PORTFOLIO

TABLE OF CONTENTS

VERTICAL STUDIO - RECLAIM AND SUSTAIN

WASHROOM PROJECT

SWEETON HOUSE

RETAIL DESIGN - EYEWEAR

VERTICAL STUDIO -THE ART OF TRAVEL

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VERTICAL STUDIO

RECLAIM AND SUSTAIN FOR BRICKWORKS COMMUNITY CENTER

Vacant industrial and commercial buildings in towns populate the landscape of urban and rural Canada. By looking at how commu-nities are using these structures, and by exploring design issues from the ground up, we can begin to steer the future design of our built environment with informed awareness, as cities and towns learn to regain control over the design decisions that shape the future of their communities. Of interest to interior design students are the unique contributions to the canon of refurbishment in the last few decades, which has seen a resurgence of this type of re-use. Many designers have worked in this historic framework with the results ranging from radical and innovative to subtle, and even reverential

Script for our design intervention.The script involves and requires a delicate yet brave attempt to form an emotional space for a relatively complex community. The active and engaged seniors which wish an alternative community to that of a traditional retirement home, will be given the role of advisers to the eclectic artistic community. They will be involved in the daily activity of the onsitedaycare center. In the evening they will comment on quality of lo-cal eateries and convey a critical analysis of café/restaurant pa-trons.

RECLAIM AND SUSTAINTHE NEEDS OF THE USERS

While our user base extends out into the surrounding com-munity, our permanent residence will consist of artists of various disciplines and our part time residence will consist of seniors who are looking to be immersed in the arts. These user groups share several common social qualities such as an appreciation for culture, history, and the finer details of the everyday many of us take for granted, but at the same time they both present very different programmatic challenges. Our elderly users will require some form of physical care dur-ing their stay. They will most likely prefer quiet residences that offer universally accessible interiors with seamless inte-gration into the public spaces. Our artists on the other hand would likely be much more independent; however, they will require adequate work spaces as well as access to public dis-play areas to showcase their work within the community.The goal for this project is to design an all-inclusive space that incorporates a sense of community and the industrial vernacular elements of the Brick Works site while exploring new and innovative methods of integrating our senior and artist residents.

TEAM DESIGN CONCEPT

Our team’s main objective for this project is the exploration of inclusive design through sensory architecture. We hope to reach beyond the typical goals of inclusive design which may only address the physical needs of the users, and in-stead address the physical and emotional needs of our users with a fun and educational approach. By turning the site into an educational facility for both elderly and artists , we believe that our design could challenge the typical con-cept of what an elderly residence needs to fulfil in today’s society and provide a mutual service between both of our users, turning sensory loss into an educational social expe-rience. Furthermore, we believe that through this sensory based design, this space could be transformed into a com-munity development that acts as a unique destination for the city’s residence and visitors, while setting an example for future senior social and disability programs alike.

GROUP PROJECT

entrance

cafedwelling units

dw

ellin

g un

its

studio

studio

culinary wrokshop

bar

restaurant

public gallery

music venu

w/c

overall block planning

senseeARTIST SUITE 2 - RESIDENTIAL DESIGN

Transitioning from public to private space, the suite is designed to allow the users to choose different directions on the main pathway around the space. Having the users choose their direction lets their senses guide them to interact with the space. From the wide-open public space at the front of the suite to the closed more private and narrow space at the back, the ceiling gradually drops down and more partition walls appear, giving artists their personal privacy.

WASHROOM PROJECT- WORKING DRAWINGS

INSPIRATION/ MOOD BOARD

SWEETON HOUSE - FRANK LLYOD WRIGHT

AUTOCAD 3D EXERCISE

AUTOCAD 3D EXERCISE

RETAIL DESIGN - EYEWEAR

RETAIL DESIGN - SENSORY SPACE

Sensory design is the perfect harmony of the art and sci-ence of playing with our senses. Sensory design attempts to connect to people not just through traditional branding but through the layering of all 5 senses.

This project focuses on the design of a merchandising envi-ronment in the form of a small retail store, a boutique. Em-phasis is placed on the important role the design of the envi-ronment plays in the successful merchandising of products. Equally, the reuse of historically significant buildings or the preservation of contextual buildings within an urbanenvironment allows for the greater exploration of juxtaposedrelationships such as old vs. new, east vs. west, bold vs. sub-dued and modern vs. historical. The design development phase defines the concept and the designvision as required by the client. It clarifies the brand and how the built form will express it.

