COVER IMAGE: Constellation, a pattern drawing from Bird and Vine X, 2013. Plexiglass, velvet, steel screws, paper. 3’ x 3’ . ABOVE: Pull Points, pattern drawing also from Bird and Vine X, please see page 39 for project description.

THE PORTFOLIO OF MATTHEW

CARDINAL

Contents

Allan Gardens 3Bathurst-Dundas Community Common 15St. Jamestown Courtyards 25

Lawrence Park Kitchen 31Four Seasons Residence 33Curve Chair 35

Bird and Vine X,Y 39Bright Refl ection/ Zipper 47Willow 49

ARCHITECTURE

INTERIORS

ART

ALLAN GARDENSMASTER OF ARCHITECTURE THESIS STUDIO, 2014

This thesis provides space for the increasing diversity of contemporary park user. Th e new spaces include a pub-lic kitchen, dining hall, reading room, a plaza, covered outdoor seating and public washrooms. Arranged in three bars, with the plaza nested in front of the conser-vatory, the new buildings frame the existing conserva-tory building and defi ne the park edges without being prescriptive about which part of the park is intended for which type of user. As thin, single-loaded buildings within a giant urban room, the buildings approach the scale of furniture and are treated as such. Added to Allan Gardens, the new designs are added to an existing room, but are ready for the current and future park users.

OPPOSITE PAGE: View of the new Sherbourne Pavilion in Allan Gardens, looking through the dining hall and reading room to the 1910 Beaux Arts conservatory. BELOW: Postcard view of the conservatory, dated 1913.

4

Embroidery you will have, of course,

but don’t, I pray you, have everything

covered with embroidery as if it were

washing day. Don’t do little things with

embroidery, but cover large surfaces

with delicate designs; good embroidery

must be done on a larger scale than you

do it: cushions, curtains, covers, and

every large surface should be covered

with delicate embroidered patterns, but

don’t use silk - it is too irridescent.

Oscar Wilde at Allan Gardens, May 1882

6

Allan Gardens was a popular leisure space and enter-tainment venue for upper middle class Torontonians

until the beginning of the 1920’s.

The developed surface drawing is a late 18th century drawing technique that fl ays the interior elevations of a

room around the room plan.*

Detail of a 1986 City of Toronto sociological study show-ing the inadequate analysis of park users. By this time,

a greater diversity of park users were enjoying Allan

When the practice of arranging furniture around the room edge fell out of fashion, this technique of representing furniture in plan was lost.*

1793 ...........................................................................................................

1913 ............................................................................................................

1822

1986

*From Robin Evans’ essay, The Developed Surface - An Inquiry into the Brief Life of an Eighteenth-Century Drawing Technique (London, 1997).

7

8

15

BATHURST AND DUNDAS COMMUNITY COMMON

COMPREHENSIVE BUILDING STUDIO GROUP PROJECT, 2012

Initially approaching the design challenge with a formal strategy, we conceptualized the building as a singular monolithic block that had undergone a break, separating the block into two halves. Th is operation, which resulted in the rupture of the local topography, created several programmatic opportunities for the community. New physical and visual gateways were established, connect-ing the park with the street and improving the pedestrian thoroughfare that existed on site. Also, by visually expos-ing the central portion of the building interior, internal program is revealed to the outdoors and the outdoor life of the city is experienced from within the building.Th e building’s program is stacked, allowing more park space for the community. Th e stacking of the build-ing’s program within the monolithic block was aff ected by the fi ssure in several ways. By separating the two halves, a central glazed portion of the building was created, inhabited by a community thoroughfare and gathering space. Program then stretches across the central portion, creating vital linkages between each side of the building while creating a dynamic program-matic sectional view into the building from outside.

OPPOSITE PAGE: Night view of the Bathurst and Dundas Community Common. BELOW: West elevation.

My participation in this project included preparation of elevations, sections and renderings, as well as collaborative preparation of plans, elevations and models.

