Nicholas Reddon Portfolio 2019

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N ICHOLAS

REDDON 5 PROJ ECTS I STI LL LI KE



C O NTE NTS

C U R R I C U LU M VITAE

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PE R S O NAL WO R K Productive Density

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Vale-un-Veil

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After-Image

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Superfun[d] Apartments

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Ramp. Tunnel. Bridge

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Los Angeles Housing Competition 2021 Portuguese Winery Competition 2020 Graduate Thesis 2019 Affordable Housing, Option Studio 2017 City Museum, Comprhensive Studio 2017

PR O FE SS I O NAL WO R K S. Pellegrino Flagship Factory

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San Jose Bank of Italy

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Bjarke Ingels Group 2019-2021 Bjarke Ingels Group 2020



N I C H O LAS R E D D O N 215 St. James Pl, Apt 2A Brooklyn, NY, 11238 nickreddon@hotmail.com (646) 659 8076

E D U CATI O N

AWAR D S

S O F TWAR E

Masters of Architecture

Royal Architectural Institute of Canada (R AI C) Honours

Adobe After Effects Adobe Illustrator Adobe InDesign Adobe Photoshop Adobe Premiere AutoCAD Enscape Render Grasshopper Lasybug Solar Radiation Simulator Microsoft Office Suite Pachyderm Acoustical Simulator Revit Rhino 3D SketchUp V-Ray Render

University of Toronto, Canada 2015-2019

Honors Specialization in Fine Art Western University, Canada 2011-2015

University of Toronto, 2019 Awarded to the top 4 students of the graduating class

Faculty Design Prize

University of Toronto, 2019 Awarded to graduating students for excellence in design studios

PR O FE SS I O NAL Bjarke Ingels Group

New York City, USA Designer (2018 - Present)

Denegri Bessai Studio

Toronto, Canada Part Time Installation Design Winter 2017-18

Front Office Tokyo Tokyo, Japan Design Assistant Summer 2017

Khoury Levit Fong

Toronto, Canada Design Assistant Summer 2016 & Fall 2017

Certificate of Honour

University of Toronto, 2019 Awarded annually to “the top graduating master’s students”

Ontario Association of Architects Scholarship

University of Toronto, 2018 Awarded to a graduate student for academic excellence

University of Toronto Fellowship

University of Toronto, 2018 Awarded to a graduate students “with excellent academic standing” to offset expense of research-based travels

Komala Prabhakar Scholorship

University of Toronto, 2017 Awarded to a graduate student at the discretion of the Dean for excellence

S KI LLS 3D Printing Art Handling and Install CNC Milling Laser Cutting Model Making Photography Vacuum Forming Welding Woodshop Experience

Frederick Coates Scholarship OTH E R WO R K

University of Toronto, 2016 Awarded to the first year student who ranks highest in their class

Teaching Assistant

Gold Medalist in Visual Arts

University of Toronto Architecture 5 Undergraduate Studio Courses 2016-2019

Western University, 2015 Awarded to the graduating student with the highest academic average

Digital Fabrication Technician

Tony and Betsy Little Fine Arts Scholarship

University of Toronto Architecture Assistant CNC and Laser Cutter Technician 2016-2018

Western University,2014 - Awarded to the third year BFA student with the highest academic average

Entrance Scholarship

Western University, 2011 Awarded for quality of portfolio and academic standing

FAVO U R ITE S 2001: A Space Odyssey Australian Shepherd Buckminster Fuller Gretsch Locanda Vini & Olii Martin Margiela The Myth of Sisyphus Naomi Klein Negroni Rachel Whiteread Radiohead “In Rainbows” Tokyo, Japan


01 DE NSITY

Low-Rise Housing Solutions for Los Angeles Personal Project / Competition Location: Los Angeles, California Date: January 2021 Team: N/A Type: Competition (LOW-RISE LA, organized by the Office of the Mayor)

PRODUCTIVE DE NSITY

LOW-RISE HOUSING SOLUTIONS FOR LA

2021

PRODUCTIVE

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NICHOLAS REDDON

R ATI O NALE: The astonishing number

of lots zoned for single-family use in Los Angeles, along with population growth and increasing demand for housing have inflated the market, making decent affordable options scarce for those who need them most. Yet, there is uncertainty about what density means, where it should be allowed, and what it should look like. People are frightened by the countless past failures of top-down planning, and many neighborhoods that need housing most have been historically redlined, disinvested from, and are now gentrifying: making them wary of change. This project aims to address these anxieties and provide an example of how modest density can be a sustainable, equitable and economically viable way forward.

