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Phat Le Selected Works


Personal Profile Trilingual in English, French, and Vietnamese. Self-motivated with a demonstrated record of reliability. Exceptional time management skills. Able to work independently and in a team environment. Experience ACCREDITATION, DANIELS FACULTY OF ARCHITECTURE: May 2018 – Present Master of Architecture Accreditation Support Specialist Developed draft InDesign templates for M.Arch accreditation report. Coordinated document printing and production. Communicated with faculty and staff regarding accreditation materials and processes. Collaborated with the M.Arch accreditation team and work-study students. AN TE LIU: September 2017 - Present Studio Assistant Assisted in the production of sculptural and digital works. Aided in the development of the Amory Show Worked with cement, foam, and plaster sculptures, molds and wax castings SHIFT MAGAZINE: August 2016 - September 2017 Editor in Chief Supervised general production process, and launches of magazine. Instructed design process and contributed to graphic and layout selection. Scheduled and ran all weekly production meetings. Reviewed all content and works by editors, and open submissions. Worked along with the John H. Daniels Faculty of Architecture Undergraduate Department. JA ARCHITECTURE STUDIO INC: July 2016 - August 2016 Architectural Intern Participated with the completion of the “Museo de Arte de Lima Design Competition” Produced site and study models. and assisted in the production of the final sectional model. ART GALLERY OF ONTARIO: November 2010 – November 2016 Member of Art Gallery of Ontario Youth Council Promoted art in the community. Connected with artists, programmers, and administrators within the context of a public gallery. Worked on exhibitions, public art projects, and large-scale events with other members. PHILIP BEESELY ARCHITECTS INC: August 2013 Volunteer Helped with the completion of the “Epiphyte Chamber” sculpture Produced spars from laser cut molds that were heated and manually stretched into the spar form. Education UNIVERSITY OF TORONTO Masters of Architecture 2017 - Present UNIVERSITY OF TORONTO Bachelors of Arts in Architectural Studies 2013 - 2017 Achievements -Finalist for the Arch Medium “Rome Contemporary Chapel” competition with Basso Continuo, 2017 -Award Recipient for the Masters of Architecture program Scholarship for the 2017-2018 Academic Year -The Ontario Volunteer Service Award, 2015 Skills Proficient in Microsoft Office Software, Adobe Illustrator, Photoshop, InDesign, Rhino3D, and Autocad


Kindergarten, Blanketsberg Chapel, Basso Continuo Forms/Voids/Stairs, Study of Performance Study of Love through Fabrication, Meditations in Concrete MALI Design Competition Entry, Dotting the Edge Tokyo Vertical Cemetery, Variations Toronto Junction Makers’ Mart, She Sell Sea Shells Selected Publications, SHIFT and Mediations in Concrete

Phat Le 974 Queen Street West Toronto, Ontario M6J 1H1 6478676258 phatle145@gmail.com


KINDERGARTEN BLANKETSBERG

The project began with the blanket fort, and the questioning of how to transform this form into architecture. The act of creating a blanket fort, and being able to go under the fort creates a space of transition and other. I was interested in the idea of creating your own habitat away from your current habitat, and wanted to develop this translation and idea of transition into the form. The blanket does not separate like a wall does, but becomes a suggestion. The project never fully develops the form of the mesh because the blanket is never finite. It becomes the progress and celebration of transitioning space. The kindergarten holds 80 youths, and provides space for their day to day activities from naps, to exercise. The units are separated by program, and are clustered into a communal space - having the blanket unify them. The centre space is an open pavilion that allows the children to run in-between and through the space durning the warmer months, but can be closed by a aggregated door to create a multipurpose space and a play space for the colder months. Not only does the blanket provide an aesthetic purpose, yet also a practical purpose by being able to lock when the kindergarten is activated. Like when tucking in a bed, the chain mail mesh is locked under the units to create a fence to protect the children. However, when the kindergarten is no longer activated, the mesh can be pulled up and drape. The pulley system of the mesh allows the tightening of the mesh, retracting snow, and other possible debris.


