2 0 2 0 P ORTFOLIO
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2020 PO RTF O L IO Michael Hasey, (H on) B. Arch. Sc ., M .Ar c h .
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TAB LE OF CONTE NTS BIO 7 PROFESSIONAL WORK Studio Rick Joy Mandarina 9 Katerra Fort Apache 29 Katerra Amberglen 31 Katerra R&D 33 nkA Architects Humewood Residence 37 XTEN Architecture Stanley House 43 Acconci Studio Let Us Make Cake 50 Acconci Studio Water Walls 52 ACADEMIC WORK McGill University The Maasai Knowledge Exchange 59 McGill University The Hyperwave Residence 87 University of Waterloo Museo del Tevere 103 University of Waterloo Vivere et Mori Chapel 113 Unviversity of Waterloo Toronto Bridge Park 129 McGill University The Fang 141 University of Waterloo Solare III.V 147 University of Waterloo Criss Cross Chair 155
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BIO Currently living and working in San Diego, California, Michael Hasey (M.ARCH, HBAS) is a Project Architect, Researcher, and Designer who is passionate about creating beautiful, functional, and well-crafted environments. With experience
in both the architecture and technology industry, he’s had the opportunity to develop a wide range of unique design solutions for talented teams and companies. Whether he designs at the scale of the city, the house, or the computer, he continues to seek out new opportunities to address design challenges with elegant, functional, and delightful solutions.
Academically, Michael completed a two-year Masters of Architecture program at McGill University in Montreal, Quebec. Obtained in the Spring of 2015, his degree culminated in the completion of an architectural thesis entitled “The Maasai
Knowledge Exchange” and the awarded title of Master of Architecture. While there, Michael was the recipient of the Dr. Soo Kim Lan Prize in Architecture in 2013 - 2014, “awarded by a committee of staff of the School of Architecture for the
outstanding completion of the second semester of study in a Master of Architecture program”. In 2011, he graduated from the University of Waterloo School of Architecture where he was awarded an Honours Bachelor of Architectural
Studies degree and the first place distinction for the Canada-wide S.S.E.F. architecture competition. While completing
this program, Michael had the opportunity to intern at various renowned architecture firms in New York City, Toronto, Vancouver, and Los Angeles. During his final year at Waterloo, he attended a four-month school term abroad in Rome, where he studied the ingenuity and beauty of classical architecture first hand.
In addition to his formal education, Michael has accumulated over 7 years of professional experience while employed
at various architecture firms (5 years) and during his internships while at The University of Waterloo (2 years). Most
recently, Michael worked as a Project Architect and R&D team member for 2.5 years while at Katerra, a technology company in Seattle that works at all levels of the construction industry; from A.I. informed master planning to architectural
design and manufacturing to construction. While there, Michael managed two 6-story, 300+ unit multi-family residential buildings and developed a number of important R&D initiatives including the creation of innovative CLT, wall and
floor assembly systems. Prior to that, Michael worked for Rick Joy Architects in Tucson, Arizona for 2 years, and led
the design for multiple lifestyle-based buildings within a large ultra-lux seaside resort project in Mexico. In addition, he has completed a series of private commissions ranging from project proposals, home renovations and feasibility studies for various individuals and businesses. One such project includes the “SupaMaasai Cultural Centre” in Loodariak, Kenya
which he designed for The SupaMaasai Foundation; a Toronto-based NGO that empowers Maasai youth and women in
Kenya. While undertaking this project, Michael traveled to Kenya to obtain both a first-hand understanding of the project’s unique contextual nature and the necessary partnerships with individuals and key organizations within the Kenyan architecture, construction, technology, education and political community.
In addition to his professional career, Michael is an active researcher within his field. His current work investigates methods in which artificial intelligence and machine learning can positively augment traditional architectural design
processes and add enormous value through more efficient and informed data-driven designs. In specific, he is using deep
learning neural networks called GANS (Generative Adversrial Networks) to train algorithms to automatically generate architectural design imagery in any desired style.
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FEATU RED PROFE SSI O NAL WORK
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R I CK JO Y AR C H IT EC T S year: type: location:
2015 - 2017 Professional Work Tucson, Arizona
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M A N D A RINA - A ONE & O N LY R ESO RT Riviera Nayarit, Mexico Luxury Resort Mandarina by One & Only is a luxury resort and residential community set upon a rare stretch of undeveloped coastline in Riviera Nayarit, Mexico. As one of country’s last remaining tropical, beachfront jungles, this fascinating destination
boasts a swimmable white-sand beach, mountain peaks, and lush flatlands and estuaries. Architecturally, careful consid-
eration was made to cultivate a sense of place by embracing traditional building methods and materials, collaborating with local artistans and craftspeople, and capturing the beauty of the natural environment with thoughtful design.
Responsibilities: While engaged in the project, I led the design of multiple lifestyle-based buildings and was responsible
for project-specific site analysis, conceptual design, schematic design, construction document drawings, and consultant coordination. I worked closely with various teams to insure that the highest quality of design, construction, and client satisfaction was consistently met.
Site plan (above) & aerial view of site (below)
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RIVAL | Rendered Views
NOTE : IMAGES NOT TO BE USED FOR MARKETING PURPOSES
ic Program
July
M A N D A RINA - T HE A RRI VAL PAVI LI O N The Arrival Pavilion is the gateway into Mandarina and provides guests with their first taste of the luxurious lifestyle,
lush jungle environment, and refined design that awaits. By combining raw local stone, traditional wood building methods, and contemporary furniture pieces, the Arrival Pavilion elegantly bridges the gap between the lush jungle wilderness and the comforts of refined luxurious living.
Responsibilities: I was the lead designer for the Arrival Pavilion and worked closely with senior architects to develop the building from schematic design to construction drawings.