AFFO R DAB LE: Los Angeles does not

need more rental housing: it needs avenues to income generation and homeownership. Many owners want to build ADUs on their land for others, but cannot afford to. This proposal imagines such people pooling capital in Limited Equity Cooperatives where each member buys a unit and commits to a fixed resale price to maintain affordability long term. If a property is not owned, one would be purchased or leased from the city’s Surplus Property Portfolio. The residents would apply for grants with LA's Strategic Growth Council and other programs interested in developing affordable housing, agreeing that 1-2 units be rented to Section 8 Voucher holders, thereby providing additional income for member-owners.


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PRODUCTIVE DE NSITY

LOW-RISE HOUSING SOLUTIONS FOR LA

2021


REQUIRED SETBACKS

MAXIMUM FLOOR AREA

PARKING BELOW GRADE

INTERLOCKING UNITS

SHARED BALCONIES

PROPOSED SCHEME

MAXI MAL: This design proposes to

LOW-RISE HOUSING SOLUTIONS FOR LA

2021

max-out the allowable floor area (5,000 ft2) and unit count per the competition brief, with 4 typical units and 2 efficiency units. Following standard property line setbacks, the 5,000 ft2 limit for these 6 units is split between 2-storeys, thereby maximizing shared outdoor space at the ground level.

LE F T, AB OVE: Diagram sequence describing massing logic.

LE F T, B E LOW: Street-facing elevation R I G HT: Axonometric drawing of

PRODUCTIVE DE NSITY

building in fictional site. Callouts indicating PV array and rooftop produce gardens, communal dining and facilities, recreationa space, entry to below-grade parking, and position of greywater retention tank.

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NICHOLAS REDDON


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PRODUCTIVE DE NSITY

LOW-RISE HOUSING SOLUTIONS FOR LA

2021


LP 01 LP 06

LP 07

LP 02

LP 02

LP 08

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LOW-RISE HOUSING SOLUTIONS FOR LA

2021

LP 09

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LP 03 LP 10 LP 04

LP 01

LP 11

LP 05

LP 12

LP 13

NICHOLAS REDDON


BP 01

RP 01 CP 02

RP 02 BP 03

BP 04

BP 05 RP 03

R O O F PLAN / S ITE PLAN

BAS E M E NT PLAN

LP 01. Stair to garage and upper levels LP 02. Primary drainage route to retention tanks below LP 03. Communal laundry facilities LP 04. Communal recreation space LP 05. Ramp to basement garage LP 06. Communal space, possible basketball court LP 07. Communal space, possible children's pool LP 08. Communal electric barbecue LP 09. Recycled Greywater distribution LP 10. Communal picnic tables LP 11. Rainwater filter, retention tank and pump below grade LP 12. Large planters for trees LP 13. Linear drain at low point of site

RP 01. Catwalk/shared balconies RP 02. Rooftop produce greenhouse/ and photovoltaic array RP 03. Greenroof with sedum and native species

BP 01. Stair to upper levels BP 02. Public bike share lockers BP 03. Private car share parking BP 04. Public parking for electric car share program BP 05. Electric vehicle charging

PRODUCTIVE DE NSITY

LAN D S CAPE / G R O U N D FLO O R PLAN

LOW-RISE HOUSING SOLUTIONS FOR LA

2021

BP 06

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PRODUCTIVE DE NSITY

LOW-RISE HOUSING SOLUTIONS FOR LA

2021


with shared balconies, an accessible rooftop landscape, and a community greenhouse for food production operated in partnership with an organization like Community Healing Gardens. In addition to various exterior amenities, the residents have access to a dedicated multi-purpose room for events and activities, and shared laundry facilities.

