MArch Application Portfolio by Luke_Angers

Luke Angers Portfolio for MArch Architecture

EDUCATION

PUBLISHED WORK & EXHIBITIONS

McGill University (Fall 2014 / Winter 2018) Royal Danish Academy of Fine Arts (Winter 2017)

Centre Nautique McGill,

HONOURS

Pavilion for the Mile End,

McCaig Family Scholarship in Engineering (2015/16) Favretto Scholarship in Architecture (2016/17) Gluskin-Sheff Travel Scholarship (2016/17) Deans Honour List, Faculty of Engineering (2015/17) Wilfred Truman Shaver Travel Scholarship (2017/18)

Museum for the Mile End, displayed in the McGill SoA accreditation exhibition “From Arch 303 to Arch 683”

published on the McGill SoA Student Work Website and in the 2015-2016 McGill SoA Student Work Book

First Nations Garden Pavilion Analytique, on the McGill SoA Student Work Website

published

BONAVENTURE HOTEL

CONTENTS CONTACT

Bonaventure Hotel / MSOA 1

luke.angers@mail.mcgill.ca

Fictive Transcripts / KADK 1

(514)-572-2352

Museum for the Mile End / MSOA 2

19A Rue Lavigne Gatineau, Quebec, J8Y 3H8

Centre Nautique McGill / MSOA 3

Selected Drawings / MSOA 4

Mutualistic Architecture / MSOA 5

MSOA 1

BONAVENTURE HOTEL

BONAVENTURE HOTEL / MONTREAL McGill University SoA, Sept. - Dec. 2017 / Design and Construction 3 Professor Howard Davies / Collaboration with Odile Lamy

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DESIGN STATEMENT 12/12/17 Starting this project, we were interested in the psychologization of buildings and the disintegration of the self within collective environments, notions we encountered while investigating the studio’s prescribed program of a hotel (and secondary function of our choice). A typology already embedded with historical meaning, our design draws upon the canonical hotel as a collectively experienced archetype of metaphysical space, one completely subjugated to a kind of ephemeral existence. Space is occupied, lived in, but only briefly. This idea of the ephemeral is also frequently paired with duality in literary and cinematic portrayals of the hotel – doubles, mirrors, the physical body and the projected, the self and the other. In our project, the hotel becomes a public mirror of private life as it attempts to force homeliness outside of the home. It inverts the strangeness of the uncanny where, instead of the familiar rendered unfamiliar, the unknown is experienced in the guise of familiarity.

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In light of this, the assigned technical scheme of a dual-program was psychologized as the horrific trope of a clone or doppelganger and embodied through a split tower; an engaged twin straining for separation into two distinct volumes but ultimately confined to a singular block. The division of the site and reduplication of the upper floors purposefully identify issues of uniqueness, identity, and deviance which, in turn, inform the architectural experiences of the interior. Congested programming within the ruptured from references the manifestation of modernist desires in the Downtown Athletic Club and Waldorf Astoria Hotel outlined in Rem Koolhaas’s Delirious New York. The consuming indulgence of the high-rise typology is incorporated in our project but given an inappropriate twist with the introduction of a productive hydroponic farm. In this way, the programming attempts to juxtapose notions of rationalism, industrial production, and the uncanny experience of the hotel. The project’s grid, which typically internalizes the modern ambition of subjugating if not obliterating nature, is contorted and broken; the typifying glass megastructure of modernist fantasies is inappropriately deformed, physically opening itself to inhabitation by the external environment while denying the superiority of mental construction over environmental reality.

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Title / Exterior Rendering Above / Reference Image Opposite / Roof Plan, 1:1000

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Alain Resnais, Last Year at Marienbad, 1961

BONAVENTURE HOTEL

Above / Interior Renderings Centre / Generative Sketch Opposite / Massing Progression Diagram ; Reference Image

130mm CAVITY (SEALED AIRSPACE) RS1 ~ 1

STAINLESS STEEL WEBNET

1+1mm LOW IRON LAMINATED GLASS (LOW-E DUAL PANE) RSI ~ 5

STEEL MEMBRANEVAPOR BARRIERBATTING INSULATION-

-30mm CONCRETE TOPPING -RADIANT HEATING -CONCRETE SLAB

ALUMINUM SKIRTING

4TH FLOOR 24 700

ALUMINUM FLOOR STRIPS

FEED DUCT

GALVANIZED STEEL PLANTING BASKET

VERTICAL CLAMP

SUPPORT ROD TOP RAIL

STEEL MULLION

30mm IRRIGATION LINES VERTICAL POST

BOLT

MEP FUNCTIONING

-HANGING POLE -VISIBLE FRAME KEEL -MAIN KEEL

-RADIANT HEATING PANEL -GYP. BD

WOOD PANNELING

TRIPLE CELL TRACKING SHADE (LOW-E COATING) RSI ~ 5 INSULATING FABRIC RSI ~ 2

EFFECTIVE R-VALE LOW-E GLASS - 5 130mm SEALED AIRSPACE - 1 LOW-E GLASS - 5 TRIPLE CELL SHADE - 5 + FABRIC - 2 18

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WEST ENVELOPE DETAIL SCALE - 1:10