A first glimpse of Mandarina as it emerges from the jungle wilderness
ARRIVAL | Rendered Views
RIVAL | Section
NOTE : IMAGES NOT TO BE USED FOR MARKETING PURPOSES
NOTE : IMAGES NOT TO BE USED FOR MARKETING PURPOSES
na - Public Program 2 A3.10
1a
1
1'
2
1 A3.10
3
4
4'
5
6
7
8
21.55
Limite de cubierta
2 A3.01
9
10
2.19 Limite de cubierta
1.94
2 A3.02
N. Cubierta 58.14
pend.10%
6.64
N. Cubierta 55.67
N.Fondo 50.95 N.Muro 48.67 N.Rebosadero 48.03
3.72 7.63
0.45
N.P.T. 51.50
X X.X
Espejo de Agua
pend.0.5%
VestÃbulo de Acceso
Banca
N.Muro 51.95 Motor Lobby
Motor Lobby
N.P.T. 51.50
0.55
N.Muro 51.95
X X.X
2.
Corte Transversal 2
Modern luxuries in the Arrival Pavilion lounge (above) & building section (below)
1:100
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| Section
Section AGES NOT TO BE USED FOR MARKETING PURPOSES
ES NOT TO BE USED FOR MARKETING PURPOSES
© Cop
Revi
1 A3.11
P
O N' N
M
2 A3.10
J
L K' K 1
A3.10
I
H
1.78
1
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Limite de cubierta
3
2
X
4
5
4'
X.X
1.94
F
E
D
C B' B
A 1.29
6
7
8
21.55
pend. 13%
9
1 A3.02
10
2.19
N. Cubierta 58.14
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pend. 18
Business Center
Lounge
Espejo de Agua
2.85
X.X X
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Banca Cto. Maquinas
Vestíbulo deX.XAcceso
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400 S p 520
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N.Muro 51.95 Motor Lobby
Motor Lobby
N.Muro 48.67
TALLE Culia M é www
N.P.T. N.P.T. 51.50 48.22
2.
0.55
N.Fondo 50.95
3.72 7.63
N.P.T. 51.50
Bodega Audiovisual
X
0.45
N.Muro 51.95
Vestíbulo de Acceso
Desi
N. Muro 51.95 N.P.T. 51.50
6.64
Estancia
3.30
3.30
pend.10%
N. Cubierta 55.67
2 A3.02
N. Cubierta N.L.B.P. 58.14 54.80
6.64
2 A3.01
G
35.10
Limite de cubierta
1a
Limite de cubierta
1 A3.01
1 A3.12
Limite de cubierta
Q
2 A3.11
X X.X
N.Rebosadero 48.03
2.
Corte Longitudinal 2
Cons
1:100
Corte Transversal 2
1:100
Keyp
A
B B C
2 A3.11
D
E
F
1 A3.11
H
G
9
8X.XX 7 Limite de cubierta
3.34 6.64
N
4'
3
4
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1.78
2
1'
21.55
1a
1 pend. 13%
1.94
X X.X
Rivier
X
Asistente Ejecutivo
Área de Trabajo
Gerente General
X
Circulación
X.X pend. 2.0%
Área de Carga y Descarga
Build pend. 2.0%
Ar
N. Muro 51.95 N.P.T. 51.50
Motor Lobby
Circulación
Bodega
Gerente General
Estancia
X X.X
0.95
N. Muro 51.95
Co Ar
N. Cubierta 58.14
3.30 Sanitario de Personal
Draw
2 A3.01
X.X
6.64
Cuarto de Vestíbulo de Acceso Seguridad
3.30
3.30
3.30
Sala de Juntas
M On
1 A3.01
pend. 10%
Adventure / Discovery Center
6.64
N.P.T. 51.50
5
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2 A3.10
3.30
N.L.B.P. 54.80
K K L
3.30
N.L.B.P. 54.80
3.34
N. Cubierta 58.14
X X.X
2.20
pend. 18
.5%
2 A3.02
6
J 1 A3.10
Limite de cubierta
10 N. Cubierta 58.14
I
35.10
3.30
1 A3.02
Limite de cubierta
1.28
Limite de cubierta
1 A3.12
1.
N.P.T. 51.50
N. Muro 52.45
Date
Corte Longitudinal 1
N.P.T. 51.50
Issue ESCALA GRAFICA:
1:100
0.0
1
5m
2
Draw
Scal
1.
Longitudinal sections
Corte Transversal 1
1:100
Shee ESCALA GRAFICA:
0.0
1
2
5m
URPOSES
2 A3.10
1a
1
1'
1 A7.10
2
3
1 A3.10
4
1 A3.02
5
4'
6
7
8
9
42.12 3.85
6.16 1.00
8.85
4.50
3.74
2.93
3.00
2.99
3.12
2.00
7.90
0.50
8.82
1.05
Ventilador
Ventilador
1
2 1
3.30
Variable
N.P.T. +51.50 N.S.L. +51.42
Acceso
Vacío
Despensa
1
1 1
N.Muro. +48.67 2.60
Proy. Domo
N.P.T. +51.50 N.S.L. +51.42
Banca h=0.45m Sobre NPT
2.60
Estancia
10.15
N.P.T. +51.50 N.S.L. +51.42 Ventilador
3.30
Bar
3
Ventilador
Gerente General
N.P.T. +51.50
3
N.Muro. +52.00
Proy. Domo
1
Bodega
N.P.T. +51.50 N.S.L. +51.42
3
1
1
3
Bodega
3.94
3
3
Libre Sanitario Altura 3.30 2
Acceso
Despensa
Altura Libre
3.30
1
1
2
3.70
2
Sanitario 2.30
1 A11.09 1
1
1
Sanitario de Personal3
Banca h=0.45m Sobre NPT
1
N.P.T. +51.50 N.S.L. +51.42
10.52
N.P.T. +51.50 N.S.L. +51.50 1.25 0.50
Proyección de Cubierta
1
2.60
1
N.P.T. +51.50 N.S.L. +51.42
Altura Libre
Variable
Proy. Domo
Altura Libre
1
6.95
1.50 1.10
Área de Trabajo
Ventilador
2.60
46.78
3
1.09
N N' O
1
Asistente Ejecutivo
Ventilador
1.51
1
N.P.T. +51.05
1
Ducto
3
N.Muro. +51.95
Proyección de Trabe
5.73
Proyección de Cubierta
N.Muro. +52.00
N.P.T. +51.50 N.S.L. +51.50
Área de Carga y Descarga
P
N. Guarnición+51.65
SIMBOLOGÍA
N.Muro. +52.00
Muro de block de 10 cm, 15 cm y 20 cm de espesor segu indique.