LE F T: Axonometric and plan

drawings of various unit types: efficiency units, 1 bedroom, 2 bedroom, and 3 bedroom layouts.

R I G HT: View through main living space of a typical unit

2021

C O M M U NAL: The building is lined

LOW-RISE HOUSING SOLUTIONS FOR LA

divided into twelve 400 ft2 modules that can be bought and combined into larger units, kept as efficiency units, or designated as communal amenities. Without specific owners, a finite composition of the units is not possible. The modular logic is intended to be adaptable to any group. For example, a multi-generational family could develop the site, with 2 units for Section 8 Holders. The design provides an approximate, adaptable framework for the member-owners to decide on the final configuration.

PRODUCTIVE DE NSITY

M O D U LAR: The bar building is

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S 01

S 01

S 10 S 11

S 02 S 03

S 12 S 13 S 04

S 05

S 14

S 06

S 07

S 12 S 08

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S 16

S 09

S 01. PHOTOVOLTAIC/SOLAR PANEL ARRAY (32 PANELS) S 02. SEDUM AND NATIVE SPECIES GREEN ROOF TO AID STORMWATER MANAGEMENT AND REDUCE HEAT ISLAND EFFECT S 03. CATWALK/BALCONY PROVIDES SHADE TO GLASS FACADE S 04. SINGLE-LOADED APARTMENTS ALLOW CROSS VENTILATION THROUGH THE BUILDING S 05. TREES PROVIDE SHADE TO GLASS FACADE S 06. COMMUNAL ELECTRIC BARBECUE GRILL S 07. POROUS PAVERS AND GROUNDCOVER NATURALLY FILTER RAINWATER S 08. ELECTRIC CAR CHARGING STATION FOR COMMUNAL VEHICLES AND PUBLIC CAR SHARING PROGRAM S 09. RAINWATER FILTER, RETENTION TANK, AND PUMP TO CIRCULATE GREWAYTER

PRODUCTIVE DE NSITY

LOW-RISE HOUSING SOLUTIONS FOR LA

2021

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NICHOLAS REDDON

S 10. GREENHOUSE FOR COMMUNAL PRODUCE GARDEN AND COMPOSTING PROGRAM S 11. PHOTOVOLTAIC PANEL INVERTER TO CONVERT DC OUPUT FROM PV’S TO AC CURRENT USEABLE ON SITE S 12. LED LIGHTING THROUGHOUT PROJECT FROM PV POWER S 13. DISTRIBUTION OF FILTERED GREYWATER TO FAUCETS, TOILETTES, AND ROOFTOP GREENHOUSE S 14. OPERABLE WINDOWS ABOVE DOORHEIGHT TO NATURALLY VENTILATE APARTMENTS S 15. SOLAR POWER DISTRIBUTED TO ALL-ELECTRIC KITCHENS, LED LIGHTS AND ALL OUTLETS, AS WELL AS ELECTRIC VEHICLE CHARGING STATIIONS S 16. SHARED BIKE STORAGE AND BIKE SHARE LOCKER


The average single family lot in LA County uses 897 kWh per month. The solar panel array is sized assuming that this site will use 3,000 kWh per month. On average there are 12 hours and 10 mins of sunlight per day in LA.

LE F T: Section perspective describing various sustainability strategies

R I G HT: View at rooftop landscape 2021

PH OTOVO LTAI C AR R AY S IZI N G:

kWh per month Avg. Sunlight Hr/Day x 30

LOW-RISE HOUSING SOLUTIONS FOR LA

the building to be highly efficient and fully powered by on-site renewables, as described in the drawings. Passive strategies are used for thermal comfort, such as shading from trees and balconies, heavy planting designed with a local non-profit like North East Trees to reduce heat island effect, as well as natural cross ventilation through the units. Rainwater is filtered, stored, and pumped through the building for greywater use and greenhouse irrigation. Finally, the rooftop has a solar panel array sized to provide electricity throughout the building. These systems work together to assure that the building is carbon neutral.