Kindergarten: Blanketsberg | Architecture | Academic Project Materials: Foam Board, Cardstock, Museum Board, Wood Date Spring 2018


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Mesh attachment system

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Bobbin

Guide for lifting cable

Steel ring for lifting cable

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Locking device

Diagrams - Curtain Mechanism BLANKETSBERG, KINDERGARTEN

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Site Plan BLANKETSBERG, KINDERGARTEN


Ground Floor Plan BLANKETSBERG, KINDERGARTEN


Top - Section Bottom - Sectional Perspective BLANKETSBERG, KINDERGARTEN


1:20 Sectional Model BLANKETSBERG, KINDERGARTEN


CHAPEL BASSO CONTIUNO Basso Continuo When creating this project, it was important for me to introduce music into whatever form of architecture I wanted to create. What intrigued me were the ways in which architecture, sound and music can interact. Architecture concerns the built environment and the void space wherein sounds bounce off walls creating a whole new atmosphere that rejected the physical. I looked into the relation architecture has had with religion, and its significance throughout history. Music is a tool that allows the congregation to participate with the church’s form itself. It is used for meditation, elation, and reflection. The music sung throughout the masses often reflected the scriptures, and the messages the mass focused on. Music enhances a mass, activates the otherwise still, empty air. It enhances the congregation, but also the architecture. The ways in which the voices travel around the cathedral creates something that differed from mere physicality. Sounds, though ephemeral, possess the strength of a physical entity. They are something we can simultaneously experience, however it something one cannot necessarily see. While the choir is the physical, the collective tone emitter, their voices escape their body, and pulse through space as a reflection of a higher entity – being something invisible, intangible, and omnipresent. The Chapel Basso Continuo embraces the role of musicality in the church by using architecture as the instrument. With the space functioning as a simplified pipe organ, the chapel becomes a celebration of music. It generates its own music, allowing the building itself to become complicit in the reflective and generative process that the choir would otherwise be involved in. Inspired by Janet Cardiff’s 40 Part Motet, the chapel looks into Tomas Tallis “Spem in Alium”, an acapella song that contains forty vocal parts. The chapel is a celebration of choir. It uses music as a form of meditation, and reflection. Each apse is representative of each vocal part: the Soprano, Alto, Tenor, Baritone, and Bass. The size of the apse is also a functional reflection of the average vocal frequency of the five parts. For example, the Soprano requires the least amount of space in their vocal chords because of their much faster vocal frequency, thus having the smallest apse. Whereas the Bass, the lowest part, need the most space for their slower vocal frequency - thus having the larger apse. The Apses (The Basso Continuo) Each apse performs as a basso continuo. This term suggests a bottom line melody that acts as the accompanist to the vocalist, which expresses the melody. Whether it is the individual choir members, or the singing pipes above, the apse creates a basso continuo that sustains the central melody. The apses are aligned with the singing pipes, and sized in order to hold and amplify the notes that are produced by captured gusts of wind. *The project was submitted to the Arch Medium Rome Contemporary Chapel competition, and was listed as a Finalist *


Chapel Project: Basso Continuo | Architecture | Competition | Supervised by Nima Javidi Materials: Concrete, Foam Core, Museum Board, Paper Date Summer 2016


Bass

G5

783.99 Hz

Barritone

D5

587.33 Hz

Tenor

D4

293.66 Hz

Alto

B3

246.94 Hz

Soprano

G2

98.00 Hz

When producing pipes, the rule generally follows; The higher the pitch, the smaller the diameter of the pipe. The lower the pitch, the wider the diameter of the pipe. As the wind enters the wind catcher (above ground), the draft from the wind is blown into the pipes, creating unique sound frequencies that is then amplified in the circular amplifier. This projects a note into the individual apses, thus creating a melody as the draft is blown into the different pipes. When all notes are played together, this produces the G major chord - the last chord sung in Spem in Alium.