Escultura de Piedra
Muro de Concreto. Para dimensiones ver plano de cimen A1.01. N.P.T. +51.39
NOTA: PARA DISEÑO DE PAVIMENTO EN EXTERIORES VER PLANOS DE DISEÑO DE PAISAJE
5.95
uinas
1:100
pend. 2.0%
pend. 2.0%
1
Cuarto de Seguridad
Escultura de Piedra
pend. 2.0%
Proyección de Trabe
2.60
N.P.T. +51.50 N.S.L. +51.42
1
1
2.85
Motor Lobby
Vestíbulo de Acceso
3.65
Altura Libre
8.90
3.65
N.Fondo +50.95
M A11.08
pend. 2.0%
N. Guarnición+51.15
pend. 0.5%
Nivel. +51.48
I
L
4.35
1
2
Espejo de Agua
G
K'
8.90
2.60
Ducto
Bodega Audiovisual
NOTA: PARA DISEÑO DE PAVIMENTO EN EXTERIORES VER PLANOS DE DISEÑO DE PAISAJE
2
2.35 6.25
2 A7.11
N.Muro. +52.00
N.P.T. +51.50 N.S.L. +51.50
Altura Libre
Vacío
2.85
2.60
Banca h=0.45m Sobre NPT
Sala de Juntas N.P.T. +51.50 N.S.L. +51.42
J
1 A3.11
N.P.T. +51.50 N.S.L. +51.50
2
1
F
K
1
Adventure / Discovery Center N.P.T. +51.50 N.S.L. +51.42
Ventilador
H
2 A3.01
3.30
2
3.90
1 A7.11
Cuarto de Maquinas N.P.T. +51.50 N.S.L. +51.42
Altura Libre
Ventilador
Lounge N.P.T. +51.50 N.S.L. +51.42
1
3.30
Variable
2.80 3.70
2 A3.11
Altura Libre
1
Altura Libre
E
1
3.30
Ventilador
N.Muro. +51.95
D
A11.12
Altura Libre
1
Proyección de Trabe
1.50 2.60
2.77
Ventilador
N.P.T. +51.50 N.S.L. +51.42
1
1
1.10
1 A3.12
Business Center 1
7.55
4
B B' C
2.85
2.60
A
Proyección de Cubierta
Proyección de Cubierta 1
Q
N.Muro. +52.00 2 A3.10
2 A7.10
1 A3.01
1.
2
Tipo de muro. Ver planos A8-01
X
Eje Arquitectónico
Planta Arquitectónica
1:100
Floor plan
17
M A N D A RINA - MA JA H U A BEAC H CLUB Majahua Beach Club is a dining and lounging destination nestled along a sandy and secluded cove in the heart of Manda-
rina. Incorporating a multi-level design, the beach club steps down in six different and unique levels: A rooftop lounge
with commanding ocean views above, a covered dining terrace with outdoor prep-kitchen below, a wide poolside lounge with bali beds beneath, and two tiers of stepped pools and a shade platform that cascade down towards the beach. Each unique level is tied together with a wide, continuous stair that follows the contours of the steep ocean-side landscape.
Responsibilities: I was the lead designer of Majahua Beach Club and worked closely with senior architects to develop the building from schematic design to construction drawings.
Majahua Beach Club nestled beachside between two lush hills
NOTE : IMAGES NOT TO BE USED FOR MARKETING PURPOSES
Mandarina - Public Program
July 13 2017-
LUB | Section
T TO BE USED FOR MARKETING PURPOSES 1
2
3
5
4
6
7 1.45
1 A3.01
8
9
10 11
12
5.45
1 A00.00
1 A00.00
N. Remate 13.66
9
10
Guarderia Asoleadero Chapoteadero
7
6
5
4
3
2
1
14
1.02
13
1
2
3
4
5
6
7
8
N. Descanso 11.16 N. Descanso 9.63 N.P.T. 8.61
1.53
A00.00
12
2.27
9.83
1.75
20
11
1.53
8
7.76
7
N. Descanso 7.08
9
Guarda
N.P.T. 5.55
1 2 3
1 2 3
0.70
N. Muro 5.04 N. Muro 4.53 N.P.T. 3.83
1
2.78
N.L.B. Plafon 7.81
6
Terraza
0.51
N. Muro 9.56
5
1.53
4.10
2.15
N. Pretil 13.31
4. 13
12
11 10
9
8
7
6
5
4
3
2
1:100
1
Sunset on the Majahua dining terrace (top), 5.95poolside 1.45 relaxation (middle), & building section (below) lÃmite de viga
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Corte Transversal
19
2 A3.10
1
3
2
5
4
6
7
8
9
10 11
13
12
42.35 1.50
1.50
2.75
2.47
4.05
3.45
3.65
2.05
1.40
1.72
5.46
2.35
11.52
15 14 13 12 11 10 9
Playa N.P.T. +3.00
Descanso
8 7 6 5 4 3 2 1
BAJA
3 A3.11
Acceso a Playa
N. +5.04
N.P.T. +5.55 BAJA
N.P.T. +5.04
7
Proy. cubierta
BAJA
Lockers
7
Proy. Trabe
10 9 8 7 6 5 4 3 2 1
2.27
Almacen
Vestibulo N.P.T. +8.61 N.L.A.L +8.53 Banca
N. +5.04
3
2
1 2 3
1
7
Cava
4 A3.11
N. +4.53
BAJA
18 17 16 15 14 13 12 11
Guarderia N.P.T. +8.61 N.L.A.L +8.53
BAJA
2.27
Cocineta
Pendiente 0.5%
BAJA
N. +4.53 Playa N.P.T. +3.00
2 H(2)=100.00cms / P(3)=17.00cms
BAJA 3 H(3)=30.00cms / P(4)=17.00cms
BAJA
4 3 2
7
6
5
4
3
2
Muros y Terrazas (Ver planos de Arquitectura de Paisaje)
1
H(2)=100.00cms / P(3)=17.00cms
BAJA
1
2
1
1
Regadera
Terraza de Arena N.P.T. +3.51
N. +4.01
5.95
1.50
5.05
3.20
11.52 2 A3.10
BE USED FOR MARKETING PURPOSES
Pool terrace level
10 9 Descanso
19.60 1 A00.00
Sanitario
1 A00.00
7
3
H(16)=28.00cms / D(01)=120.00cms P(18)=17.00cms
Guarda
N.P.T. +4.53
N.P.T. +5.04
2.83
1 A00.00
SUBE
Proy. cubierta
Chapoteadero N.F.A. +3.83
10
2.83
7
Pendiente 0.5%
Sanitario Servicio
9
BAJA 1 2 3
Almacen de Playa N.P.T. +8.61 N.L.A.L +8.53
Proy. Trabe
4
BAJA
10 9 8 7 6 5 4 3 2 1 5
4
Asoleadero N.P.T. +5.04 H(2)=30.00cms / P(3)=17.00cms
BAJA
Camara de Congelacion
Proy. Trabe
Proy. Cubierta
1 A7.01
8
Cuarto de Maquinas Pasillo de servicio
1 A3.10
6
1 A00.00
2.27
3 2 1
BAJA
1 A3.01
Sanitario Mujeres
Sanitario Hombres
Pendiente 0.5%
H(2)=30.00cms / P(3)=17.00cms
Alberca N.F.A. +3.54
Toallas
Pendiente 0.5%
10.00
2 A3.10
1
3
2
5
4
6
7
8
9
10 11
13
12
42.35 1.50
1.50
2.47
2.75
4.05
3.45
3.65