3 800

5 900

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2500

MECH. RM. ROOF 69 500

BONAVENTURE HOTEL

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PARAPET 67 000

3500

15TH FLOOR 63 500

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14TH FLOOR 60 000

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13TH FLOOR 56 500

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12TH FLOOR 53 000

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11TH FLOOR 49 500

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10TH FLOOR 48 000

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9TH FLOOR 42 500

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8TH FLOOR 39 000

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7TH FLOOR 35 500

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6TH FLOOR 32 000

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5TH FLOOR 28 500

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4TH FLOOR 24 000

3500

3RD FLOOR 20 500

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2ND FLOOR 17 000

3000

GROUND FLOOR 11 700

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PARKING-1 FLOOR 8 700

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PARKING-2 FLOOR 5 700

PARKING-3 FLOOR 2 700

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SECTION A-A SCALE - 1:300

Above / NS Construction Section, 1:300 Opposite / Construction Detail, 1:10 Next / Construction Plans, 1:500 ; Physical Model, 1:200

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KADK 1

FICTIVE TRANSCRIPTS

FICTIVE TRANSCRIPTS / COPENHAGEN Royal Danish Academy of Fine Arts, Feb. 2017 / The Fictive City Professor Carolina Dayer / Collaboration with Erin Poppy

ON THE CITY AND THE CHURCH “Films act as cultural, social, and poetic entities that carry within their plots a lot more than the stories they mean to tell. Places, habits and history are framed through fictive narratives that mirror structures of reality.” This excerpt from the project brief describes the initial filmic investigations which led to the realization of the work displayed in this section. It also describes the process of my cultural acclimation to the city of Copenhagen, which I explored both physically (by bicycle) and fictionally (through film). Stemming from an analysis of Thomas Vinterberg’s Submarino, my partner and I conducted a chiasmic study of the aesthetics of the city through the aesthetics of film and vice versa. This process is represented in the first image (previous page), an aerial photo of Bipesbjerg and the surrounding neighborhood of Købehavn NV where much of Submarino was shot. Areas of the image are cut away in a cartographic exercise to reveal film stills relating to the surrounding area and early maps of the region before it was developed. The project culminated in a film (right) exploring Grundtvigs Kirke, a central location of both Submarino and the city, and an architectural transcript of its experiential qualities (cover page). The film has no characters or explicit narrative; it acts as a probe into the architecture and materiality which constitute the spatial and emotional dimensions of the church and Copenhagen more broadly. If the film is a probe, then the transcript is an embodiment of the data retrieved. It combines the traditional architectural representation of the church’s working drawings through collage and manipulates their scales to desired effect. Three distorted drawings merge into a cohesive image forming the shape of a crucifix, which is later sketched over with graphite to reveal lighting and evoke the softness of the building’s interior. Constituted of a plan, unfolded section, and detail, reading of the drawing mimics the significant cortical experiences of the church. It begins with an oversized view of the threshold (establishing a base and eliciting the cognitively significant moment of entry), continues through the rhythmic section, and culminates in the centre of the cross at the locus of spiritual internalization.

See full film at https://vimeo.com/264805644 Title / Filmic Mapping, KĂ¸behavn NV Above, Below / Film Stills in Sequence Cover Page / Architectural Transcript, Grundtvigs Kirke

MSOA 2

MUSEUM FOR THE MILE END

MUSEUM FOR THE MILE END / MONTREAL McGill University SoA, Oct. - Dec. 2016 / Design and Construction 1 Professor Vedanta Balbahadur Displayed in the McGill SoA accreditation exhibition “From Arch 303 to Arch 683”

