site borders a major pedestrian green-way, providing an excellent opportunity to showcase activities within.

THE SOUTH of the site stands on the corner of the intersection of two major and very busy streets in Vancouver.

THE WEST side of the site fronts along Main street, which has an important storefront character, providing a great location for the retail portion of the program.

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program interaction. community

activity showcasing

artists & makers

prominent corner

store frontage opportunity

THE WORKSHOP consists of any tool a creative mind would need to exercise their passion for making.

THE STUDIO hosts long-term rentable space, open to anyone eager to establish their roots in the local craft scene.

CLASSES empower and engage the local community looking to broaden their talents.

THE STORE represents and promotes the local artists and makers.

Direct sensory links to the creative energy and activities within is imperative.

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connections

and

negative

space.

Program that require particular spatial needs, such as acoustic buffering, heavy ventilation, or specific conditioning, can be enclosed within one of the masses throughout a large open space. This open spaces then become a dynamic connected workspace.

visual connections - visually bridge program - create dynamic sight-lines

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A language of gradients help organize program with louder more gritty shop-type spaces located towards the sunken floor, and as you ascend through the spaces, the acoustics percolate into more quite and composed studio and lounge spaces.

audito r y c o n n e c t i o n s - create immersive environment - buffer sound where need be

physical connections - directly linking all spaces - encouraging cross-pollination

spatial

layering.

maker library rental studio 4 digital lab & classroom exterior lounge / workspace

textiles & softshop

rental studio 3 & open workspace

3D printing & laser

rental studio 2 4m x 4m modules prototyping lounge finishing studio

retail storage lounge

rental studio 1 machine box

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Workspaces

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Exterior

Classrooms and Studios

Project / Material Storage

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massing

development.

« Structural Language

« Massaging Massing

« Grounding Massing « Facade Articulation

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« Finalizing Articulation

The final massing features a large steel superstructure that grounds the light permeable space within. Parts of the triangulation in the feature are peeled back to showcase the structural composition within, adding to the effect of displaying the craft in making.

Additionally, a language of screens and recesses assist in the passive cooling of the interior space. The five mechanical pillars that drive up the exterior of the building link to the arterial systems inside, acting as a statement to the intensive activities happening within.

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PIQUE CURIOSITY

Y.

// Mount Pleasant

Community Arts Centre

Through both bold and subtle spatial planning, the Mount Pleasant Community Arts Centre provides an experiential quality aimed at piquing curiosity and drawing individuals further into its spaces.

The design process for this project unveiled lessons in subtleties and retrospection.

Understanding what to fight for and what to let go. Following design principles and stepping back to reflect and reexamine directions.

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strategies.

mass The rough development volume of the site measures 15m x 37m x 17m

drop Pushing the building down while maintaining natural light below: • Pay respect to the shorter building context to the north of the site • Easier access to more programming from street level • Place louder programming like Music and Woodworking shop underground

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split

tilt

Dividing into north and south segments:

Creating a diagonal canyon:

• Brings daylighting further into the building

• Entices exploration from the buildings entrance

• Creates a central hub through the whole building

• Increases surfaces to reflect and diffuse light

• Opportunity for visual connections between spaces around the atrium

• Creates dynamic areas for pause at each terrace

• Opportunity for stack ventilation

• Helps to sort varying sizes of program space

Being that my intentions with this building was to create an environment that entices curiosity and exploration through an experientially rich environment, the exterior evolved from a primarily glass faรงade into a one that would give only glimpses into the atmosphere within. Rather than representing the exterior as a diagram of the spatial planning

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Interior light canyon encourages ex

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Representation of craft at entry

Interaction along street scape

xploration

Natural lighting in paint studio

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