2.05
1.40
1.72
5.46
2.35
5.70
10.00
11.40
3 A3.11 Descanso
N.P.T. +5.55
25 24 23 22 21 20 19 18 17 16 15 14 13
N.P.T. +5.04
H(16)=30.00cms / D(01)=90.00cms P(18)=17.00cms
6 18 17 16 15 14 13 12 11 10
Descanso 12 11 10 9 8 7 6 5 4 3 2 1
BAJA
N.P.T. +10.65
9 8 7 6 5 4 3 2 1
SUBE
N.P.T. +8.61 Proy. Cubierta
H(23)=30.00cms / D(01)=200.00cms P(25)=17.00cms
3
Proy. Viga
Prep. y Dist. de Comida Fria N.P.T. +8.61 N.L.A.L. +8.53
3 Proy. Viga
5
3
5
Bar
Variable 1 A3.10
1 A7.01
Lavaplatos 3.25 5
3.25
N. Muro +9.56 1 A3.01
4
14.30
Proy. Cubierta
Terraza N.P.T. +8.61 N.L.A.L +8.53 24 asientos
Pasillo de servicio
Proy. Trabe
4 6
Basura y Reciclado
3
20 19 18 17 16 15 Descanso
SUBE
1
4 A3.11
BAJA
H(16)=28.00cms / D(03)=120.00cms P(20)=17.00cms
14 1 2 3 4 5 6 7 8 9 H(16)=28.00cms / D(01)=120.00cms P(18)=17.00cms Descanso
1
2.45
Proy. Viga Proy. Cubierta
A00.00 6
N.P.T. +5.04
Muros y Terrazas (Ver planos de Arquitectura de Paisaje)
8.30
N.P.T. +4.53
3.22
2 A3.10
BE USED FOR MARKETING PURPOSES
Dining Level
21
M A N D A RINA - T HE PO I N T Perched along of a narrow mountain ridge, The Point commands one of Mandarina’s most outstanding ocean view expe-
riences. Here, guests are transported above the jungle canopy where they can absorb incredible panaramic views while lounging poolside, enjoying a cocktail at the bar, or dining inside amonst friends.
Responsibilities: I developed and modeled the beautifully exposed interior wooden structure and assisted with the design of the exterior lounge and pool areas.
23
8
7
9
10
11
1 A3.01
2 A3.10
F
2 A3.12
F'
2 3 A3.1
G
3 3 A3.1
H
H' I
6
2 3 A3.1
4
3 3 A3.1
H'
2 I
Longitudinal sections
13
14
15
1 A3.10
16
1 A3.02
17
18
19
20
2 A3.11
1 A3.11
21
22
23
24 25
27
A
Pend. 126.09%
12
1 A3.13
N.Cu. 49.05
2 A3.01
N.Cu. 49.05
B
Pend. 63.84%
C
2 A3.10
2 A3.12
D D'
E
1 A3.13
1 A3.10
2 A3.02
2 A3.11
1 A3.11
1 A3.12
24
Floor plan
25
KAT ER R A year: type: location:
2017 - 2019 Professional Seattle, Washington
27
F O RT A PA CHE - A NEW BU I LDI N G PLATFO R M Las Vegas, Nevada Garden Style Multi-family, under construction Fort Apache is a complex of eight walk-up apartment buildings Las Vegas, Nevada. With construction complete, they are Katerras first buildings to incorporate the Garden-Style Chassis system; a modular approach to architectural design where
a kit of standard units can be combined in various configurations. When applied, this modular approach drastically reduces design and construction time and increases savings.
Responsibilities: During my first year at Katerra I helped to develop, complete and permit the Fort Apache’s construction
drawing set. This exposure gave me the opportunity to learn about and work with modular building design, an approach that’s gaining major traction across the North American architecture and construction industry. Upon completion, the project was marketed as a major landmark and achievment for the company as they the first fully Katerra-designed, permitted, and completed buidings.
Street view
Diagram showcasing Katerra’s scalable kit of parts design approach
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Amberglen South is a ten-building apartment complex that is located within Hillsboro’s Amberglen Business Park, a Hillsboro, OR community a diverse mix of suburban A M B E RGLE N - MA X IMI ZI NG BI Mmaster-planned & MO DULAR D with ESIGN TYPE office, multifamily, and hospitality. The 7.9-acre parcel will be Hillsboro, Oregon Mid-Rise | Multifamily Market Rate and Senior Living divided into four development pads, bisected by new public Market Rate Residential, under construction road extensions. The two westernmost pads will contain 352 ARCHITECT market-rate apartments within two six-story podium buildings Katerra Located in in Hillsboro, Oregon, The Amberglen Market Ratewith South project two six-story, 352-unit apartmentbuildings two levelsincludes of structured parking. The C-shaped KATERRA SERVICES PROVIDED complexes and incorporates a diverse mix of suburban office, will multifamily, spaces and two levelsat oflevel-2 structured include hospitality elevated exterior courtyards on both Architecture and Engineering, Materials, blocks.Katerra Katerra collaborated with partner architect JDA to parking. What makes this project unique is its integration of various Building Platforms, which integrate scalable Construction Management three buildings on the site, the first to be built with modularity for seamless manufacturing and quick assembly. provide By working within this model, Katerra’s integrated teams Katerra-manufactured CLT. PROJECT STATUS are able to impliment standardized core building architectural and engineering systems, while still offering a wide range LOCATION
Under Construction of configurable design elements.
