JOHNATHON DOEmyname@email.com

1-234-567-8910

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Bachelors of Environment Design – HonoursSchool of Architecture and Landscape Architecture,University of British Columbia High School Exchange; Somewhere, Faraway

Design Assistant (Full-time)Somewhere Engineering; Somewhere, Faraway • Designed and produced construction drawings for a proposal of two lunch-rooms for workshop staff. Assisted with space planning for the placement of industrial equipment.

Cashier (Part-time) Astore; Somewhere, Faraway• Assisted customers, including arranging home deliveries, cash-and-carry orders, and customer distribution orders.

Seminar Assistant (Full-time)English Language Program; University of Somewhere; Some, Place• Organized and chaperoned educational, cultural excursions, including over-night trips. Acted as an English conversation partner with Japanese university students. Prepared course materials, assisted with course registration.

Finalist - Joong Ang Design International Design Competition

Jason Lang Scholarship

Rutherford Scholarship

AutoCAD, 7 years; Microsoft Office, 7 years; Adobe Creative Suite, 4 years; Rhinoceros 3D 5.0, 3 years; Flamingo 3D, 3 years; Penguin 3D, 3 years; Google Sketchup, 3 years; Cinema 4D, 1 year.

Basic Mandarin Language Proficiency; Intermediate Korean Language Profi-ciency; Intermediate Japanese Language Proficiency

Education:

2007 - 2012

2007

Work experience:

April - August 2011

June - August 2010

June - August 2009

Awards:

2009

2007, 2008

2007

Relevant Skills:

Pavilion Explorations

Industrial Lunch Room JAD Competition Entry

The Social Condenser Thurlow + Alberni The MPLWD: Frame The MPLWD: Swatch

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DESIGN & RESEARCH

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Johnathon Doe #111, 2222 Name St, 1A1 A1ACity PR myname@email.com; 1-234-567-8910

I am a graduate of the Environmental Design program at UBC. I have experience competitively, academically and professionally in design. I have a large deal of international experience, and I have a strong interest in the conceptual and cultural roles of architecture.

The second pavilion was an exploration of cylindrical geometries. I worked with a partner, ----------, for this project.

A form was created by first revolving a curve 180 degrees, splitting it, and flow-ing it around a circle. The result was a circular hall of arches, with a irregular courtyard within.

This ring-like structure is porous yet at the same time gives a sense of protec-tion. If one inhabits the arcade, the feel-ing of shelter is significant, whereas in the courtyard enclosure is felt, with the space open to the sky.

The first pavilion was an exploration of how one may deform a simple grid to develop a complex, porous space. A sort of tent-like form.

Starting with a point grid, a succession of exclusively vertical deformations was implemented. The result offers a variety of spaces, with a uniform feeling of verti-cal shelter from the sky above.

In several areas, the roof dips low to the ground, offering a sense of enclosure.

As a formal exploration, we had the project brief to design a num-ber of different pavilions over a semester. These pavilions were meant to expand our architectural vocabulary and to develop our understanding of how digital media can enable unique op-portunities. These were unprogrammed designs, with the only limitations being to focus on two of: shelter, field and enclosure. I chose shelter and enclosure, to help guide me in my design explorations.

Create a point grid...

...pull control points; indi-vidually and as groups...

...in order to create a variety of spaces.

Revolve a curve into a surface...

...split and pull it apart...

...flow the resulting pieces around a circle.

Section A - A’ Section B - B’

Plan

PlanA

A’

B

B’

DIGITAL EXPLORATIONS

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Heavy industrial sheds in the industrial town of ----- are not with-out their challenges. Although ideal for large-scale production, in the cold Canadian winters the interior of these sheds is largely the same temperature as the outdoors, due to the need for the large garage doors to be constantly open.

As a respite from these conditions, the decision was made to make a study on how the elevated lunch spaces of the shops at ------------ might be enclosed and therefore made more comfort-able.

