Sarah Neault Portfolio 2011

604.353.7210 [email protected]

SARAH NEAULTP O R T F O L I O 2 0 1 1


SARAH NEAULTOBJECTIVETo attain a teaching and/or research position with an innovative architectural design firm or respected institute of higher learning.

QUALIFICATIONS• Three years of work experience as an architectural assistant.• Two years of work experience as a teaching/research assistant. • Seven terms of design studio.• Experienced in customer service and public relations.• Fluent in English and French.• Skilled in model, image and presentation production using AutoCAD, Vectorworks, Revit, Archicad, Rhino3D, Grasshopper, Sketchup, Indesign, Illustrator & Photoshop.

EDUCATIONUniversity of Waterloo, Ontario, Canada:

• Master of Architecture, 2010. (Thesis commended.)• Bachelor of Architectural Studies, Honours Co-op, 2008.

NOTABLE ACCOMPLISHMENTSbohmLAB research group and exhibitions

Three friends and I created bohmLAB—the first student-led research group at Waterloo Architecture Cambridge—in order to further research on the topic of responsive architecture.

Wayfinding bookI am a co-author of this book and my survey, “Mapping the Campus (Using Locative Media),” revealed previously-unseen patterns in pedestrian movement on campus which were incorporated into the final proposal.

rareSiting: Springbank Commons Ideas CompetitionIn the spirit of Musagetes and SIG@Waterloo, the design of this new home for both groups facilitates social interaction within the building as well as between these organizations and the local community. First Place Team: Liana Bresler, Sarah Neault, Allan Wilson.

Graduate surveyFellow graduate student Liana Bresler and I prepared a graduate program “by the numbers” information document and conducted an anonymous graduate program, facilities, and services survey with the goal of initiating constructive student participation in the present and future directions of the School.

CONTENTS PAGERESUME

Highlights

Hilditch ArchitectAjax Affordable Housing

Philip Aziz Children’s HospiceWigwamen Affordable Housing

architectsAllianceTerrence Donnelly Centre

HBEW/ibiThe Pinnacle Museum Tower

Kasian Architecture Ltd.Safeway

Canadian TireBCIT Aerospace Technology

DHAConradi Building

Courtney/Comox Airport

ThesisOn Walking

WayfindingPedestrian Survey

David Johnston DinnerBarn Centerpieces

Research AssistantA+P2 Paper: Sigurd Lewerentz

Creative Problem Sovling

rareSitingSpringbank Ideas Competition

3b - Cultural InstitutionAeolian Vessel

RESUMEEmployment Experience

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Oct. 2006 – Aug. 2007 + Jan. – April 2008Charles Rosenberg, partner, 416.593.6500

Key duties: Design, Research, Competitions, Client meetings, City meetings, Site meetings, Construction management, Consultant co-ordination, Working drawings, Costing, Permits, Specifi cation, Tender, MOHLTC reports.

Software used: Sketchup, PowerCad, Photoshop, Indesign, Illustrator.

AJAX MUNICIPAL HOUSING: AFFORDABLE HOUSING

The Ajax affordable housing apartment building design won the competition put on by the city of Ajax for funding of affordable housing units. The design is sensitive to the surrounding context, a mix of industrial, commercial and civic insitutions, while adhering to a very tight budget.

PHILIP AZIZ CENTRE: CHILDREN’S HOSPICE

From hospice research to design, to zoning, to negotiations with provincial heritage and city planners, I had a the opportunity to meaningfully participate in the architectural process, in close collaboration with one of the partners at Hilditch, Charles Rosenberg. Aside from the functional and regulatory requirements of designing a hospice, successfully integrating the new addition into the heritage landscape was the most challenging aspect of the project. The massing of the addition mirrors the massing of the heritage house while contrasting the weight and “hominess” of the heritage house with a light, airy addition. Creating a space that was psychologically uplifiting for both sick children and healthy children with sick parents was the primary concern. And of course connecting to the outdoors was a natural focus given the park setting.

WIGWAMEN MADISON: AFFORDABLE HOUSING

The Wigwamen Madison proposal was for 90 units of affordable housing for seniors, particularly aboriginal seniors. The principles of design included bringing ample natural light into the units and facilitating the development of a strong community within the building through well-placed and well-organized communal spaces while being sensitive to the view of the property from Casa Loma, a heritage tourist attraction up the hill to the north of the site.