Responsibilities: During my second year at Katerra, I was the Project Architect for the Amberglen Market Rate South buildings. This leadership opportunity positioned me to work directly and build relationships with the client, construction site
team, external engineers & consultants and internal design and engineering teams. I led the architectural coordination
and strategic project management of construction documents, construction administration and coordination, taking the building from late phase construction documents to mid-construction phase. I also helped to coordinate the layout and installation of Katerra’s first CLT panels; a first and major landmark achievement for the company. In addition, I gained
first hand knowledge of modular construction and design, BIM-driven processes, and horizontal cross-disciplinary teamwork across various scales of the building.
Street view
Drone view of site & diagram of modular unit design process with BIM integration
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R &D - NE W DE TA ILS FO R C LT CO N STRUCTI O N One of Katerra’s most significant assets is their ability to manufacture and integrate Cross-laminated timber (CLT) into their projects. CLT offers a unique combination of efficiency, strength, safety, aesthetics, and environmental benefits that
are able to deliver incredibly high value across the entire construction ecosystem. However, as CLT is a new and innovative building material, many of the construction details required to achieve certain aesthetic and permformance qualities were not available and had to be designed and developed in-house.
Responsibilities: During my 2nd year at Katerra, I was given the opportunity to work with teams of engineers to develop
many of these innovative CLT details. Examples include; lighting fixture details with hidden wiring, typical CLT floor
assembly details that incorporate soundmat for acoustic dampening, gypcrete for vibration reduction, and gypboard for finish material tie-down, and typical CLT penetration details for piping or electrical conduit. All of these details have now become Katerra standards and are now being implimented in many of Katerra’s current projects.
Typical CLT layout configuration (left) and spine connection between panels (right)
Interior view of unit withCLT ceiling (avbove) and CLT panel being installed (below)
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R &D - MODULA R A S SEMBLI ES FO R Q UI C K I N STAL L AT ION Another Katerra asset includes their library of standard construction assembly details which have been designed for re-
peatability and manufacturing. Naturally, a kit of parts approach has been taken to leverage economy of scale through
a hyper efficient and streamlined design processes. Working within this model has allowed Katerra’s integrated teams to standardize core building components such as wall panels, roof and floor systems, and window and door details, while allowing for on-demand configurability.
Responsibilities: While working within a small 3-person team, I had the opportunity to intimately learn about, design, and develop many of these standard assembly details. At the time, Katerra had been lacking a fully developed library of details and had tasked us to complete them. Over a one-year period, my team had designed, oordinated and implimented many of the wall, window, door, floor and roof assembly details that have now become Katerra standards.
Wall assembly panels include many of the standard details developed by my team
Diagram showcasing Katerra’s scalable kit of parts design approach (top), robotic assembly line production (below)
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nkA ARC H IT EC T S year: type: location:
April - August 2013 Internship Toronto, Ontario, Canada
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H U M E W OOD RE S IDENCE nkA is an award winning architecture firm that designs elegant and well-crafted residential and commercial buildings
across Toronto. While working there in 2013, I had the opportunity to assist with the design of a new build residential project in North Toronto.
Responsibilities: I was responsible for initial conceptual designs, material selection, renderings, presentation packages, site analysis and schematic design drawing production.
front perspective
rear perspective
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building elevations
building floor plan
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XTEN AR C H IT EC T U R E year: type: location:
April - August 2012 Internship Los Angeles, California, USA
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S TAN L E Y HOUS E XTEN Architecture is a highly respected architecture firm in Los Angeles, California that focuses on small to medium-scale residential, commercial and cultural projects. While part of the team, I had the opportunity to work on a series of private residential projects for clients in Los Angeles, Cyprus, Madrid, and Vancouver.
Rendering sourced from: www.xtenarchitecture.com
The model above was one of many studies I made for the Stanley house project, a 10,000 sq/ft custom home in Los Angeles. Perched high up in the hollywood hills, the house combines exterior expression of contemporary form with an interior of rock n roll soul designed by Lenny Kravitz’s inteiror design firm Kravitz Design.
Responsibilities: I was responsible for schmatic design stage floor plan studies and model making.
Stanley House Model
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Stanley House Models
Rendering sourced from: www.xtenarchitecture.com
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AC C O NC I ST U D IO year: type: location:
February - April 2011 internship New York City, New York, USA
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LE T US MA K E CA K E Acconci Studio is a small and highly conceptual firm based in Brooklyn, New York run by the internationally recognized
architect/artist Vito Acconci. The firm focuses on small to medium scale architecture projects and wide-ranging installation typologies ranging from wearable architecture to parametric design-driven pavilions.
projections on facade of The New Museum
“Let Us Make Cake� is a site-specific projection on the New Museum at The Festival of Ideas in New York City. The projection was the largest single projection on the face of a building in North America.
Responsibilities: I was involved in concept development studies, model building, and coordination with projectionist and other consultants working on the project.
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WAT ER WA LLS Water Walls is a design for a fountain competition in the downtown core of Winnipeg, Manitoba. The typical fountain
typology is re-evaluated as an occupiable, architectural space where visitors can slip into, and out of a series of capsules
enclosed by water walls. The swirling structural caps above are enclosed in glass giving the sense of an extension of space by means of reflection.