DESIGN CONCEPT

IMAGE & IDENTITY has always been important. From when glasses were first thought of as uncool, a practical use for those who need it, it has now emerged into a fashion state-ment, an accessory that enhances your look as well as be-come a SYNECDOCHE for others. SYNECDOCHE - in which one part stands in for the whole; a pair of eyeglasses, one element of a person’s look, can be-gin to represent their entire image over time and become part of their persona. Eyewear has become an iconic object for people to be identified and recognized. To stand out. The timeline of how eyewear has become a pop culture phenomenon will be focused from 1920s to 1980s, in which each decade has created iconic eyewear that were not only unique to their era but were inspired by eyewear in the past to create new hybrid styles. This relationship between eye-wear and eyewear, eyewear and people, the merging of two to become one new meaning, has changed overtime and eyewear has become accepted, popular and even desired in this society today as a lifestyle accessory. This concept will be translated into the design of the interior. The slow change and mixture between spaces, materials, and product will be apparent within the space.

EYEWE A RGL A SS E S

C O M M E R C I A L

E N V I R ON M E N TS

PRE C E D E N T S & C A S E S T U D Y

PART 1RESEARCHBOOK

PART 2DESIGNPOSTER

VERTICAL STUDIO THE ART OF TRAVEL

NOMADIC ARCHITECTUREFOR SIBERIA, RUSSIA

The work of this interior design project is focused on developing strong collaborative design skills. The project will be developed in teams of first and second year students. The project’s empha-sis is on placemaking through the study of material cultures and the context of an assigned location while considering the uses of precedent to create a sense of community within the framework of culture, site and programmatic objectives. Considering new lifestyle trends, global migrations, travel and the redefinition of the notion of home, students will design a place toreside for a short time - a new typology of the motel stereotype.

Script for our design intervention.We are closely connected to the place around us in many different levels and aspects. We are part of the spaces around us and as we create them they are “creating” us. Our sense of place is our own perception of that place; it is a reaction to what we see, feel smell, hear and what affects our emotions. It is a creation and recreation of the memory of the experience. The typology is envisioned as a temporary resting place, between destinations, that still has roots in the motor hotel of the past. Guest will stay there overnight or perhaps longer. The amenities will be limited to arestaurant, bar/lounge and cafe. Accommodations will include space for sleeping, bathing, living and eating.

THE NEEDS OF THE USERS

The Lone Traveller

Creating a feeling of community will be one of the primary objec-

tives of Daikal. In order to create a successful and vibrant dacha-

experience it is essential that the complex provides conversation

and friendship. The architecture of the complex mimics a com-

munity, a series of walls surrounding one sense of society. The

users at Daikal will feel comfortable and at home whilst resting at

the accommodations. The sense of knowing walking by you or

the friendliness of a strangers voice will be the awareness that is

desired.

A CommunityThe intrepid adventurous lone travelers are the ones that take the

expedition of exploring Russia and taking the trans-Siberian railway.

They venture across Russia taking the chance to experience the

extreme weather conditions and meet new friends. These users

will find the dacha-like-accommodations a suitable and delightful

destination along their trip across Russia. Individuals who are

traveling solo will come together to create a community within the

heart and soul of Daikal.

TEAM DESIGN CONCEPT

The Dacha is an integral part of Russian life. More than a sec-ond home or summer cottage, it is a away of life. It is a gath-ering place for family and friends to enjoy each others com-pany and satisfies a need to be close to nature. The Dacha is, at its core, a form of escape. The Trans-Siberian railway is the backbone of Russia, the spine connecting East to West and all that lies between. It takes six days to traverse the vast area of Siberia, the “untamed frontier” of the country. In the centre of this vast region, is the oldest, deepest, and clearest freshwater lake on earth: Lake Baikal. This it he heart of SIberia, a breathtaking destination to discover. An alluring destination for the wandering traveler, Lake Baikal provides the context for Daikal - a modern interpretation of the Rus-sian Dacha tradition . Daikal captures the nomadic essence of both the Dacha as a temporary retreat and railway as a means of escape. It is a place for travelers to convene and connect - it faciliates and fosters a sense of community, even family between strangers.

GROUP PROJECT

BOOK REPORT/ RESEARCH

tea h o use d r i n ki n g h o use

D I N I N G H O USESTEAM H O USE

The Dacha is an integral part of Russian life; more than a second home or summer cottage, it is a gathering place for family and friends and a place to retreat into nature. The Dacha is, at its core, a form of escape. The Trans-Siberian railway is the backbone of Russia, the spine connecting East to West and all that lies between. It takes six days to traverse the vast area of Siberia, the ‘untamed frontier’ of the country. In the heart of this vast region is the oldest, deepest and clearest freshwater lake on earth: Lake Baikal. An alluring destination for the wandering traveler, Lake Baikal provides the context for Daikal - a modern interpretation of the Russian Da-cha tradition. Daikal captures the nomadic essence of both the Dacha as a temporary retreat, and the railway as a means of escape. It is a place for travelers to convene and connect - it facilitates encounters and fosters a sense of community, even family between strangers. Daikal is a modern-day dacha for the wandering traveler. A place to escape, immerse, and connect.