= kW solar system

3,000 kWh 12 h 10 m (12.1667) x 30

=

8.22 kW system

Assuming a mid-range solar panel with average output of 250 w per panel: 8,220 w system / 250 per panel = 32 Solar Panels

PRODUCTIVE DE NSITY

S U STAI NAB LE: Various strategies allow

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2021 PRODUCTIVE DE NSITY

LOW-RISE HOUSING SOLUTIONS FOR LA

K 04

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K 05 K 06

K 07

K 01

K 02

K 03

K 01. ELECTRIC REFRIGERATOR/FREEZER K 02. SINK CIRCULATING FILTERED GREYWATER W/ STORAGE/PLUMBING BELOW K 03. INDUCTION COOKTOP

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K 04. DRYGOODS/KITCHENWARE CABINETS K 05. MAGNETIC KITCHENWARE HOLDER K 06. INDUCTION STOVETOP SWING-COVER K 07. TWO-DOOR ALL-ELECTRIC OVEN


a fictional site to underscore that the place, people, and community that build it will determine its final design. The core premise of the project is that its modular units, generous outdoor and communal spaces, and sustainability strategies can be replicated, scaled up and down and tested across the city. The building presented is not a fixed form but a series of options and ideas that would de-stigmatize density and combat affordable housing in a way that is sustainable and equitable, for local communities and all of Los Angeles.

LE F T, AB OVE: Interior view of allelectric kitchen

LE F T, B E LOW: Diagrams describing the all electric kitchen layout (required by the competition brief) which contributed to the sustainability strategy.

R I G HT: Interior view of unit looking on to balcony

2021

S CALAB LE: This project is presented in

LOW-RISE HOUSING SOLUTIONS FOR LA

Los Angeles for the foreseeable future. As a bridge solution to this reality, the co-op collectively owns 2-3 electric vehicles, and rents the remaining below-grade garage space to a car share like Green Commuter. The same is done to promote cycling. In both cases the co-op would profit financially from the partnerships in exchange for space and solar-powered charging stations. The garage can be expanded and reconfigured to accommodate 16 vehicles if desired.

PRODUCTIVE DE NSITY

AC C E SS I B LE: Cars are a necessity in

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02 VA L E - U N - V E I L

Wine Tasting Pavilion for Monte d’Oiro Vineryard Personal Project / Competition Location: Alenquer, Portugal Date: June 2020 Team: Kevin Pham Type: Competition (Organized by Quinta do Monte d'Oiro and BeeBreeders Architecture Competitions)

VALE-U N-VE I L

WINE TASTING PAVILION COMPETITION

2020

V I N E YA R D

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NICHOLAS REDDON

OVE RVI EW: Situated at the boundary

elements to veil and unveil successive parts of the landscape, slowly revealing the poetry of the estate.

D IVI D E: This is achieved by the

LE F T: Site plan and parti diagram

between the Quinta do Monte d'Oiro Windery and its expansive vineyards, this proposal for a wine tasting pavilion attempts to reconcile the urban condition of the archetypical European plaza present within the site and the raw, elemental landscape beyond. singular, formal gesture of a monumental wall that is positioned between the existing production facilities and the proposed site of the pavilion, physically and metaphorically separating and clarifying the experience of the vineyard from the mechanics of the winery. Conceptually, Vale-un-Veil considers the winery's relationship to the surrounding vineyards by using its architectural

R I G HT: View onto landscape from entrance corridor


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VALE-U N-VE I L

WINE TASTING PAVILION COMPETITION

2020

2018


2020 WINE TASTING PAVILION COMPETITION VALE-U N-VE I L

S E Q U E N C E: The architecture is

conceived as an armature for encountering the landscape, using the abstract collision and tense separation of planes to frame and filter moments and views (an architectural theme that is prominent in many canonical examples of modern Portuguese architecture). These moments of filtration are organized along the primary corridor that is produced by the primal elements of the project: massive walls of concrete and locally quarried limestone which guide visitors in a linear fashion from the plaza. Vernacular cobblestone extends from the plaza throughout the length of the project, which, together with leaks of light along a sheltered corridor, create a clear procession from winery to pavilion.