Diagrams - Musical Pipes BASSO CONTINUO, CHAPEL


Chapel in relation to Mosque services

Apsidal Chapels - a place of sanctuary

Chapel in relation to Synagogue services

Apses in relation to Janet Cardiffs’ Fourty Part Motet

Chapel in relation to Catholic services

Apses serving as induvidual spaces for vocalists

Chapel in relation to Buddhist services

Apses as wells for the musical pipes

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wind blows into the windcatcher

A draft is produced, and air is flown into pipes, producing specific musical notes

Diagrams From Top to Bottom - Programs and Uses, and Process of Sound BASSO CONTINUO, CHAPEL

the sound is amplified into the larger pipe chamber

A note is produced in the space


Site Plan BASSO CONTINUO, CHAPEL


N -03 Chapel Floor Plan UP

Plans BASSO CONTINUO, CHAPEL


Sectional Model BASSO CONTINUO, CHAPEL


FORM/VOIDS/STAIRS STUDY OF FORMAL

The subtraction of Host Volume through the use of cones

The addition of voids through semi cones and cone

This design excercise asks us to build a volume to fit in-between two facades. The volume is then to be intersected by three other volumes in the same family of forms, in order to create voids to create different floors and a link between the two facades. The poché spaces are then developed and are required to have a form of stairs, or ramps. When pursuing this project, the volume began as a rectangular cube, that was intersected and differenced by a series of cones. Eventually, the space became a “curtain” like form that further explored the notion of performance, and theatre.


Form, Voids, and Stairs: Study of Formal | Architecture Academic Project Materials: Foam Board, Cardstock Date Fall 2017


Sections STUDY OF PERFORMANCE, FORM CHARRETTE STUDY OF


Model STUDY OF PERFORMANCE, FORM CHARRETTE STUDY OF


STUDY OF LOVE THROUGH FABRICATION MEDITATIONS IN CONCRETE

THE LOVE OF PRODUCING TO CREATE A PRODUCT FOR SELF LOVE Labour has become overwhelmingly specialized. Tasks have become strategic engagements with abstract ways to exert supremacy over the elemental world. Identities fragment: phase-shifting hybrids form, quiver, and recapitulate. The fractalized worker is left alienated mentally and physically – a twittering custodian of large machinic systems, and the ecology of forms they produce. See the worker as a bifurcated husk: instrumentalized towards minute quantitative goals or conceptual ramblings assembled in a way that starves creative craft. Our jouissance, the joy that comes with circumscribing the elemental world with our hands, is lost! Can we hope to produce love-objects, or at least resist the queasy frustration that comes when one cleaves work and eros? Urban centers are nearly predicated on concrete. By engaging experimentally with this substance inhabiting the specific, malleable spacetime surrounding our bodies and dedicating ourselves to the preconceptual bliss of craft, we wish to present our unconscious minds as workers engaged with the task of giving the matter flow of concrete a formal identity, unlocking its semiotic autonomy. THE WORKHOP, EVENT The workshop became an opportunity for us to share our skills and knowledge of fabrication using concrete with other students. For one day, twenty workers came to collectively fabricate each form. The workshop was a celebration of collective work – having work and fabrication becoming a form of therapy, to create happiness. *The work was featured at the Trinity College Art Show on March 24th and 25th 2017


COMMUNAL ASSEMBLY OF WORK AS A CONTRIBUTION TO PERSONAL AND SOCIAL HAPPINESS WORKING WITH OTHERS TOWARDS A COMMON PURPOSE UNDERSTANDING YOUR SKILL AS FUNCTIONAL TO THE COMMUNITY FABRICATION AS A FORM OF PRIDE AND JOY

Meditations in Concrete| Installation, Publication, and Collective Performance | Collaboration with Benjamin de Boer Materials: Rockiete, Silicone, Latex Condoms Date Spring 2017