RESTING HOUSE

NORTH SECTION 1:25

NORTH SECTION 1:25

EAST SECTION 1:25

EAST SECTION 1:25

WEST SECTION 1:25

WEST SECTION 1:25

FLOORPLAN 1:50

FLOOR PLAN 1:50

FLOORPLAN 1:50EAST WALL 1:50SOUTH WALL 1:50

FLOOR PLAN 1:50 REFLECTED CEILING PLAN 1:50

NORTH WALL 1:50 EAST WALL 1:50

NORTH WALL 1:50 EAST WALL 1:50NORTH WALL 1:50 WEST WALL 1:50

LIGHTING DETAIL 1:50MILLWORK DETAIL 1:50

BATH DETAIL 1:50

MILLWORK DETAIL 1:50

FLOOR PLAN 1:50 REFLECTED CEILING PLAN 1:50

FLOOR PLAN 1:50 REFLECTED CEILING PLAN 1:50 FLOOR PLAN 1:50 REFLECTED CEILING PLAN 1:50

N I C O L E W O N G E M I LY S C H O R N

K E LT I E W I J S M A NV I V I E N L I

ANNY LANG KRYSTAL MAK DONNA ABRENICA

DONNA ABRENICA ANH LANG OI YING KRYSTAL MAK / VIVIEN LI EMILY SCHORN KELTIE WIJSMAN NICOLE WONG

IRN 200 / IRN 400PLASSE-TAYLOR / DOWLING

VERTICAL STUDIO / 2013

Russian culture entitles so many unique traditions, one in particular, the selection and celebration of alcohol. The drinking house is all about the variety of drinks on the menu that keeps the conversation flowing throughout the communal space. Inspired by the Dacha, seating is inclusive and comfortable as it would be in a living area of the Dacha. There is a central bar that extends to the exterior of the build-ing onto the patio in the summer months. The bar will provide daily alcohol tasting, widely varying from ale to spirits. There are modern and historical drinking menus imported from established bars across Russia plastered on the walls in order to en-courage national culture as well as encourage customers to suggest new types of mixed drinks. The drinking house will be a venue of tastes and conversation inspiring travellers to share experiences and try something new.

Echoing the humble and basic ingredients characteristic of Russian cuisine, the Din-ing House has strong ties to the earth. Guests literally move downwards into the ground upon crossing the threshold. The slight descent leads below grade, effectively bringing the dining experience into the earth and lowering one’s perspective look-ing out through expansive windows to Lake Baikal. Both menu items and material choices are humble, reflecting the relaxed and pared-back dacha lifestyle; weathered wood and peeling paint suggest a familiar and well-loved kitchen. There is major emphasis on gathering as the focal point of the space is a long, communal table that brings strangers together. Smells and sounds from the open kitchen travel freely, add-ing further to the amicable and comfortable Dining House atmosphere.

Tea is deeply embedded in Russian culture, an item that brings people together, gen-erates conversation and connection to the table. TEA HOUSE will be a warm space that cultivates ideas and stories to be shared among travelers, strangers to each oth-er and gather together. As tea steeping is affected by time, so are the users. The pro-gram of the space reflects the movement of time beginning from east wall to west. TEA HOUSE holds short chats to longer dialogues. Window views and seating create various experiences connecting them closer to each other, the space, and landscape of Siberia. TEA HOUSE’s versatility in space allows users to be impacted by time and encounter ideas, stories, people from one another during their temporary stay at Daikal.

After a long journey, weary travellers arrive to their “second home” for rejuvenation and a bath. In the Steam House, all physical, mental and emotional baggage is stripped away. The boundaries that once separated man from woman and man from man are removed. As they partake in a steam and a jump into the lake together, a bond is created between strangers and deepened between friends. In the Steam House, there is comfort in vulnerability and bareness between kin.

Located in Siberia, Russia, the design of Daikal’s temporary dwelling place reflects the importance of Russia’s cultural context by implementing traditional elements and taking vernacular placemaking into consideration, thus, impacting the users on a global scale. A group of young backpackers travelling on the Trans-Siberian Rail-way will arrive and take rest at Daikal. The view of Lake Baikal will offer the users a chance to escape the bustling metropolitan city, letting them breathe in the renewal of oneself, and take a moment to pause.

Cultural and Vernacular Context• Paintings done by Russian artist Wassily Kandinsky • Kazak rug • Matryoshka Dolls • Russian inspired colour palette • Dacha • Iris Siberica • Siberian Larch

9’ X 12’ POSTER