HILDITCH ARCHITECT

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4.3.5 ��

• Establish a comfortable, even intimate relationship with the building site

so that nature and the outdoors add a sense of well-being and of the �

passage of time and cycles of things are made tangible. This can be �

accomplished many ways, from the design of courtyards, gardens, even �

skylights so that movement and presence of the sun and the stars �

connect the residential hospice to the simple pleasures of the world. A �

strong sense of the natural world can also be introduced into the �

buildings through living walls that filter air and water, and contribute to a �

sustainable and green environment. �

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4.3.6 ��

• Sustainable, or green buildings, are designed to conserve energy, water �

and resources, and to reduce the impact of building on human health and �

the environment. These goals can be achieved through many means, �

from better siting, design, choice of materials, and selection of �

mechanical and electrical systems. Green building has a number of �

benefits, including reduced operating costs over the life cycle of the �

building, improved occupant health, and reduced environmental impact. �

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4.3.7 ��

• Memory can play an important role in the way the gardens are designed. �

Flower, herb and vegetable gardens often carry memories but also �

spending time smelling herbs or looking at beautiful blooms, watching �

people pick fresh vegetables for dinner can be a way for residents to feel �

connected, meaningful and part of the world. The metaphor and the reality

of tending one's garden at the end of life emphasize primal connections

between body, land, health, wellness, and the sense of contributing to �

one's own well-being and feeling part of larger systems and cycles.

1. Connection between living/dining and gardens�2. Rear porch - kids playroom�3. Front porch - quiet area�4. Hospice floor park viewing area�5. Life-limiting room porch�6. Life-limiting room park viewing nook�7. Green-roof rooms�8. Park/green roof viewing area�9. Study room/lounge skylight��

a. South elevation - minimal glazing�b. North-west corner - tripled paned, argon-filled, low-e glazing�c. East elevation - minimal glazing�d. Permeable paving and memory gardens (flower/vegetable/herb)�e. Shade trees�f. Green roof

2nd Floor

3rd Floor

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4.5.1 ��

Each Resident Home Area must be a self-contained, clearly defined unit...�

Every Resident Home Area must include bedrooms, washrooms, bath and shower �

rooms, dining area, lounge area, program/activity space, staff work space and �

storage space for that area. �

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4.5.1.1 ��

The resident bedroom is the centre of the resident�s personal space where �

the most private activities take place - sleeping, grooming and dressing. It �

must meet each resident�s need for comfort and safety, promote resident �

independence and dignity, and provide for resident privacy. Each bedroom �

must be designed in a manner that maximizes a sense of familiarity for �

residents and supports direct care staff in the safe delivery of quality resident �

care. �

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• All resident bedrooms must contain either one or two beds. �

• Every bedroom must have an ensuite “barrier-free” washroom that �

contains, at a minimum, a sink and a toilet. The entrance to the �

washroom must be from within the bedroom itself (which includes the �

vestibule). �

• Each bedroom must have a clothes closet for each resident (at least six �

square feet of floor space with sufficient height and depth to store and �

hang clothes. �

• Each bedroom door must be a minimum width of 44 inches. �

• In each bedroom, there must be sufficient space to provide access by �

caregivers and specialized program equipment to three sides of the bed,

that is, to both sides of the bed and the foot of the bed.�

At this time, the section of the Hospice Association of Ontario (HAO) How to Develop a Community Residential Hospice Handbook has not been drafted. ��

The following (section 4.5) is excerpted from the Long-Term Care Facility Design Manual, Ministry of Health and Long-Term Care, May 1999. It is our understanding that the architectural section of the HAO guidelines will be based on the long-term care facility design guidelines.

Typical resident bedroom and bathroom��

1. Clothes closet�2. Resident storage

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3.4.1 “The Governor�s House is adaptively re-used for community uses...The landscape is restored �

with new plantings that supplement existing significant and healthy trees and provides a �

landscaped connection from Riverdale Library to the Governor�s House and new public park. �

The landscape highlights views of the Governor�s House from Gerrard Street East, the public �

park and the new North-South Street connecting Don Jail Avenue to Bridgepoint Drive. ” �

(Bridgepoint Health - Don Jail Site Master Plan Design Guidelines; October, 2005; Urban Strategies, Inc.)�

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3.4.2 We're very conscious of letting the Governor's House stand out as an object against �

the new addition and preserving (and restoring) its appearance from Gerrard Street.� �

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3.4.3 We've necked the connection between the addition and the Governor's House in �

order to allow it to be read as�independent both from the south and west views (the �

views from Gerrard Street.� �

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3.4.4 The east view is almost entirely blocked by the library, which is why we've placed our �

stair and elevator core on that side.� �

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3.4.5 From the north, currently the rear of the Governor's House, we've strived to create a �

new front, better orienting our building to the new development.� We are particularly �

interested in making a beautiful termination to the proposed new street.�We envision �

the addition as a light, modern pavilion in the park.��

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3.4.7 Our goal is to provide an additional use within the new development that is �

complimentary to the goals of Bridgepoint Health - "to provide people living with �

complex health conditions and disabilities with�the best quality of life possible at �

every stage of health and minimize the impact of�disease and disability on �

individuals and society as a whole" - while ensuring the continued preservation of �

two important historic buildings by re-occupying them.�

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a. Governor's House - Children's Home�b. Gatehouse - PAC administration�c. Historic Don Jail - Bridgepoint Health�d. New Building 'D' - Mixed Use�e. Riverdale Library��

1. Connection to Bridgepoint Development�2. Main Entrance�3. Symbolic Entrance

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Jan. – Sept. 2006Deni Papetti, associate, 416.593.6500

Key duties: Deficiencies, As-built drawings, Working drawings.

Software used: AutoCAD, Excel.

TERRENCE DONNELLY CENTRE (CCBR)

This is a beautiful building! I did deficiencies and as-built drawings, which allowed me to spend an extended period of time both looking closely at the recently-constructed building and at the drawings that got it built.

architectsAlliance

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May – Aug. 2005Salim Narayanan, Architect, 604.683.4376

Key duties: Working Drawings.

Software used: AutoCAD.

PINNACLE MUSEUM TOWER

The Museum Tower is the tallest residential tower in San Diego; designed in association with Austin Veum Robbins Parshalle. I spent my term with HBEW doing tenant improvement working drawings.

HBEW/ibi

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Sept. – Dec. 2004Jason Wexler, Architect, 604.683.4145

Key duties: Graphic design, Design development, Model building.

Software used: Vectorworks, Photoshop.

SAFEWAY: Site Planning.

CANADIAN TIRE: Poster Design.

BCIT AEROSPACE TECHNOLOGY CAMPUS

The design of BCIT’s new Aerospace Technology Campus posed numerous challenges, including proximity to highway frontage, its position on an overhead flight path and its planned location on a sloped, triangular site. I worked on design development, diagrams, presentation drawings and the 3D model.

KASIAN ARCHITECTURE

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Jan. – May 2004Tom Dishlevoy, partner, 250.339.9528

Key duties: Design, contract administration, site visits, word processing.

Software used: AutoCAD.

CONRADI BUILDING

I drew the final presentation drawings for this very west-coast style multi-use building featuring a large, open-plan bakery/cafe on the main floor.

COURTNEY/COMOX AIRPORT

The construction of the airport was already underway when I joined DHA. I drew tenant improvement drawings as well as helping with contract administration, including CD’s, CCO’s, CO’s, and site inspection reports.

DHA

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On WalkingWaterloo Architecture, 2008 – 2010

Supervisor: Donald McKay, associate professorCommittee: Robert Jan van Pelt, university professor

Anne Bordeleau, assistant professorExternal Reader: Dieter Janssen

Key references: Guy Debord, Francesco Careri, Rebecca Solnit, Achim Menges, Michael Weinstock, Alejandro Zaera-Polo, Jaron Lanier, Steven Johnson, James Suroweicki, Jeffry Kipnis, D’Arcy Thompson, A.N. Whitehead, Giambattista Vico, Gary Snyder, Walt Whitman, William and Dorothy Wordsworth, Jane Austen, Henry David Thoreau, Jean-Jacques Rousseau, John Muir...

Software used: Rhino3D, Grasshopper, VBScript, SketchUp, AutoCAD, Arduino, MaxMSP, Processing, Keynote, PowerPoint, Indesign, Photoshop, Picasa, Flickr, Hindenburg Mobile, TweetDeck, ReelDirector, SketchBook, Google Earth, Google Maps, Posterous Blogs, Blogspot Blogs, FinalCut Express, EvoCam, iMovie.

ABSTRACT

Imagine the anatomy of architecture as a complex system, where the form is the result of generative processes, the material properties of the components, and their patterns of assembly.

Within this paradigm, surface is that part of the system which exchanges energy, information, and materials with the local environment. How does human occupation of a space offer energy, information, or material to the system-building, and how can the surface best vector these exchanges?

Walking could represent human occupation in this context. I choose my walker’s lineage and declare my interest, as an architect, in empathetic space. I explore the history of bipedalism, of the path as an architectural object, and of the sciences, philosophies and poetries of walkers. And I browse through contemporary architectural discourse pertaining to emergent design methodologies. Along the way, I test my proposal in two experiments: one complete, and one in progress...