Responsibilities: I was involved in concept development studies, architectural plans, rendering & model building.
exterior perspective
roof plan
scale: 3/16" = 1'-0"
floor plan
scale: 3/16" = 1'-0"
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“Like cylinders – but not cylinders, not solid surfaces, not walls – ghost-cylinders, wisps of cylinders, walls of water…Not ‘entering’ but ‘slipping in,’ ‘slipping into,’ ‘slipping by,’ ‘slipping through’…You slip in order to go through in order to slip through in order to slip out in order to slip in again…A maze of capsules…Amaze…You slip into one capsule in order to slip into another in order to slip into another…” - VIto Acconci
- Vito Acconci
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FEATU RED ACADEMI C WORK
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THE MAASAI KN O WLEDG E E XC H AN GE year: type: location: source:
2015 Masters Thesis Loodariak, Kenya McGill University
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T H E MA A S A I K NOW LEDG E E X C H A NGE The Maasai Knowledge exchange is a campus for ideas, entrepreneurship and education.
Its inten-
tion is not to provide solutions for problems, but to provide a place for solutions to be made. It is a place for meetings, discussions and debates, and a hub for creating, fostering and spreading new ideas
and meaningful support. By incorporating multiple
public and private meeting rooms, a computer lab, library, and flexible indoor and outdoor areas, the campus intends to provide the necessary spaces and
tools to achieve these goals. The campus will also
be a place for gathering, celebration, and festivities, therefore reinforcing the importance and power of community, solidarity, and union.
Designed around the idea of expansion and flexibil-
ity, the Exchange incorporates a wall system that flows throughout the entirety of the campus. Transforming between permeable walls that allow for
spontaneous expansion, to wrapping, encircling and creating interior space, the wall system is meant to represent a collision between contemporary archi-
tectural design and traditional Maasai ingenuity and
knowledge. The result of this collision is a contemporary campus that presents the Maasai’s integral
position, importance, and power within Kenyan society to the world.
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T HE MA A S A I The Maasai are a pastoral and traditionally semi-nomadic people who occupy regions of Southern Kenya and Northern Tanzania. Since the colonial occupation of East Africa in the early 20th century, the Maas-
ai have been commonly portrayed as one of the most vocal ethnic groups in Africa to continually oppose modernization. This widespread belief has been reinforced through their romantic depiction in popular
film, literature, and images, as a warrior people whose culture and existence has remained largely unaltered for hundreds of years. As a result, many perceive the Maasai as an archaeological remnant society
fiercely resistant of any participation within contemporary civilization. As a consequence, the Maasai’s true nature and involvement within modernity remains largely overlooked and misunderstood.
From their use of smart phones and social media to their major contribution towards the GDP of both Kenya and Tanzania through their livestock trade networks, the Maasai are in fact intensely active
players within contemporary society. Nevertheless, stereotypes continue to flourish, perpetuating the belief that the Maasai are primitive and irrelevant. As a result, the Maasai have been subjected to var-
ious forms of discrimination such as unrestrained land grabbing, inadequate community safety, lack of
proper health and education services and overall government neglect. Difficulties like these not only endanger individual and collective wellbeing, but also jeopardize the wider network of social, economic, cultural and political systems that rely on Maasai prosperity for their success.
In reaction to these problems, hundreds of local Maasai social groups have emerged to tackle the various issues that plague their communities. However, due to the absence of proper facilities, infrastructure,
and technology, many of these organizations lack the basic means to gather, organize and publicize their ideas and initiatives. As a response, my project intends to provide the much-needed architectural
space to accommodate the growing number of social groups, house and power the digital tools necessary to support their initiatives and draw attention to their emergence as a vital part of Kenyan society.
By acting as a focal point for community gatherings, networking, idea exchange, and education, my project will help empower the Maasai at the individual, regional and national level. By strengthening
their voice through a built environment of both traditional and contemporary architectural elements,
the Maasai’s collective call for change will be loudly heard at both a national and international scale. As a concrete manifestation of both their modernity and tradition, the Maasai Knowledge Exchange will assist their pursuit of having the freedom and ability to decide their own future.
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E.E A FRICA K NYA The Maasai Maasai are areone oneofofmany many ethnic groups ethnic groups thatthat ococcupy countries of East Africa. cupy Eastthe Africa, they reside in both KenyaCurrently, and Tanthey reside in both and Tanzania have zania and have calledKenya these countries homeand for more called2500 these countries home forAfrican more Rift thancutting 2500 than years. With the East
years. With East African Rift cutting through through both the countries from North to South, large both countries fromregions North have to South, large swaths of semi-arid formed overswaths thou-
of semi-arid have formed thousands sands of yearsregions and provide the idealover semi-arid conof yearsthat and are provide the ideal semi-arid ditions necessary to support theconditions Maasai’s
that are and necessary to support the Maasai’s pastoral pastoral traditionally semi-nomadic livelihoods. and traditionally semi-nomadic livelihoods.
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F LO O R P LA N The architecture of the Maasai Knowledge Exchange materializes through the use of a flexible wall system. Like the
Maasai Enkang, this wall system territorializes space through its language of wrapping, curving, and encircling. By in-
corporating this method, three main hubs were created by encircling the wall system around three large existing Acacia trees. These three hubs include the main parliament, the communication lab, and the multi-purpose space. Within each hub is the acacia tree that occupies its inner courtyard and provides both shade and contrast to the contemporary nature of the campus’s interior. In addition, each hub has a corresponding outdoor meeting area that provides additional space
for gathering and relaxation. These outdoor meeting areas contain water tanks, utility and storage spaces below. To connect these hubs, the wall system pulls back from the hub and stretches across the open landscape towards the opposite
hub. This stretching and pulling of the wall is reflected in its shortened and interrupted physical form, and results in a
permeable wall. As a result, traditional Maasai thorn enclosures can be added to this permeable zone in order to create additional space to the exterior or interior of the campus. This flexibility allows the Maasai Knowledge Exchange to take
on infinite forms through its modification and evolution over time to meet the demands of changing program, activities
and uses. Such modification is imperative as it allows the Maasai to have complete control over the design and use of the outdoor areas of the campus. By providing this flexibility, the Maasai themselves become the architects of their own space, giving them the power to use and modify the space in whatever way they please.
N
wc
outdoor gathering space
large meeting hall
entry gates
private meeting room
kitchen
reading room
multi-purpose space
office
computer lab & library
thorn wall addition
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D I S TANT A P P ROA CH When approaching the Maasai Knowledge Exchange, visitors will be aware of its presence only when very
close. The design of the centre was meant to enhance the natural environment rather than compete
with it. By using local stone and taking cues from the low slung acacia trees and infinitely horizontal
territory, the form and language of the campus was meant to seamlessly integrate with its surroundings yet remain highly contemporary in nature.