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NICHOLAS REDDON

LE N S E S: The resulting structure

engenders a composed sequence from the urban to the natural, slowly revealing the layers of the landscape. Breaks in the walls allow entry into different micro-landscapes that represent varying degrees of human intervention in landscapes. Visitors move from the urban condition of the adjacent square, to a manicured grid of trees on an existing terrace, to a loosely organized rock garden with a veil of overgrown drains, before finally concluding in the tasting room, where expansive views of the surrounding landscape are revealed.

LE F T: Site axonometric R I G HT: View onto landscape from

roof of existing structure and bird's eye view of pavilion

N EXT: Plan perspective with

schematic detail callouts, views inside pavilion and rock garden

AF TE R THAT: Perspective sections with schematic detail callouts


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VALE-U N-VE I L

WINE TASTING PAVILION COMPETITION

2020

2018


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VALE-U N-VE I L

WINE TASTING PAVILION COMPETITION

2020


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VALE-U N-VE I L

WINE TASTING PAVILION COMPETITION

2020

2018


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VALE-U N-VE I L

WINE TASTING PAVILION COMPETITION

2020


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VALE-U N-VE I L

WINE TASTING PAVILION COMPETITION

2020

2018


03 TH E PALPAB I LITY O F I LLU S I O N M.Arch Thesis Advisor: John Shnier Winter 2019

AFTE R I MAG E

THE PALPABILITY OF ILLUSION

M.ARCH THESIS

2019

AFTE RI MAG E

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AB STR ACT: “Afterimage: The

Palpability of Illusion” is my M.Arch thesis project, the culmination of a year of research on image-making practices and their relationship to optical illusion. The project is a manifesto on architectural representation, presented through several novel drawing experiments. Informed by media theory, phenomenology, and perceptual psychology, “Afterimage” highlights the effect that photographic “realism” and virtual simulation have had on the once-distinct ontological categories of illusion and reality. The experiments reimagine historical techniques for simulating spatiality and producing optical illusion— from stereoscopes to holograms— that manipulated perception, but plainly exposed the mechanisms of their

effect, whereas in digital illusion the intent is to obscure the apparatus, convincing the viewer of its reality. “Afterimage” blends those older techniques with digital images, reinstating the perceptual immediacy of the former ito demonstrate the inherent contrivances of virtual simulacra. The project consisted of a theoretical essay that traced the history of optical illusion in architecture, from the Parthenon to virtual reality headsets with special interest in the culture of illusion in Victorian England. The essay was included in a book alongside a guide to the final installation. The following pages describe 3 of the 12 "illusions" and various images extracted from those not described.


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AFTE R I MAG E

THE PALPABILITY OF ILLUSION

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2019 M.ARCH THESIS

I N FI N ITY: This experiment is based on

AFTE R I MAG E

THE PALPABILITY OF ILLUSION

the fairly common effect of the“infinity room.” The infinity room shown here is more complicated, however, because the front face of the box is a two-way interrogation mirror. As a result, the viewer does not see their reflection in the infinite space, as one would in a Yayoi Kusama artwork. This illusion requires control of the light contrast between the outside and inside of the box (where the inside is brightly lit, and the exterior room is quite dark).

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H O LO G R AM S: Inside the infinity box

an LED monitor plays 24 moving films simultaneously. The films are arranged in 6 cruciform patterns that are then calibrated to the circles that you see on the ground. When the images appear in the circles, they are reflected in the glass pyramids above— producing three-dimensional holograms, infinitely arrayed in the depth of the infinity mirrors. This is 3D reimagining of the 19th century Pepper’s Ghost illusion.

LE F T: Diagram explaining construction of the infinity box and holograms.