THESIS

C O N T E N T S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . V I I

C O N T E N T S

a Declarationan AbstractAcknowledgements!List of Figures

Preface

MOVEMENT 1: HOMO LUDENS INTERLUDE: BOTANIZING ON THE ASPHALT

MOVEMENT 2: WALKERSThe Building as OrganismA GlossaryEmergence, Self-Organization and ArchitectureAnother GlossaryMountains and Rivers Without End

INTERLUDE: WAYS OF WALKING MOVEMENT 3: EXPERIMENTSA Secret TheatreMapping the Campus (Using Locative Media)The Fleeting and the Infinite

THE PATH AS ARCHITECTURAL OBJECT

Postscript

NotesBibliography

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W A L K E R S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 8

EMERGENT MATERIAL METHODOLOGIES

Kudless has established himself as a prominent figure in a new generation of architectural researchers whose investigations traverse physical “self-organized” production and computational processes; their material systems use pattern and surface differentiation to produce gradients of performance that transcend the atelier tradition of experimentation with arrangements of materials stressed to produce stable organizations.

Michael Weinstock, “Surfaces of Self-organization,” 2006.60

“p_wall,” Andrew Kudless, 2006.From top to bottom, left: initial pattern, array of points (density correlated to grayscale value), panel distribution; right: dowels to restrain fabric located at points from step 2, plaster poured into elasticated fabric mould, final form.

AS I CONSIDER THESE EXPERIMENTS ... These examples offer a toolkit of potential methods through which to investigate how a build-ing can gather and release information, material or energy (the possible inputs/outputs of the building-organism), but I find myself wondering how human occupation of a space offers energy, information, or mate-rial to the building-organism, and thus how the surface can best vector these exchanges.

I think walking is a good place to start looking for occupant offerings of energy, information, and maybe even material. Walking is already our tool (we, the members of crowd-organism) for bringing spatial or-der to a shifting territory—we used it once, long, long ago as we walked the spatial order of the path into existence, and it must remain embed-ded within us. The message is not new but we are developing new ways of sending and receiving and organizing our architecture, ways of de-stabilizing it. And so, to bring occupants back into this unstable place, I imagine coordinating the place’s instability with the innate ability of the occupant to construct a new order.

My point, for the purposes of this wander, is this: we (architects) should figure out how to design our buildings to sense walking, or speak walking, so that the occupant and the building can start to have a useful conversation (via matter and energy photons, turbulence, and the “tone” of vibrations emanating from ox-breathing?).

I WALLOW HAPPILY in the thinking part of design—as I imagine do other architects who work in the building-organism paradigm—the working-through and arguing-for, and I suspect that I (and they?) se-cretly want to preserve this muckiness past the point of diagrams and construction drawings, oozing uncertainty through actual construction and into the lives of the occupants, the people – into the real world!

E M E R G E N C E A N D A R C H I T E C T U R E . . . . . 4 910

“HEELS DOWN” I REMIND MY PUPILS, six little girls trotting around on fat lazy lesson ponies, unwittingly asking them to take ad-vantage of the formidable form of the talus in their efforts to adapt their bipedal bodies to the motion of their quadrupedal mounts. The ball of the foot is balanced on the stirrup, the heel pressed down to stabilize the ankle joint and free the hip and knee joints to absorb the energy of the horse—those joints being much better-suited to that purpose than the ankle.

MY LONG, STRONG, STRAIGHT, AND SLENDER TIBIA, the weight bearing bone of my lower leg, accepts the force of the ground via my talus by widening at its base, and transfers it to the largest and longest of all the bones in my body, my femur, with another enlarge-ment at its head.114 According to Maurice H. Herzmark, author of “The Evolution of the Knee Joint,” this joint between tibia and femur, my knee, is the largest and most vulnerable joint in my body.115 Despite being uniquely adapted to be weight-bearing at full extension, shaped for stability and protected by the patella, my knee is inherently prone to injury.116 It accepts a force four times the weight of my body at every

“FIG. 290— Skeleton of foot. Medial aspect,” Gray’s Anatomy, 1973.

E X P E R I M E N T S . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 0 4

step117, transferring that force from my vertical tibia to my angled femur, angled such that it brings my knee under my centre of gravity—a cru-cial structural development in my ancestors’ ascent to bipedalism.118