ART, SPACE, AND THE ALLEY In the context of the dense urban neighborhood of Montreal’s Mile End, buildings reinforce the street and mold the space of the yards and alleys to their backs with irregular, projecting shapes. The site for this museum proposal is opportune because it is one of the few areas in the surrounding context that does not reinforce the street. Unfortunately, the space is designated as a parking lot where little public activity is allowed to take place. In the redesign of the site there was a conscious choice to leave the street side of the site empty, activating it as a space for the public and allowing the alleyway to serve as a spine for the new building. In this way, the museum reverses the focus of vernacular Mile End architecture by reinforcing the alley. The form of the building is also a theoretical exploration of a great incongruence in the design of museums. It attempts to reconcile the requirement for receding, practical, and insulated spaces with the necessity for making a place of importance which distinguishes itself from others through its architecture. The earliest concept sketches of the building envisioned it as a network of projecting spaces tied around a centralized circulation core situated at the back of the site. As the design began to materialize as a three-dimensional model, it became clear that there would have to be some kind of reconciliation between the form in the original sketches and the requirement for a functioning museum program. Many of the airborne projections were dragged down to rest upon a base volume along the building spine - but one remains, stretching away from the constraints of the site, context and practical architecture. The primary volume was simplified into two geometries constituting the gallery and public space respectively, both spanning from one end of the site to rest on top of its constituent at the other end in an ‘X’ shape. The geometry of the gallery space is considered as opaque, heavy architecture, providing the separation and insulation required for complete immersion. The materiality of the functional public space is considered as a translucent, slender architecture, providing the natural light and openness required for productive work environments and a view of the city to orient visitors. The remaining projection is then considered as a dual space in itself, with both a gallery and public space, where insulated exhibition ‘pockets’ and open public areas with views to the exterior exist in unison. As the building footprint only occupies about half of the site, equal focus was given to the landscaping and entryway. Depressions are carved into the terrain from either street corner as a way of extending the alley into the visitor experience and dramatizing the entrance threshold. As people reach the reception space on the basement floor, the 3-storey circulation atrium is revealed in contrast to a covered descent. The museum is ultimately a celebration of space, art, and their collaboration in the human experience; the culminating, cantilevered projection serves as the transitory architectural zone which binds these elements of the building together.

Title / Rendered EW Section, 1:200 ; Physical Model, 1:200 Centre / Design Progression Sketches Opposite / Site Plan Progression Sketches

MUSEUM FOR THE MILE END

Above / Detail and Landscaping from Physical Model, 1:200 Opposite / Aerial View of Sunpath on Physical Model, 1:200

MSOA 3

CENTRE NAUTIQUE MCGILL

CENTRE NAUTIQUE MCGILL / STE.-ANNE-DE-BELLEVUE McGill University SoA, Mar. - Apr. 2016 / Architectural Graphics and Elements of Design Professor David Covo / Collaboration with Thibaud Gagnon-Guimaud Published in McGill SoA Student Work Website and 2015-2016 McGill SoA Student Work Book

CONNECTING STUDENTS WITH LAC SAINT-LOUIS This project was born out of discussions around past development plans for McGill University’s MacDonald campus and is intended to challenge institutional building conventions as a public community centre. Despite the site’s location on the western extremity of the Island of Montreal close to Ste. Anne de Bellevue, the university believed a boathouse providing access to the water along with equipment could increase student interest in the second campus and foster outdoor activity. A proposal for an underutilized stretch of waterfront property on Lac Saint-Louis was produced with the intention of adding to the recreational program capacity of the existing campus infrastructure. The project’s program is separated between its two primary floors, with rowing facilities (including boat storage, locker rooms, a classroom, and cafeteria) on the ground level giving access onto the waterfront, and a reception space (with a kitchen, dining area, and large terrace with views over the water) on the gallery floor. Accessibility is addressed through an elevated lobby and a series of ramps letting onto both floors while encompassing meeting spaces to create an active entrance threshold. The building, in turn, promotes the outdoors by drawing the visitor within and through to the waterfront site regardless of the path they take (paths illustrated in red on uppermost-right sketch). Its form was strategically generated to suit these purposes and serves to celebrate outdoor space in tandem with indoor. Construction is intended to be as sustainable as possible, employing wood framing and natural ventilation as conditions driving the design. Special focus was given to the circulation of fresh air throughout the upper floor; the terrace was carved out of the southwest edge of the building to capture the breeze coming off the water and to draw stale air from the lower floor out of the building through suction. Strategic placement of skylights and windows further reduces the need for consumption of electrical power as much of the interior space is lit naturally throughout the day. This philosophy retains the administration’s vision for a responsible and mutually beneficial intervention that will connect students with Montreal’s natural beauty and serve as significant component of McGill’s Macdonald Campus.

CENTRE NAUTIQUE MCGILL

Title / Physical Model I, 1:200 Above / Design Progression Watercolours and Sketches ; Final Sections, 1:500 Opposite / Physical Model II, 1:200 Next / Final Site Plan, 1:500

MSOA 4

SELECTED DRAWINGS

SELCETED DRAWINGS / MONTREAL McGill University SoA, Sept. 2015 - Mar. 2016 / Various Courses Professors Ricardo Castro and David Covo First Nations Garden Pavilion Analytique published on McGill SoA Student Work Website

SELECTED DRAWINGS

Title / First Nations Garden Pavilion Analytique Previous / Carceri Expansion Exercise Above / Invisible Cities - Zenobia, Storyboards and Plan