R I G HT: Photograph from final install. 02


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AFTE R I MAG E

THE PALPABILITY OF ILLUSION

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2019 M.ARCH THESIS

PAN O PTI CAL PLAN: This drawing

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THE PALPABILITY OF ILLUSION

is etched in plexiglass, with a linear LED strip along the circumference of the semi-circle. The light carries through the plexiglass, reflecting only where lines are etched, producing the effect of lines drawn with light. The semi-circle is reflected in the mirrored surface that it comes into contact with, completing the circular drawing. A second mirror is then placed at a 30-degree angle, which produces the illusion of multiple plans floating in the space of the mirrors, arrayed 6 times around a polar centroid.

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LE F T: Diagram explaining the effect of the 30-degree mirrors.

R I G HT: Photograph from final install.


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AFTE R I MAG E

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2019 M.ARCH THESIS

WH EATSTO N E STE R E O S C O PE:

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THE PALPABILITY OF ILLUSION

These experiments reimagine one of the earliest type of stereoscope, which was invented by Sir Charles Wheatstone in 1838 and named eponymously. It used a pair of mirrors at 45 degree angles to the user’s eyes, each reflecting a picture located off to the side. When two pictures simulating left-eye and right-eye views of the same object are presented so that each eye sees only the image designed for it, the brain will fuse the two and accept them as a view of one solid three-dimensional object.

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LE F T: Diagram explaining the

construction of the Wheatstone stereoscope, and how each image is simultaneously viewed.

R I G HT: Photograph from final install.


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LE F T, TO P: This image is a still from a

short film sequence of illusions related to opponent colour theory. of a flip-phase lenticular print, which shifted between this view and a nonaugmented image of the same space as one walked past it.

O PPO S ITE: These images were

among the scenes rendered for the Wheatstone Stereoscopes (from to camera positions 2.5" apart, in order to be viewable in a 3D illusion)

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THE PALPABILITY OF ILLUSION

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LE F T, B E LOW: This image is one half

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FO R C E D PE R S PE CTIVE: The project

M.ARCH THESIS

2019

was installed in the basement gallery at 1 Spadina, with 6 monolithic boxes, each of which had an illusion displayed on two of its sides for a total of 12 effects. The monoliths tapered in scale to produce a forced perspective (the 13th ­ and final illusion), inspired by Borromini’s Galleria Spada, which confused the scale of individuals viewing the project at opposite ends of the gallery

THE PALPABILITY OF ILLUSION

LE F T: Diagram series explaining the forced perspective in axonometric view, section, and plan.

R I G HT: Photographs from final install. FO LLOWI N G PAG E S: Images extracted

AFTE R I MAG E

from various optical illusions and films on display at the final presentation.

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04 SU PE R FU N[D]

Affordable Housing and Water Remediation for Newtown Creek Design Studio V: Option Studio Advisors: Amale Andraos, Dan Wood and Sam Dufaux (WORK AC) Fall 2017, 8 Weeks

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THE PROBLEM: Decimated by

THE FIX: This project addresses these

GROWING PAINS: Alongside pollution

LE F T: Axonometric buildup, explaining

centuries of shipping and industry, Newtown Creek in Brooklyn, NY is one of the most polluted waterways in North America. The objective of this studio was to design experimental housing that would help remediate it. issues, this project addresses New York City’s affordable housing shortage; of particular importance in the face of rapid population growth and gentrification in North Brooklyn. With this crisis comes the issue of affordable food produce, because the farm land required to feed New York City is approximately equal to the land mass of the State of Virginia, and 90% of all produce sold in New York is shipped from California.

SU PE R FU N D[D] APARTM E NTS

NEWTOWN CREEK

2017

A PA R T M E N T S

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problems by combining affordable housing with the infrastructure needed to purify water; which, once cleaned, irrigates vertical farms, thereby reimagining the creek as a place of growth and production, rather than decay. water intake, oyster filtration locks, bar building division, vertical farming, and public access through the site.

R I G HT: Collage view showing the public face of the apartment building.