The declaration of Owen Lovejoy, functional anatomist and expert on human locomotion, that Lucy’s knee “is like a modern knee joint. This little midget was fully bipedal,”119 became the accepted verdict120 confirming the little Australopithecus afarensis as the great-great grand-mother of my impotent ancestor Abel the Wanderer, and unofficially ordaining Lucy as the Mother of all walkers.Lucy is a 3.2-million-year-old Australopithecus afarensis skeleton

found in Ethiopia in 1974 who, it has been theorized, retained her pri-mate ancestors’ ability to climb trees—a talent long since selected away in favour of the copious advantages of walking—but had the wide, shal-low pelvis and the adducted knees of a Walker.121 I wonder about the shape of these adducted knees; about the contradiction between a shape which is so powerful as to permit a characteristic which defines the hominid genus, bipedalism, while being so vulnerable as to expose an individual member of that genus to the risk of being unable to par-ticipate in the basic human act of walking. Is the shape unfinished? Still being moulded by the forces acting upon it? And I wonder at the marvellous side effect of bipedalism, human consciousness122, which permits that disabled individual to compensate for the vulnerability re-sulting from the adduction of the knee—which Mother Lucy accepted in exchange for the Walk—through knowledge, wisdom, and imagina-tion. I will return to Lucy, and the unintended side consequences of selection in favour of bipedalism in due time; for now let us rejoin our wander along the path of the force of the ground against my heel as it continues to travel upwards, from knee to pelvis.

The valgus angle—the angle of my femur out from knee to hip which brings my knee under my centre of gravity—has changed the shape of the head of my femur compared to that of my quadrupedal ancestors, making mine shorter, broader, and more obliquely angled than theirs.

A S E C R E T T H E A T R E . . . . . . . . . . . . . . . . . . . . 1 0 511

T H E F L E E T I N G A N D T H E I N F I N I T E . . 1 3 9

“Tentacle Prototype 7.6.” Constructed using components formed from polyethylene foam “pool noodles” strung on bungee cord with Nitinol “muscle” wire “tendons.” Dimension of components: 107mm high x 65mm diameter, 15o bevel, total length of tentacle: 1924mm. Full scale model.

THE DESIGN OF THE TENTACLES involved a (somewhat) system-atic exploration of the material properties of readily available (i.e., at the local hardware/dollar/surplus store) and affordable components which I imagined—I was regularly proven wrong—would assemble into flex-ible hanging columns capable of both occupying a minimal amount of space and inscribing a relatively large architectural volume. As I ex-perimented I tried to understand the principles of kinematics pertain-ing to continuum robots in order to both choose appropriate prototype components and describe the material properties of those components mathematically in Grasshopper.

Though not yet tested, the latest incarnation of the tentacle is based on a prototype constructed of small bevelled rubber washers originally manufactured for plumbing applications. Of all of the prototype materi-als I tested (poker chips strung on bungee cords, flexible dryer ducts and detachable swivelling faucet heads, to name a few) these washers offered the best combination of a simple form, easily replicable at full scale using the resources available in the school’s traditional and digital workshops, which, when assembled into a tentacle, inscribed relatively predictable (and rather pleasing) shapes in space. I fabricated a scaled-up version of the rubber-washer-tentacle using cylindrical polyethylene foam pool noodles (which are lightweight, suitably dimensioned, and easy to cut and shape). The form of the components has since been refined, described to Grasshopper and fabricated, now awaiting yet an-other round of—increasingly rewarding—testing, checking, and revis-ing.

SENDING/RECEIVING/ORGANIZING (LIFE?) For a moment or two twenty-five tentacles will hang lifelessly from the ceiling, inscrib-ing a cube in the centre of a gallery (the setting, I expect, for a modern promenade). There will be, provisionally, a half a meter between them —making them far enough apart to invite occupation of the field and close enough together to incite physical interaction with it—and the

E X P E R I M E N T S . . . . . . . . . . . . . . . . . . . . . . . . . . 1 3 812

Jan. – Jun. 2010Wayfinding Project, University of Waterloo

Project Director: Donald McKay, associate professor 416.458.9675

Key duties: Survey design, Proposal, Presentation, Survey co-ordination, Data management, IT support, Survey report.

Software used: iTunes, iPhone, Picasa, Flickr, Hindenburg Mobile, TweetDeck, ReelDirector, SketchBook, Google Earth, Google Maps, Posterous Blogs, Photoshop, Indesign, OpenOffice, Keynote.

MAPPING THE CAMPUS (USING LOCATIVE MEDIA)

Proposal: People are always working out ways of walking through campus, skirting around new buildings, towards a faculty not yet visited. So, rather than a map of the asphalt and paver paths already installed on campus, and rather than (or in addition to) adding names to these paths to orient users, or providing addresses or branding with fonts or colours or what have you, what I envision is a map of the paths people use, persistently updated and tagged with text, photos, audio, and video (all searchable, of course).

The goal is to shift from a top-down map to a bottom-up map: in lieu of (or in addition to) a map measured and drawn and organized with layers of names and map icons, the Pe-destrian Survey will generate a map which traces/tracks the space that is occupied, and col-lects some record of the things that happen in that space. With a good interface, this cloud of user-generated data will revolutionize wayfinding in a persistently changing place.