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E N T RY GAT E S When approaching the gates of the campus, visitors
may come upon various Maasai alterations and additions. The following view showcases a Maasai livestock enclosure that has been added to the perme-
able wall system. Such flexibility allows the Maasai Knowledge Exchange to incorporate a wide variety
of transitioning and flexible programs, a feature that would not have been possible in a standard, rigid and restrictive building.
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E N T RY PA S S A GE When transitioning between the wilderness and
domesticated interior, the fluctuating walls of the
Maasai Knowledge Exchange mimic the traditional enkang and provide unique moments of calm and
tranquility. By framing the sky and glimpses of the environment beyond, one becomes lost in its winding pathways of earth, stone and sky.
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O U T D O OR S PA CE S As walls transition from gateways to buildings, a curving amphitheaters area is created and provides
areas of relaxation, contemplation and socialization. Shaded beneath existing acacia trees, these spaces also provide rooftop access, allowing visitors
to have a full 360-degree view of their surrounding territory. Beneath these spaces are water tanks, utility spaces, and storage areas.
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G AT H E RING S PA CE S The campus also provides multiple private spaces for individuals and groups. These unprogrammed
areas can be used and modified in whatever way
suits the users needs. In addition, the low ceiling, thick stonewalls, and ample indirect day lighting
through operable windows provides a well-lit, ventilated and cool interior space.
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C O M P UTE R LA B & L I BRA RY The computer lab and library provides individuals and groups with the necessary tools to obtain, ex-
change, and distribute knowledge, ideas, and sup-
port. In addition, the lab will provide the Maasai with the necessary skills needed to succeed within the rapidly transitioning and contemporary realities of present day Kenya.
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LA R G E ME E T ING S PAC E The largest meeting space in the Maasai Knowledge Exchange is a 400-person amphitheater that makes
up the heart of the campus. This semi-outdoor area provides the necessary shaded space to accommo-
date large village wide meetings, discussions and
debates. As groups of this size had virtually no sheltered area to meet in before, this space is one of the most essential components of the campus. By pro-
viding inspiring and incredible views of the land-
scape beyond, the Maasai will now have a central location to discuss the most vital issues that effect their immense and stunning territory and culture.
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B U I LDING S E CT ION The vertical dimensions of the building are based off actual tree height measurements made on site. So as to not inter-
rupt the horizontal plane of the trees, the Maasai Knowledge Exchange was designed to site below the line of the tallest acacia trees. This low slung nature also allows the campus to hide among the trees, only emerge when being closely approached. This hidden quality also echoes the traditional Maasai home which is nearly impossible to detect until one is nearly at its doorway.
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F LE X I BLE WA LLS
F L EXIB FLE LE XI WALLS BLE WALLS The wall system used in the design of the Maasai Knowledge Exchange is quite simple. By incorporating a series of per-
pendicular walls, permeable spaces are created in between. These spaces canincorporating be filled By in with the traditional The system The wall used system in the interstitial design usedWALLS inofthe thedesign Maasai of Knowledge the Maasai Exchange Knowledge is Exchange quite simple. is quite By simple. incorporating a series of pera series of perF Lwall EXIBLE FLE XI WALLS BLE Maasai fence in order to render the wall system impermeable.
pendicular walls, pendicular interstitial walls,permeable interstitialspaces permeable are created spaces in arebetween. created in These between. spacesThese can be spaces filledcan in with be filled the traditional in with the traditional Maasai fence Maasai in order fence to in order the towall render system the of wall impermeable. The wall system The wall used system in render the used design in of the the design Maasai Knowledge thesystem Maasaiimpermeable. Knowledge Exchange isExchange quite simple. is quite By simple. incorporating By incorporating a series of pera series of per-
pendicular walls, pendicular interstitial walls,permeable interstitial spaces permeable are created spaces are in between. created inThese between. spaces These can be spaces filledcan in with be filled the traditional in with the traditional Maasai fence Maasai in order fence to render in orderthe towall render system the wall impermeable. system impermeable.
In addition, extra interior and exterior spaces can be added in the same manner, thereby allowing the system to take on
In addition,Inextra interior andinterior exterior spaces can spaces be added sameinmanner, thereby allowing system the to take on to take on addition, extra and exterior caninbethe added the same manner, therebythe allowing system an infinite number of forms to accomodate livestock, various activities, and new programs.
an infinite an number of number forms toof accomodate livestock, various activities, new programs. infinite forms to accomodate livestock, various and activities, and new programs.
In addition, interior and exterior spaces canspaces be added sameinmanner, allowing systemthe to take on to take on Inextra addition, extra interior and exterior canin bethe added the samethereby manner, therebythe allowing system an infinite an number of number forms toofaccomodate livestock, various activities, new programs. infinite forms to accomodate livestock, various and activities, and new programs.
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TH E HYPERWAVE R ESID EN C E year: type: location: source:
2014 Academic Shanghai, China McGill University
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C O LLIDING S OUND “A series of formal parametric and primitive explorations, which yield the premise to develop both systemic and idiosyncratic architectural qualities at various scales.�
- Leslie Lok, Studio Coordinator at McGill Universities School of Architecture and Principle at HANNA Architects. The distinct architectural language of the hyperwave residence is result of pragmatically manipulating and blending vi-
sual sound waves into three dimensional form. By applying a feed-back loop technique to simple sound-wave extrusions, I was able to create an increasingly complex series models over time. Though drastically varying in form, the inherent
geometrical data found within each individual model is directly related to the model that preceeded and followed its creation. This evolution of simple to complex form over time by using a feed-back loop technique can be seen on the following page.
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F ROM S IMP LE S OUND WAV E S phase 1
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D YN AMIC LIV ING Located in the downtown core of Shanghai, the Hyperwave Residence carefully winds its way through
a neighbourhood of traditional low-rise lilong houses. By incorporating the delicate curves of sound waves into its design, the Hyperwave Residence provides high density living within a dynamic and interconnected interior space.