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SU PE R FU N D[D] APARTM E NTS

NEWTOWN CREEK

2017


2017

PRODUCE: The infrastructure on the

GREENHOUSE: After the water has been

LE F T: 1:200 model. CNC-milled foam,

NEWTOWN CREEK

project is shaped around a series of oyster locks. Oysters, known as “nature’s filter,” can each purify 50-70 gallons of water in a 24 hour period. New York City has an initiative called the Billion Oysters Project that aims to rebuild the decimated oyster population along the Hudson River, and in so doing help to purify the water.

SU PE R FU N D[D] APARTM E NTS

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OYSTERS: The ground plane of the

purified, it is used to irrigate the vertical farms. 1 acre of indoor farm land can yield as much as 20 outdoor acres, and can be operated year-round regardless of weather. The greenhouse is placed and designed relative sun angles to maximize exposure.

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site would produce jobs that would benefit the low-income neighborhood. These jobs would include specialized farming, as well food processing, packaging, and shipping facilities on site. Leftover spaces in the greenhouse and beneath the oyster beds are programmed for a public marketplace, cafe, and restaurant, which would call for many more employees. laser-cut plexiglass, and 3D printed details. 40 x 90 cm.

R I G HT: Site analysis, mapping solar

paths and major public transit access.


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SU PE R FU N D[D] APARTM E NTS

NEWTOWN CREEK

2017


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SU PE R FU N D[D] APARTM E NTS

NEWTOWN CREEK

2017


LAYE R S: There are 4,100 m2 of

commercial and industrial space and 2,300 m2 of public park packed onto the 7,800 m2 site. The amount of space dedicated to these programs was made possible by layering them, as shown in this perspective section. A large ramp brings the public up to the second level (its slope concealing the ramp of the parking garage), where people can see the oyster beds; the produce from the greenhouse is moved down to processing, packaging, and shipping facilities buried beneath the oysters; the public route through the site runs into the building, where a spiral stair brings visitors up to the greenhouse and restaurant. These intersections of program kept the plan tight, allowing the required 23,000 m2 of residential program without overwhelming the site or impeding on its low-rise locale.

PR EVI O U S: Site Plan at +3.00 m and floor plans at +10.00 m, +13.00 m, and +22.00 m, with diagrammatic section as plan key.

LE F T: Perspective section showing

SU PE R FU N D[D] APARTM E NTS

NEWTOWN CREEK

2017

food production facilities, public route through site, parking, unit interiors, and residential amenities.

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SU PE R FU N D[D] APARTM E NTS

NEWTOWN CREEK

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U N ITS: Each unit type is modulated

around a double-height central space, which ensures consistent light and air quality for all apartments.

NEST: The repetition of unit types

would make it possible to pre-fabricate parts, thereby reducing costs of production and assembly. The units inter lock in a tetris pattern, and the removal of pieces create the terraces for vertical farming.

GRADIENT: The various tones of purple,

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chosen to avoid the aesthetic tropes of “green” architecture, codify the unit types, making their distribution legible in the building’s elevations.

LE F T: All unit types, codified

NEWTOWN CREEK

with diagrammatic elevations, axonometrics, and floor plans.

R I G HT: View from unit interior,

SU PE R FU N D[D] APARTM E NTS

showing double-height room and oyster locks beyond. Diagram of “tetris” assembly pattern and physical model of a 1-bedroom unit. 1:50 scale, bass wood and plexiglass. 18 x 16 x 14 cm.

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SU PE R FU N D[D] APARTM E NTS

NEWTOWN CREEK

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SU PE R FU N D[D] APARTM E NTS

NEWTOWN CREEK

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05 TO R O NTO C ITY M U S E U M Comprehensive Design Studio Advisor: Maria Denegri Partner: Shea Gouthro Winter 2017

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B R I E F: This is a proposal for a City

program and inner workings of the museum. The project developed around this idea for a museum as social condenser, which will blend building with street and park, programmed space with public space, and visitors with pedestrian traffic.

C O N D U IT: This building acts as a

LE F T: Matrix of final renderings.