I proposed using iPhones to collect GPS and accelerometer data in order to trace in 4d (x, y, z, and t) the paths of people exploring main campus while taking photos, sketching, and writing about what they sense and what “senses” them (imagining the campus as an organism: sending/receiving/organizing). The paths followed were then collected into an online Google-Earth-based database and annotated with geotagged information (tweets, photos, sketches and video and audio recordings).

Methods: I hired twelve graduate students from the Waterloo School of Architecture, se-lected for their expertise in spatial narrative, photography, place analysis and/or social media, to explore the UW main campus and record their experiences using iPhones.

PEDESTRIAN SURVEY

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THE GOOGLE EARTH FILE

Here is a link to the Google Earth file containing all of the links to the media generated during the “Mapping the Campus Using Locative Media” pedestrian survey.

“uwmaphowto.posterous.com/uwmapped-the-google-earth-file-0”uwmapped.kmz (22-05-10)

Instructions: Download and install Google Earth and open the “uwmapped.kmz” file. This file contains hard copies of all of the GPS files as well as links to photos, audio files, videos, Photosynths and more (an internet connection is required to view all but the GPS tracks).

Results: The pedestrian survey produced a new kind of map. The University of Waterloo now has a prolific (1747 unique, 4724 total posts) geo-located web presence on popular social networking and image/video sharing websites, exploiting this popular new feature available on the increasingly ubiquitous smartphone. This map is immediately accessible to the public and can be actively promoted by the University as a method of wayfinding. This digital presence has been produced by carefully selected graduate students in architecture, who have produced high-quality work likely to generate some popular interest and hopefully initiate further participation by the university community.

Google Earth image showing all GPS tracks collected during Mapping the Campus (Using Locative Media).

Aug. - Sept. 2010Rick Haldenby, O’Donovan director, 519.888.4567 x84544

Key duties: Design, Graphic design, Presentation, Budget, Fabrication (laser-cutting and printing).

Software used: Sketch-up, Rhino3D, AutoCAD, Photoshop, Indesign.

DAVID JOHNSTON THANK-YOU CELEBRATION

Three members of bohmLAB (Abe Galway, Sarah Neault, and Tyler Walker, plus an additional friend, Ian Huff) were hired to prepare installations for the dinner celebrating David Johnston’s accomplishments as president of the University of Waterloo. The theme of the evening was “barn-raising,” so I designed and fabricated laser-cut plywood centerpieces composed of nine pieces which were assembled collaboratively by guests into small “tab-and-slot” barns.

DAVID JOHNSTON EVENT

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Taken together, these goals put a new spin on a very old idea that is familiar to anyone who lives in this region – helping your neighbours raise their barn. It is a tradition of working collaboratively to accomplish what an individual cannot; in coming together as a community, with each doing his or her part to raise the barn, whatever that barn may represent, without regard to personal benefit. Adding value through community efforts.

- David Johnston, 2009

Jan. – Sept. 2009Fred Thompson, professor emeritus, 519.546.6773

Key duties: Editing, Proposal writing, IT support, Graphic design, Course management.

Software used: Photoshop, Indesign, OpenOffice, Keynote, EvoCam.

A+P2:SIGURD LEWERENTZ’S VISION OF FUNERAL ARCHITECTURE

During the first term I worked for Fred Thompson, I assisted in the preparation of a paper on Lewerentz’s funerary architecture for the 2009 A+P2 architecture and phenomenology conference in Japan.

CREATIVE PROBLEM SOLVING

For the second term as Fred Thomson’s RA, I proposed and organized the revival of his two-part Creative Problem Solving course (Basic and Advanced) and developed a new wireless webcam set-up to replace an obsolete video-camera/VCR configuration.

Course Description: When we react we very often do so to establish our individual point of view or, better still, to protect it. To do this we become sensitive to the problem and aggressive to others. A child psychologist made the statement that each time a child reacts she loses the chance to increase her intelligence, and each time she transforms a situation she increases her intelligence.

... The Japanese very often approach problem-solving through being sensitive to others and aggressive to the problem. This could be called a creative approach to problem solving in which: more innovations are possible, nobody is a loser, and the community of people can enjoy the results.

Creativity isn’t something that can be taught. What we can learn is how creativity is discouraged until we don’t notice it any more.

The basic course is a five day full-time course which introduces a maximum of eight people to the practice of group problem-solving using the techniques developed by G.M. Prince and W.J.J. Gordon and their associates who are devoted to invention, research in inventive process, and teaching.