Considering the difficulty of constructing a complete frame a top such a small surface, and considering the easy access to talented welders, the decision was made to pre-fabricate each wall and the roof as individ-ual frames, and to assemble them a top the exisiting structure.

It was necessary then to make each individual com-ponent independently struc-turally sound, as it would be lifted by crane to it’s final position.

Due to the industrial nature of the site, and the extremely low temperatures (below 20 degrees C at times), heavily insulated pre-made AD-LOC panels are ideal.

Thye have 2 inches of in-sulating foam, and are also easily assembled. These panels offer the insulating skin, which is to be placed upon a solid structural frame. They are also well-suited to surviving the constant fire-hazards and general risks of a heavy industrial context.

A further advantage of this material is how it is suitable within the context of an alu-minum industrial shed. The aesthetic and nature of the material matches well.

Overall, the design aims for simple functionality as a lunch room. The biggest challenge was to navigate the surrounding equipment, including a fan on the wall and a large crane above.

PH: (780) 955-37802314-5 STREET, NISKU, AB T9E 7W9

DATE

DRAWING NO.

JOB NO.

DRAWN

CHECKED

SCALE

REV.

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NOTES:1. ALL STRUCTURAL MATERIAL G40.21-44W.2. ALL TUBING MATERIAL G40.21-50W.3. ALL PLATE MATERIAL G40.21-44W.4. ALL PIN MATERIAL 4140 H.T. & S.R. (MIN. YIELD 100 KSI)5. ALL NUT AND BOLT MATERIAL GRADE 8. 6. ALL ELECTRODE E7018.7. MINIMUM FILLET SIZE 1/4".8. ALL WELDING TO CWB-W59.9. FABRICATION TOLERANCE ±1/16".10. SEAL WELD ALL TUBING.11. CAP ALL OPEN BEAMS AND TUBING ENDS.12. IF IN DOUBT, ASK!

1/32"=1'-0"

LUNCH ROOM SHOP #3 - FRAME ASSEMBLY

AUG 24/2011SC

TOP VIEWRIGHT VIEW

BACK VIEWSECTION A-A'

FRONT VIEW

LEFT VIEWA

A

ALL NAILING FINS SIT OUTSIDE OF WINDOW FRAMES

DOOR FRAME FLUSH TO INSIDE EDGE OF 2x4"

REMOVE BOTTOM SPACER BEFORE DOOR INSTALLATION

3'-0 1/2"

1 5/8"

(STICKING OUT)

BACK WALL AND ROOF TRUSS FIT IN BETWEEN L. AND R. WALLS

16'-1"

CENTER W/ SHIMS, FASTEN & CAULK/INSULATE AS NEEDED

1'-10

1/2

"

5'-9

1/4"

*NOTE: INSTALL WINDOWS/DOORS BEFORE PANELS

FRONT WALL FITS IN BETWEEN L. AND R. WALLS

17'-2" 4"x 14 " FLAT BAR RUNS ALONG

UNDERNEATH LOWER TUBING

On Right: An exploded axo-nometric of the lunch room; the panels and framing are the essential elements.

Section A - A’

Plan

Below: The completed as-sembly drawing, with notes on construction.

A A’

INDUSTRIAL LUNCH ROOM

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An open-plan office space with adjoining project

rooms.

Two open-plan spaces for separate companies, with

a communal balcony.

Small office spaces interspersed with outdoor

spaces.

Throughout history, architecture has never been interactive on the large scale. Our potential for interacting with our built settings has been very limited. On the small scale, our environments are interactive: furniture, windows, and doors can be moved about at will. On the larger scale, however, we are limited to slow, expen-sive, and permanent interactions: renovation, demolition, con-struction. Now, with the current spirit of innovation in architecture, I propose a system which will allows us to control our built envi-ronments, dependent on our demands and whims.

The system I propose is essentially one of moving walls. The exterior walls of the building are divided into a number of panels along each facade. They are then mounted into roof tracks which run orthogonal to the panel surfaces, with wheels and a small motor for each panel. Finally, by connecting these panels into a central control system, the users of the building gain full control over the organization of their space.