Museum in Toronto. It responds to a complicated brief with substantial programmatic requirements, complex site conditions and heritage issues. The building was resolved comprehensively; with structural plans, construction details, and environmental systems. public conduit between disparate points in the city fabric. The main gesture is the long, sweeping pathway that ramps up, burrows through the space of the building, and ends at the edge of the proposed Rail Deck Park. Visitors, pedestrians, and even cyclists move along the lanes of this path as it changes from ramp, to tunnel, to bridge: all the while exposing the

RAM P. TU N N E L. B R I DG E

TORONTO CITY MUSEUM

2017

R A M P. TU N N E L. B R I DG E.

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R I G HT: Rendering of central atrium, showing feature stair and geometry of the roof.


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RAM P. TU N N E L. B R I DG E

TORONTO CITY MUSEUM

2017


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RAM P. TU N N E L. B R I DG E

TORONTO CITY MUSEUM

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These dominant walls are interrupted by a large east-west atrium in the middle of the building’s plan. Together, the heavy walls and the central atrium aid in way-finding and programmatic separations throughout the building, while also lending haptic material, spatial, and experiential identities to the project. They also allow for a building with no corridors, and many long, unbroken interior sight-lines.

public path of travel through the museum. Plan drafted collaboratively with Shea Gouthro*

R I G HT: Concept Diagram, showing the pedestrian connection through the building.

FO LLOWI N G: 1:100 physical model,

2017

The main structural walls in the project are oriented on a number of roughly north-south axes, which run parallel to the longest length of the ramped path.

LE F T: Plan at grade, highlighting

CNC milled cedar base, baltic birch ply, and 3D printed details. 80 x 30 cm. Model constructed by Shea Gouthro* Rendered interior view behind south facade sun shelves. Rendered view of south facade illuminated at night.

TORONTO CITY MUSEUM

figure is shaped around the path running through it, as well as a number of moves that enhance sight lines between the Rail Deck Park to the south and a parkette to the north west.

RAM P. TU N N E L. B R I DG E

PLAN: The museum’s planometric

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TORONTO CITY MUSEUM

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TORONTO CITY MUSEUM

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LAN G UAG E: The building shifts in its

TORONTO CITY MUSEUM

2017

tectonic and material expressions as visitors move through it, from lightweight on the southern end to heavy in the north. This linear path begins with a floating suspension bridge at the rail deck, then a fourstorey glass facade behind a screen of thin sun shelves. Visitors then enter the soaring heights of the main atrium, see the depth of the auditorium, and end at the heavy walls of concrete on the north end of the site. This sequence of state changes is intended to emphasize the motion of the visitor as a critical component of the project.

O PPO S ITI O N S: This building is above

RAM P. TU N N E L. B R I DG E

all meant to blur what my partner and I believe to be harmful oppositions inherent to the design of many public buildings. This project is aimed towards the seamless integration of building and street, of landscape and architecture, of programmed space and public place, and of visitors and pedestrians alike; so that the character and identity of the Toronto City Museum will be ever-changing and heterogeneous.

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LE F T: Rendered view at the base of Wellington Street ramp.

R I G HT: Rendered view of the

suspended walkway passing through the auditorium. Rendered view of south elevation and bridge to the proposed Rail Deck Park.


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PE R FO R MAN C E: The intention

to bluntly express environmental performance objectives informed many of the decisions in our design process. For instance, the south facade and the clerestories resulting from the shifting roof planes are oriented to true south in order to capitalize on daylighting and winter solar gains. The high-performance sun shelves that screen the south facade reduce the need to artificially light the deep galleries, and also help to shade harsh summer sunlight. Similarly the large atrium between the primary volumes of the building is oriented east-west in order to utilize the prevailing west winds in Toronto, and naturally ventilate the building in shoulder seasons.

LE F T: Schematic wall section of

south curtain wall and sun shelves.

R I G HT: Rendered 3D construction sequence for parapet.

Physical model explaining sun shelves and curtain wall (1:10).

RAM P. TU N N E L. B R I DG E

TORONTO CITY MUSEUM

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Physical model explaining atrium roof system (1:50, model by Shea Gouthro*).

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