Workshop MEDITATIONS IN CONCRETE


TOKYO VERTICAL CEMETERY VARIATIONS

Urban Concept Cities cater to people’s constant need to distract themselves from their lives through the provision of entertainment and commercial spaces. Variations sits in Tokyo’s Shinjuku Ward, which houses the Kabukichō neighbourhood and its red light and entertainment districts, subway and rail infrastructure which move millions of travellers, as well as commercial and administrative programs. Just as people need spaces that encourage them to forget life’s problems and allow themselves to have fun, they need places which encourage them to remember and face life’s problems, and allow themselves to feel sadness. Death is often the only acceptable time for people to express sadness publicly, the funeral the only event, and the cemetery its only venue. A vertical cemetery in the Shinjuku Ward is to become a public space of release. It uses the cemetery’s social acceptance as a venue for sadness to create spaces for people to unleash their sorrow, not in the isolation of their showers and beds, but surrounded by others. Architectural Concept Variations takes its users through a cycle of experiences, from spaces for sadness and reflection, to potted-plant gardens, a flower shop, and spaces for socializing. The cemetery’s section reveals a simultaneity of different experiences: on one level families gather to commemorate their dead, on a different floor someone may be crying and releasing their stress from work, and on a different floor an elated lover may drop by to buy flowers for their beloved. In this way, Variations both contrasts and plays in to its very lively environment – it may be a place to drop by on the way home after a hectic day; it may be a place to talk with a friend, or to spend the day mourning. Visually, the cemetery is a cut-out from its surrounding; a white concrete building amidst colours, light, and noise. The cemetery’s winding entrance, its inward-looking organization, and its darkness help visitors drown out the city. However, there are moments of interaction between the contemplation of death and the liveliness of Shinjuku. In the balcony gardens, calmness and loud urban life meet. At night, the cemetery’s white facade reflects the lights of the surrounding stores. Once again, death reflects the life that surrounds it.


Tokyo Vertical Cemetery: Variations| Architecture | Independent Project/Collaboration with Irina Rouby Apelbaum Date Winter 2016


Seibu -Shinjuku Station

Kashiwagi Park Kabukicho Area

Site Yasu k

uni D

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Line Yamanote

Shinjuku Station

Chuo ine

Main L

Site Plan VARIATIONS, CEMETERY

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Level 01 Ground Floor + Courtyard

Level 01 Ground Floor + Courtyard

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Level 02 Flower Shop + Balcony

Level 02 Flower Shop + Balcony

Level 03 Columbarium

Plans VARIATIONS, CEMETERY


Section, made by Irina Rouby Apelbaum VARIATIONS, CEMETERY


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Detailed Section Legend Concrete Roof Concrete Roof Detail I-Beams Concrete Steel Rod Steel Rod Insulation Baffle Concrete Wall Pattern Wooden Guardrails Concrete Stairs Urns Wooden Urn Storage Units

Sectional Detail, made by Irina Rouby Apelbaum VARIATIONS, CEMETERY


Axonometric Diagram VARIATIONS, CEMETERY


TORONTO JUNCTION MAKERS’ MART SHE SELLS SEA SHELLS

Site When looking at the site, it is a predominantly residential area, especially on the east, with some commercial spaces, and has a large influence with public transportation. Two Points of interest were the schools north and south of the site: Bishop Morocco Catholic Secondary School, and Perth Avenue Junior Public School. When coming into the design, I imagined myself in the shoes of the students: there’s a lack of open spaces to hang with your friends, or to work, other than the school itself, and some of the small cafés. Thus, the aim for the space was to encourage more public spaces for the students to use as both leisure and working space. The Form Starting from a cone, the tip was truncated. These cones would then be connected by its edges – thus creating a “star shape” through its void. I further explored the truncated quality, and wanted to focus more on how the light can be brought down from the truncated tip. This lead to drawing the slit down into the columns, down it’s trunk and into the space. The height of the spaces also change depending on how much collaboration or public the program is. For example, the lecture hall, gallery space, and open halls are the largest, and have the highest ceiling, but the height is then juxtaposed with a much smaller slit. The Plan Using the cone, the form dictates the type of activity/program below it; from artist studios, to open work spaces. The columns also play a role in holding workshop style programs, such as silk screening stations, or kilns. The centre of the site is the main circulation between all the spaces, allowing for different markets and activities to happen within the halls.