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MU SEO D EL T EVER E year: type: location: source:
2010 Academic Rome, Italy University of Waterloo
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I N T R O DUCT ION The restoration, reuse, and reprograming of historical architecture in Rome has been a common practice for over 2000
years. The city, made up of numerous overlapping architectural movements and styles, exists as a dynamic and layered landscape in a perpetual state of change. The Museo del Tevere, Italian for The Museum of the Tiber, represents only a
single stage within a grander evolution and motion of the city. By using and reprogramming the existing geometries of an old Roman Arsenale (shipyard building), the museum finds itself deeply rooted within the historical context of the site. This strong connection with the Arsenale acts as a catalyst for a modern intervention, allowing the museum to take part in the process of rejuvenation, reuse, and reprogramming that has been so essential for the growth of Rome.
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context plan
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observation platform
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VI VER E ET MO R I C H APEL year: type: location: source:
2011 Academic Cambridge, Ontario, Canada University of Waterloo
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I NTR O DUCTI O N Vivere et Mori is a proposal for an interfaith chapel
in downtown Cambridge, Ontario. The chapel provides an open environment for people of all faiths
and serves as a neutral zone that caters to no specific religion. Appropriately, the chapel is named Vivere et Mori, Latin for “to live and to die� as birth
and death are central to nearly all religions. Programatically, the chapel contains two worship spac-
es, one for the celebration of life and joy, and the other for memorial and remembrance. The design
of the chapel is inspired by ancient megaliths and their mysterious ties to early religion.
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ME GA LIT HS Megaliths are ancient phenomena veiled in mystery, and historically were often associated with giants, gods, and pagan tradition. Today, the oldest megaliths have been dated to the beginning of the Neolithic age and are believed to be some of the earliest
examples of religious architecture. Programatically, they may have served as tombs, places of ritual, or spaces of worship. Even more extraordinary is their widespread dis-
tribution around the world, from Europe to Northern Africa, and from Israel to Korea.
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underground meditation chapel
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building foyer and detailed section
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first floor plan
second floor plan
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TO RO N TO BRI D GE PAR K year: type: location: source:
2010 Academic Toronto, Ontario, Canada University of Waterloo
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INT RODUCTI O N Toronto Bridge Park is a proposal for the redevelopment of the Toronto Islands. Its
primary goal includes the physical connection of the largely uninhabited and under-
developed islands to the main land and downtown core, while simultaneously maintaining the cherished native island ecosystem and environment. Such a connection will provide year round access.
outdoor bathing pavillion
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plan of island redevelopment
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subway pavilion
P R O GRA M To increase usability and help preserve the ecosystem, the proposal includes a number of new developments that will
replace the current Island airport. The plan includes a large land bridge that will connect the island to the downtown, a new rowing and canoing course, a new mixed-use island housing development surrounded by canals, an integrated beach front commercial strip, various new sports fields, and a large landscaped sculpture park that includes a new swimming facility.
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residential canal neighbourhood
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rowing course
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T H E FAN G year: type: source:
2013 Academic McGill University
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container in its closed & balanced state
A BALAN C ED STATE The Fang is a two piece concrete form designed to enclose a mysterious fossilized bone. Like the orig-
inal animal that it came from, the concrete form cannot function without bones.
Oddly shaped,
and off-balance, each concrete piece is useless and ungainly on its own. However, when the bone is placed inside, it locks both pieces together in a uni-
fied state, allowing the Fang to gracefully balance in an upright position.
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container in its open state
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SOL AR E III.V year: type: location: source:
2011 Academic Rome, Italy University of Waterloo
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O GRA E V OLUTI PP RR OGR AMMATIC AT I C EVO L U T I OONN The Obelisk Psammetichus thePiazza PiazzadidiMontecitorio, Montecitorio,isisone oneofofthe themany manyancient ancientEgyptian Egyptian obelisks obelisks standing standing in in The Obelisk of of Psammetichus II II ininthe Rome. Over past 2000 years, hasbeen beenmodified modifiedmany manytimes timestotodisplay displayvarying varyingpolitical politicalpropaganda propaganda in in the the form form of of Rome. Over thethe past 2000 years, it it has
inscriptions, reliefs, and religiousheraldry. heraldry.The Thelast lastmodification modificationtook tookplace placeinin1792 1792when whenPope PopePius Pius VI VI came came to to power power inscriptions, reliefs, and religious and adorned obelisk with new inscriptionsand anda acoat coatofofarms. arms.The Theobelisk obeliskremains remainsunchanged unchangedsince since then, then, existing existing as as and adorned thethe obelisk with new inscriptions outdated relic celebrating the Pope’sformer formerrule rule200 200years yearsago. ago. anan outdated relic celebrating the Pope’s
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obelisk timeline obelisk timeline
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E MB E DDE D DEMO C R AC Y Solare III.V. proposes to modify the obelisk in a contemporary manner that is both relevant and representative of today’s society. The proposition intends to lower the
obelisk from its commanding height and embed it horizontally within a series of strucEMBEDDED DE MOCRACY
tural glass walls. In this position, the obelisk adopts a nuance of democracy as it seems
to hover among the pedestrians of the Piazza, being open to scrutiny and exploration.
Solare III.V. proposes to modify the obelisk in a contemporary manner that is both This transformation allows the obelisk to evolve, allowing us to participate in its his-
relevant and representative of today’s society. The proposition intends to lower the tory rather than observe it as an untouchable relic from the past.
obelisk from its commanding height and embed it horizontally within a series of struc-
tural glass walls. In this position, the obelisk adopts a nuance of democracy as it seems to hover among the pedestrians of the Piazza, being open to scrutiny and exploration. This transformation allows the obelisk to evolve, allowing us to participate in its history rather than observe it as an untouchable relic from the past.
Nolli Map of Rome
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section sectionview viewofofobelisk obeliskembedded embeddedininglass glasspanel panelcontaining informational description of its history
glass panel orientation process
glass panel orientation glass panels oriented to allow direct circulation paths betweenprocess streets
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CRI SS-C R OSS C H AIR year: type: source:
2010 Academic University of Waterloo
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C O LLE C T IVE The Criss Cross Chair is designed
to encourage the adaptation of space in a flexible social setting. It aims to bring people together
in the same manner as the het-
erogeneous species of wood offcuts merge into a single, coherent form.
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vi si t www. mi chael hasey. com f or addit io n a l w o r k
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