16

22

23

25

ST. JAMESTOWN COURTYARDSMULTIFAMILY HOUSING STUDIO, 2012

St. Jamestown Courtyards seeks to house the all of the current St. Jamestown residents on site in all rental ac-commodations, without increasing density in an already very dense neighbourhood. Th e communal nature of the new and existing typologies takes its inspiration from a precedent study on enterprising communes. Th e ex-isting towers, which are structurally robust and off er above-average apartment square-footage, are retrofi t-ted and supplemented with roof planting space, balcony enclosures and low-rise additions that are at level with the new typology. Inherent in their nature, the existing towers have a low level of communality and face out-ward. Multiple towers now share new sunken court-yards. Th ese courtyards, like those in the new typology, serve the purpose of communal gathering and recre-ation for the bordering residents. Th ey are loaded with new communal programming which consists of child-care, community kitchens, offi ce space and production space.While the majority of the existing towers are kept and modifi ed, two towers are removed, in order to open the neighbourhood to the green swath of the Don Valley.

OPPOSITE PAGE: View of a new court-yard apartment building with a ground fl oor covered market. Adjacent to it is one of the existing tower apartment buildings.

26

Grey Buildings Removed

Modifi ed Tower Typology

Existing Tower Typology

27

dhikfiV

My particatipation in this design proposal at a Toronto millwork company included the design

and visualization of a large residential kitchen using modular and custom equipment.

Finish: Matte lacquer

31

My particatipation in this design project at a Toronto millwork company included the 3d modeling and visualization of a series

of paneled rooms using predominantly custom equipment.

Material: Spessart Oak

33

FOUR SEASONS RESIDENCEPANELLING AND KITCHEN MILLWORK PACKAGE, TORONTO, 2015

OPPOSITE PAGE: View of foyer LEFT: View of guest bedroom RIGHT: View of guest

wardrobes

34

35

CURVE CHAIRFURNITURE DESIGN STUDIO, 2014

Curve Chair was designed and constructed in a furni-ture design studio where plywood was a the required building material. Th e design uses the inherent planar quality of playwood to construct a chair of entirely planar surfaces. At the same time, I challenged myself to explore curvature within these planar limitations. Th e legs and frame of the chair are CNC routered to achieve curvature through stencil while the seat and back are of bent plywood construction. Mortice and tenon joinery and interlocking pieces of wood are used so that all joints are concealed.

36

37

Curve Chair, 2013. Baltic birch plywood. Bent plywood seat and back, CNC routered frame, mortis and tenon joinery.

38

39

BIRD AND VINE X, YTHESIS PREPARATION AND RESEARCH STUDIO, 2014

Bird and Vine XY was a response to the challange of creating a 3’ x 3’ vertical surface and a 3’ by 3’ hori-zontal surface to by installed in the Eric Arthur gallery at the U of T Daniels Faculty building. Bird and Vine was a hand woodblock printed wallpaper designed and fi rst sold by William Morris in 1879 and is still in pro-duction today. Bird and Vine X is a book of geometry analysis drawings of the original Morris wallpaper in the style of an oversized wallpaper sample book. Bird and Vine Y is a looping animated fl ash projection of the original wallpaper on a section of plaster and lathe wall. Together, the pieces serve as an exploration in the interpretation and extrapolation of interior decorative elements and the architectural surface as a delaminated and/or layered component.

OPPOSITE PAGE: Bird and Vine X, 2013. Plexiglass, velvet, steel screws, paper. 3’ x 3’ . BELOW: Video still of Bird and Vine Y

40

LEFT: Drawing from Bird and Vine X, showing the secodary cell geometry of the wallpaper, 3’ x 3’ . BELOW: Drawing

from Bird and Vine X, showing the seco-dary geometry of the wallpaper, 3’ x 3’ .

41

43

Iterative video stills of Bird and Vine Y, animated digital projection

44

pull pointsprimary cell geometryprimary geometry

45

black bird secondary grid

Geometry analysis drawings of the original Morris wallpaper (thumbnail versions), Bird and Vine X

constellation

46

PAINTING PRIVATE COMMISSION, 2013

47

Bright Refl ection/Zipper, 2013. Acrylic on canvas, 6’ x 3’. Susan Monteith Collection, Toronto.

48

PAINTING 2009

49

Willow, 2009. Acrylic on canvas. 94” x 55”

50

51

BACK COVER: Secondary Geometry, a pattern drawing from Bird and Vine X, 2013. Plexiglass, velvet, steel screws, paper. 3’ x 3’, please see page 39 for project description.