Toronto Junction Makers’ Mart: She Sells Sea Shells| Architecture Academic Project Materials: Foam Board, Rockiete, Museum Board, Wood Date Fall 2017


Perth Avenue Junior Public School

Site

Toronto Railpath

Dundas West Station

Bishop Marrocco Secondary School

Site Plan SHE SELLS SEA SHELLS, MAKERS’ MART


Axonometric Diagram SHE SELLS SEA SHELLS, MAKERS’ MART


Help me!!!!!!! I’m Tired!!!

I love

I love

Ground Floor Plan SHE SELLS SEA SHELLS, MAKERS’ MART

Help me!!!!!!! I’m Tired!!! Help me!!!!!!! I’m Tired!!!

Help me!!!!!!! I’m Tired!!!

I love

anime

I love

anime

anime

anime


Help me!!!!!!! I’m Tired!!!

Help me!!!!!!! I’m Tired!!! Help me!!!!!!! I’m Tired!!! Help me!!!!!!! I’m Tired!!!

Help me!!!!!!! Help me!!!!!!! I’m Tired!!! Help me!!!!!!! I’m Tired!!! Help me!!!!!!! I’m Tired!!! I’m Tired!!! I’m Tired!!! Help me!!!!!!! I’m Tired!!! Help me!!!!!!! I’m Tired!!! Help me!!!!!!! I’m Tired!!! Help me!!!!!!!

Help me!!!!!!! I’m Tired!!!

Help me!!!!!!! I’m Tired!!! Help me!!!!!!! I’m Tired!!! Help me!!!!!!! I’m Tired!!!

Help me!!!!!!! I’m Tired!!!

Help me!!!!!!! I’m Tired!!! Help me!!!!!!! I’m Tired!!! Help me!!!!!!! I’m Tired!!!

Help me!!!!!!! I’m Tired!!!

Help me!!!!!!! I’m Tired!!! Help me!!!!!!! I’m Tired!!! Help me!!!!!!! I’m Tired!!!

UP


SELECTED PUBLICATIONS SHIFT MAGAZINE AND MEDITATIONS IN CONCRETE

SHIFT MAGAZINE Editor in Chief, 2016-2017 Shift Magazine’s fourth issue focuses on activism in architecture, urban design, and art, featuring interviews with Syrus Marcus Ware and Public Studio (the practice of Elle Flanders and Tamira Sawatzky). Topics covered include the use of architecture as oppression in Palestine, the 2013 protests at Taksim Gezi Park in Turkey, and the TD Centre in Toronto as a (proposed) site of protest. Shift is the undergraduate publication and online blog for the Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto. We seek to promote the interdisciplinary nature of the undergraduate programs in visual and architectural studies. Shift believes in academic exchanges across a broad spectrum of disciplines, from visual arts and photograph to urban studies and geography. Student opinions are the foundation of the publication, a deliberately eclectic presentation of various perspectives that aims to reconfigure our understand of art and architecture. MEDIATIONS IN CONCRETE Personal Works, Spring 2017 The publication a response to the workshop, and personal reflections on work and love. This is a collection of poetry, photography, and written works by Phat Le and Benjamin de Boer. “Labour has become overwhelmingly specialized. Tasks have become strategic engagements with abstract ways to exert supremacy over the elemental world. Identities fragment: phase-shifting hybrids form, quiver, and recapitulate. The fractalized worker is left alienated mentally and physically – a twittering custodian of large machinic systems, and the ecology of forms they produce. But how can we love?” *This work was featured at the Trinity College Art Show on March 24th and 25th 2017


MEDITATIONS IN CONCRETE BY BENJAMIN DE BOER AND PHAT LE


Publication SHIFT, Risograph on News Print


Publication MEDITATIONS IN CONCRETE, Newsprint


Phat Le 974 Queen Street West Toronto, Ontario M6J 1H1 6478676258 phatle145@gmail.com


Phat Le Portfolio  

Selected Works

Phat Le Portfolio  

Selected Works

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