Second, it allows for adap-tation depending on the ex-ternal environment’s condi-tions. In summer, the sun is bright and the weather, fair. So, the southerly spaces can be converted to balco-nies: rather than sitting with the sun in their eyes, users can work inside, and go out and enjoy the summer breeze on breaks. Or, the intermediary spaces can be made entirely outdoors, al-lowing one to catch a breath of fresh air while walking about the office.

Last, it allows tenants the ability to personalize their spaces depending on their desires. If a firm wants an open-plan office, they can leave the walls be. If they want enclosed offices and meeting rooms, they can add additional panels and slide them into place. And even, if they want to create a temporary office for a week-long project? That option is open to them.

Ultimately, with this mov-able panel-wall system, the shape of the building is up to the user. The next level of architectural functionality has been staring us in the face this whole time... the writing’s on the walls!

They can expand, contract, or reorganize the build-ing’s form in order to satisfy the demands placed upon them, or to simply make their lives more enjoyable. They can even add (or re-move) additional panels to the tracks in order to make enclosed interior spaces. Rather than staying a static entity, the building becomes a dynamic, flexible one. It can adapt to any number

The panels are anchored to a grid of tracks in the ceiling

above.

Small wheels move the panels along the tracks when specified with the

control panel.

This system is discreet, yet simple and effective.

Possible configurations: On Left: During a recession. On Right: During an economic boom.

JAD 2009 COMPETITION ENTRY

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Mixed-use buildings can be understood to exist in two varieties: the capitalist Hybrid and the communist Social Con-denser. As well, both varieties can be broken down further according to the degree in which they coerce its inhabit-ants to interact.

The hybrid expresses the ideal of free-dom; programs are free from unwanted mixing with other programs under the same roof.

Social condensers instead involve the active mixing of these programs and people through design.

The term “social condenser” can be understood to be just as much a physical technique as an abstract concept. Originally coined by the Russian Constructivist Moisei Ginzburg as “a mechanism for transforming habits”, the idea has been evolv-ing over the past century. Here, I break the concept down into its’ “moving parts”, to understand the nature of the concept in practice.

The physical context of a building im-poses limitations on the connectivity be-tween programs.

By the physical context in this case I mean primarily whether there are verti-cal or horizontal spatial constraints. This decides the types of mechanisms (el-evators, paths, etc.) which can be used for social condensation.

Specific mechanisms and arrange-ments offer different opportunities for the type of interaction. More random relationships can be designed with the use of elevators or a patchwork of pro-grams, or more choreographed ones with more rigid circulation and spaces.

The mechanism of social condensers can be established through a variety of spatial means. The three main types I stuied are adjacency, overlap and cir-culation.

Each depends on how specific spaces are programmed, for example whether there is a space in use by both pro-grams at once (overlap.)

For example, Koolhaas’s hedonistic baths from “Voluntary prisoners of Archi-tecture” epitomize the use of adjacency. The practice cells and arenas are visible from the meeting space: there is social condensation due to visibility and direct access been the three programs.

Social Con-densation via

adjacency.

Koolhaas’s baths: a simple

yet profound so-cial condenser.

The meeting space is bor-

dered by practice cells and arenas.

Below: Plan of OMA’s Parc de

Vilette proposal: random horizontal social condensa-

tion.

On Left: Section of the Downtown

Athletic Club: Ran-dom vertical social

condensation.

On Right: Plan of “a communal house of 1929”: choreographed

horizontal social condensation.

Below: Section of the Bibliotheque Jussieu: choreo-graphed vertical

social condensa-tion.

Social Con-densation via

overlap.

Social Conden-sation via circula-

tion.

Below: Narkomfin unit plans. The inter-

face of resting spaces and social spaces

dictates the degree of social condensation.