RESEARCH ASSISTANT

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Opening EvoCamFrom Finder double-click on Crea�ve Se�ngs in the Crea�ve Problem Solving Session x folder on the external hard drive - this will open EvoCam with the saved se�ngs for this course.

Note: Some�mes four EvoCam windows open (instead of three). Simply click on the red circle in the top le�-hand corner of the EvoCam 4 window, choose Discard and click Ok.

Recording a Mee�ngFollow these steps to record a problem-solving mee�ng

In System Preferences:Under M-Audio MobilePre USB, uncheck Mute in the Direct Monitor column.

In EvoCam: Under the Recording tab, click Start on all three windows (EvoCam 1, EvoCam 2, EvoCam 3).

Recording will appear in the top-le� corner of each Evocam window.

[Mee�ng]

Quick Start Guide

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Chapter 1 The Basics 9

Under the Recording tab, click Stop on all three windows (EvoCam 1, EvoCam 2, EvoCam 3).

Note: All three movies will open automa�cally in QuickTime.

In System Preferences: Under M-Audio MobilePre USB, check Mute in the Direct Monitor column.

Playing Back the MoviesFollow these steps to playback the recorded problem-solving mee�ng

In QuickTime: Click on all three movie windows to pause the movies. Drag each window over its corresponding EvoCam window.

Click and drag on the �meline of each movie un�l the �me indicated in the bo�om le� of all three movies is synchronized.

Tip: When synchronizing the movies, leaving a five-second delay between movies is typically enough to permit synchronized play. (ie., set movie 1 to 12:00:00, movie 2 to 12:00:05, movie 3 to 12:00:10)

Click on each movie window to play the movies.

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8 Chapter 1 The Basics

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Jan. – Sept. 20091st Place Team: Liana Breseler, Sarah Neault, Wes Wilson

Key duties: Research, Conceptual design, Design development, Site plan, Text.

Software used: Photoshop, Indesign, Illustrator, VectorWorks.

SPRINGBANK COMMONS IDEAS COMPETITIONBUILDING SOCIO_ECOLOGICAL INFRASTRUCTURE

The new facility for Musagetes and SIG@Waterloo at Springbank Commons is an opportunity to build an environment which encourages social innovation through social interaction and connection with the natural world.

The integration of the building’s floor plates into the slope creates a visceral topographical experience for the occupants. The flow of water over and through the building integrates the facility into the site’s hydrological systems, while raw thresholds between site and building at secondary entrances articulate the edge between the built and natural environment.

In order to harness the sun’s energy for daylighting and heating, the building is carefully oriented and openings are located precisely. A geothermal system also draws and releases energy from the surrounding soil for additional heating and cooling requirements. Planting of native species in and around the building minimizes site maintenance and supports the complexity and sustainability of the micro-environment allowing local flora and fauna to flourish.

A viewing tower emerges from the hinge between the exhibition and research wings above the main entrance. Accessible from the both the exterior and interior, the tower is both a beacon to local residents and passers-by and a platform from which to view the Rare Charitable Reserve and its place within the local community and environment.

In the spirit of Musagetes and SIG@Waterloo, the design of this new home for both groups facilitates social interaction within the building as well as between these organizations and the local community.

Encouraging random encounters and paying attention to your neighbour are two techniques for fostering complexity and emergence in social groups. The exhibition space does double-duty in this regard, acting as both lounge space anchored by the fireplace and kitchen and as exhibition space for viewing one another’s work. The design also privileges cross-views between the organizations’ work areas and between the work areas and the public areas of the building.

rareSITING

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summer exterior view of office exits

exhibition and lounge spaceatrium space and central stair

site and building section (a) 1:200

CONTROLLED PUBLIC ACCESS THROUGH GROUND/FIRST FLOOR

site and building section (b) 1:200

site and building section (c) 1:200 water management strategyventilation strategy

to front marsh area

potential p.v. screen and wind harvesting stack

cistern

central roof gutter

1 entrance and reception2 lounge exhibition space3 fireplace4 kitchen5 closet/bench6 storage7 mechanical room (water collection and treatment)8 public w/c_men9 public w/c_ladies10 storage

11 MEETING ROOMS12 OPEN PLAN OFFICE (FUTURE EXPANSION)14 OPEN PLAN OFFICE15 OFFICE SUPPLIES/COPIER16 UNISEX WC_ WITH SHOWERS17 OBSERVATION TOWER ENTRANCE

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RARE SITING:BUILDING SOCIO_ECOLOGICAL INFRASTRUCTUREThe new facility for Musagetes and SIG@Waterloo at Springbank Commons is an opportunity to build an environment which encourages social innovation through social interaction and connection with the natural world.