MSOA 5

MUTUALISTIC ARCHITECTURE

MUTUALISTIC ARCHITECTURE / QUEBEC (FERMONT) McGill University SoA, Jan. - Apr. 2018 / Design and Construction 4 Professor Gilles Saucier

ARCHITECTURE AND MUTUALISM This project arose out of a speculative reaction to the studio brief which called for ‘the design of a productive topography and cultural centre’ on a fictional site somewhere in Montreal’s rural surroundings. Considering the subconscious assumption embedded in such a statement - that a piece of land in Quebec’s St. Lawrence Platform would not be productive as such - I formulated a narrative in which its validity would become self-evident. The site was therefore imagined as the locale of an extinct vestigial community characterized by unsustainable mining and agricultural practices that had rendered the area unsuitable for permanent inhabitation. Consequently, the project’s articulation shifted from a single large building (which the damaged terrain would be unfit to support) to a collection of small-scale and precise interventions focused on the joint rehabilitation and cultivation of the landscape. The first leg of the project’s development began with the digital fabrication of the site. This process employed scaled pointscans of endemic granite samples to generate topographies that were both organic and detailed enough to border on realism. The most compelling aspect of these models was, in fact, their provocative approximation of reality. They possessed an element of the uncanny in their disproportioning of a found object which could have easily been taken from the imagined site, and this intriguing characteristic would come to drive the formal approach of the project’s architecture. Once a scan had been decided upon, it was further manipulated through the flattening of vertical extremities typical of erosion processes caused by industrial settlements. With the site model completed, a period of research into the historical establishment of rural communities was undertaken to inform the design and construction of the relatively sparse buildings along with their placement in the landscape. As this research progressed, the design focus shifted from the architecture itself to its integration with the productive aspects of the community and site. Ecological texts became driving sources of information as the project increasingly became an exercise in landscape architecture - the establishment of mutualistic agriculture, specifically through the modern innovation of forest gardening, became the unifying idea behind many of the built interventions.

IN THE POST-INDUSTRIAL LANDSCAPE

“No expert advice informed the brother’s design decisions. They forbade the keeping of cows and hens and encouraged the occupants to create flower and vegetable gardens, but in the end they simply built for their employees slightly smaller versions of the old farmhouse in which they had grown up. As the decades passed and more visitors – some from Europe – arrived to see the wondrous simplicity, as more essayists discovered “contented labor,” the brothers may have wondered at the fuss. After all, they had only improved the landscape in which their father had begun business at the close of the eighteenth century, and they had avoided all European principles and styles.”

Stilgoe, John R. “The Planned Residential Community.” In Borderland: Origins of the American Suburb, 1820-1939, 252-260. New Haven, CT: Yale University Press, 1992. Each structure was built as both a re-enactment and a present tense action. All of the participants were simultaneously tellers and listeners creating a shared space of the social contract.

Title / Individual and Final Physical Models, 1:100 Above / Site Plan with Buildings and Vegetation, 1:2000

MUTUALISTIC ARCHITECTURE

With the functional program of the project defined (facilitate the establishment of a network of self-sustaining forest gardens to simultaneously provide for the community and restore the ecological resilience of the site), the architecture was able to take shape with a greater certainty. Once the site plan and general layout of the buildings (below) had been formulated, a series of quick elevation sketches (following pages) were performed to define their formal expression. This process did not involve careful consideration of the specific building being drawn but was rather an imaginative exploration of the underlying architectural vernacular common to many rural settlements. This technique generated a variety of archetypal representations which could, in turn, be analyzed and selected based on the need of each building to visually address the specific social aspect of a particular program, place, and person (for example, a house for two brothers or an irrigation shed). Each intervention is intended to be built by a community as a social act, a celebration of the individual and collective imagination, and as an exploration of the places between landscape and architecture.

MUTUALISTIC ARCHITECTURE

Above, Opposite / Conceptual Elevations Opposite / Generative Sketch

MUTUALISTIC ARCHITECTURE

Above / Individual Physical Models, 1:100 Opposite / Exhibition Pavilion and Covered Bridge - Axonometrics and Plans, 1:400 Next / Site Axonometric, 1:2000

Reflecting on the brief and its intention to have the site ‘designed’ prompted a deeper reading into the underlying tendency of industrial society to rationalize and impose frameworks on existing productive topographies. The only rational approach to ‘creating’ a productive topography would, in fact, be to first assume the elimination of the natural one provided. \\ The site’s imagined history becomes the design driver that pushes the fictive landscape into the fourth dimension - and the uncanny articulation of the pseudo-vernacular buildings results from their relationship with this historic narrative. The project is a cemetery and the disquieting return of humanity to its landscape is the necessary and naturally impelled manifestation of the archetypal structure of settlement. 04/20/18