THE SOCIAL CONDENSER

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Is it possible for one to allow for a variety of livable spaces within extreme density? This project aims to achieve just that: a mixed-use residential building at one of the densest, most urban street corners in Vancouver. Across the street from the 62-story Shan-gri-La, and a block from the busy commercial axis of Robson Street, it was a challenge to accomodate for high quality residen-tial experiences.

THURLOW + ALBERNI: URBAN ACCOMODATION

In order to adapt to this setting, I fo-cussed on a strict set of criteria to en-sure the quality of the residences: pri-vacy, daylight, cross-ventilation, views and access to both community and public space.

As well, it was a priority to bring the vital public life of the surrounding area into the building, but to subdue it and create a sense of relative intimacy and calm.

Ground Floor

Second Floor Third Floor

Fourth Floor Fifth Floor

The ground level public

spaces form a variety

of streets branching off

the courtyard, and connect-

ing to the lane.

The massing is oriented

away from the traffic noise, towards the

sunlight to the South, and are thin for

cross ventila-tion.

AA’

BB’

C’

CThe void of the ground-level public space was drawn and designed first, with further refinements being added as the massing of the upper floors and community spaces came into focus.

The facade is treated as a response to the intimacy and liveability of its orientation: the inner facades are transparent towards the comfortable courtyard, whereas the outer facades are more reserved, buffering the residences inside from the barrage of urban-ism on Thurlow and Alberni.

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Elevation A - A’

Section B - B’

Section C - C’

The main design move which aims to accomodate for the fulfillment of these criteria was simple: an open courtyard which faces away from the massive and loud intersection towards a more intimate and quiet space: the alleyway behind the building.

The complex is diverse in the sense that it encloses within itself public, pri-vate and community spaces. The public spaces are accessible directly from the street, and are comprised of the ground level outdoor spaces as well as com-mercial program on the first and second floors.

The commercial programming is on the first two floors, with the residential

program above. The community spaces

are mixed throughout.

The one bed-room units and two bedroom units are

located at more public locations, while the

three bedroom units are further removed from the streetscape

and public life.

The private residences float above on the third, fourth and fifth floors. This po-sitioning grants some physical and met-aphorical distance from the traffic and urban life on the streets below.

The community spaces which serve the condo residents consist of 2 roof-top gardens as well as a space for the resi-dent’s association. These spaces are lo-cated quite centrally relative to the sur-rounding units, to facilitate regular use.

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BROADWAY

CAM

BIE

MAI

N

GRA

NVIL

LE

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South of 2nd Ave, Mount Pleasant Work District is comprised overwhelmingly of light-industrial and commercial fabric. North of 2nd Ave is residential; contain-ing the site of the new Olympic Village. This is a significant issue in that 2nd Avenue bisects the district, segregating the live and work functions. Currently it is as if they are entirely different neigh-bourhoods. Both areas are made up of relatively low buildings within a regular grid of small local streets. As such, there is a distinct lack of visual and functional hierarchy. The district can be understood as be-ing a uniform field of built fabric atop the slope of Mount Pleasant.

Within the bounds of Broadway, False Creek, Cambie and Main is the island of space which is the heart of Mount Pleasant Work District. The district represents a unique workplace within Van-couver, the last holdout of industrial fabric in the city. For the Frame assignment, I aimed to enhance the legibility of the dis-trict, and to improve the connection between its’ live and work functions.

The grey networks of the MPWD: a field of small

streets bisected by 2nd avenue.

The grey fabric of the district: a large variety of functions,

yet live and work are segregated by

2nd avenue.

The proposed changes: intensify-ing the north-south

connection with two main streets,

while providing legibility with local

landmarks.

Section A - A’

Plan

NEIGHBOURHOOD LANDMARK

DISTRICT LANDMARK

GREEN STREET

LANDMARK VISIBILITY

RESIDENTIALCOMM/RESIDENTIALCOMMERCIALARTIST LIVE/WORKINDUSTRIALCIVICOFFICEMIXED-USE

ARTERIAL

COLLECTOR

LOCAL

LANE

AA’

With a closer look at the specific pro-gramming of the district, it is clear there exists the possible for productive mixing between the different functions. As the young Olympic Village is somewhat an island of condominiums, it would greatly enhance the quality of life if the resi-dents were to make use of restaraunts and small workshops south of 2nd Av-enue.

As well, it would benefit the entire dis-trict if living and working entirely within the area was a more attractive option.

My first proposal is to fashion Columbia Street and Manitoba Street into “green streets” which connect the Olympic Vil-lage with the southern industrial area, reaching all the way to Broadway.

These roads will be reduced to a single lane in each direction, with street trees and crosswalks all along. They will be the preferred method of navigating the district on foot, and will offer an opportu-nity for restaurants and services to clus-ter around.

My second layer of intervention is the creation of multiple landmarks at key sites throughout the district. There are many under-used parking lots, and many are strategically located.

I propose that 3 should be fashioned into “district landmarks”; structures which can be seen throughout the dis-trict and beyond. They will play the role of giving visual hierarchy, and will pro-vide specific images that identify the district as a unique entity.

The remaining sites have the potential to be “neighbourhood landmarks”; smaller structures which provide hierarchy on a more local scale, and improve ease of navigation.

THE JOY OF WORK: THE MPWD AS LIVE / WORK DISTRICT

2ND AVE

CAM

BIE

4TH AVECOLU

MBI

A

MAN

ITO

BA

THE OLYMPIC VILLAGE (FALSE CREEK)

BROADWAY

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AA’

BB’

C’

C

The residential tower and cafe front onto

the street. Behind lie the business incuba-

tor and workshops. The atrium ties the

arrangement together, acting as a central

social hub.

My overall strategy for the project relies on creating both a visual landmark and a face for local industry. To achieve this, the complex is anchored by a business incubator, and includes both workshops and residences for start-up companies or artisans.

The natural site for the landmark is on the corner of the intersection, where - at 9 stories tall - it is visible form across the district. The working functions of the building center around a small court-yard which faces Ontario St.

The 2 sets of workshops are easily ac-cessible from the courtyard and 4th Av-enue, respectively. Each has a public front, and a functional back with a small garage door.

Between them and the incubator, there is an atrium: a social space for casual interaction and small gatherings. Be-hind the atrium is a single loading dock, primarily for workshop use.

On Ontario, there is a small cafe to help draw the public into the complex.

For the Swatch assignment, our goal was to design a component of our overall vision for the district. I focused on the potential dis-trict landmark at 4th and Ontario. This lot is sited along the On-tario green street and is close to 2nd Avenue, so it is instrumental in tying the northern residential area with the southern work area.

Ground Floor

Second Floor

Third Floor

Above: The focal point is visible from the farthest reaches of the Mount Pleasant Work District; a local landmark.

MPWD SWATCH: LANDMARK AT FOURTH AND COLUMBIA

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On Right: An illustra-tion of the vertical

structural elements.

Above: The abstraction of topography into roof.

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It was my goal to craft the landmark into a unique image, one which could be singularly identifiable and symbolic of the district’s character.

In order to achieve this, I abstracted the steep topography of the district as a means of creating a distinct profile for the building. I first magnified the topog-raphy by a factor of 10, and then ab-stracted it into a smooth geometry.

The landmark is clad in exposed cor-rugated aluminium, a common mate-rial for industrial roofs in the district. It is matte on the West and East sides and reflective on the North side.

Elevation A - A’

Section B - B’

Section C - C’

Structurally, the lower buildings are comprised of 20-foot bays between thick CMU masonry walls, with floors and roofs supported with steel joists. CMU’s are used extensively throughout the district, often in a structural fashion.

The tower is supported by reinforced concrete, with 2 circulation cores and 4 columns on the outer corners.

Overall, the complex is self-sufficient due to the internal synergy between its’ programs and yet it is also inviting for the public to interact with.