The proposed building is embedded in a hill overlooking the Grand River and the future site of the Rare Interpretive Centre. The integration of the building’s floor plates into the slope creates a visceral topographical experience for the occupants. The flow of water over and through the building integrates the facility into the site’s hydrological systems, while raw thresholds between site and building at secondary entrances articulate the edge between the built and natural environment.

In order to harness the sun’s energy for daylighting and heating, the building is carefully oriented and openings are located precisely. A geothermal system also draws and releases energy from the surrounding soil for additional heating and cooling requirements. Planting of native species in and around the building minimizes site maintenance and supports the complexity and sustainability of the micro-environment allowing local flora and fauna to flourish.

The existing farm house, stripped of its roof and interior finishes becomes a public pavilion, where the ruins of the house serve as infrastructure for a new small eco-system. Viewed form the new facility, the farm house becomes an artefact in the landscape recording the passage of time and the continued rehabilitation of the Rare site.

A viewing tower emerges from the hinge between the exhibition and research wings above the main entrance. Accessible from the both the exterior and interior, the tower is both a beacon to local residents and passers-by and a platform from which to view the Rare Charitable Reserve and its place within the local community and environment.

In the spirit of Musagetes and SIG@Waterloo, the design of this new home for both groups facilitates social interaction within the building as well as between these organizations and the local community. Encouraging random encounters and paying attention to your neighbour are two techniques for fostering complexity and emergence in social groups. The exhibition space does double-duty in this regard, acting as both lounge space anchored by the fireplace and kitchen and as exhibition space for viewing one another’s work. The design also privileges cross-views between the organizations’ work areas and between the work areas and the public areas of the building.

interior of springbank common fish pond and bio-filter in foundation of modern addition

rare charitable reserve

springbank commons

wetlands

interpretive centre

WINTER EXTERIOR PERSPECTIVE

site plan 1:500

SUMMERTIME SOLAR DECLINATION WINTERTIME SOLAR DECLINATION

JUNE 21, 9AM DECEMBER 21, 9AM

JUNE 21, 1PM DECEMBER 21, 1PM

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1 bicycle parking (20) 2 car parking (10)3 private terrace4 water collector trough5 native plant species wetland6 ramp to tower7 native plant species forest garden8 permeable pavers9 public terace (under overhang)10 geothermal field11 existing well12 public 3 season pavilion13 existing septic tank14 water remediation pond15 creek

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ʻDeath and the ʻDeath and the ʻDeath Maidenʼ and the Maidenʼ and the – SchubertMaidenʼ – SchubertMaidenʼ

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3A Studio, 2005: Cultural InstitutionGroup members: Dea Blaghoeff, Sarah Neault, Lisa Rajkumar-Maharaj

Materials: Beeswax, Copper wire, Plaster, Wire, Cloth mesh.

A SCULPTURAL RESPONSE TO A SHORT SELECTION FROM SCHUBERT’S DEATH AND THE MAIDEN

This piece is raw and organic. It is Light and glowing ecstasy at that moment of splendor – where dark woos light and light teases dark – both rising and falling in encapsulating agony and euphoria.

In the seconds before the clip we selected, there is in the music a distinct differentiation between the cello and the violin; the cello is more seductively legato and the violin is a fl irtatious staccato. At the moment our clip begins, however, the instruments reach a disorienting climax where the preamble is over and the conclusion of the music is ambiguous as the cello and violin alternate rhythm and tone - most aptly captured by the idea of ‘bittersweet seduction.’ The instruments escalate and precariously balance on a precipice of immediacy and resolution.

Our form responds to this music by suspending a hollow beeswax form of a female torso with the plaster cast it was formed in also suspended around it to give the idea of tearing and release. It is positioned with the idea of falling and disorientation. Beeswax was used for its overpoweringly sweet scent that is seductive and organic. An important aspect as well of the sculpture is its view of interior and exterior of the body and this suggestion of the experience and a sultry external one that is simultaneously tumultuous and dripping on the interior. The copper wires that suspend the form were embedded in the layers of bees wax and then strung out taut to invoke the sense of being stretched and agonized in a rapturous manner. Another element of the piece is its positioning to allow light to fl ood the beeswax form and make it glow in parts from the inside out accentuating the all-encompassing and explosive experience.

To form the beeswax sculpture a nude plaster cast was taken of one of the group members. Then layer-by-layer the beeswax was poured into the plaster mold. Thick wire ribs were added halfway into the beeswax sculpture, to which the copper wire was attached. A layer of cloth mesh was also added for additional rigidity within the form. About 15 pounds of beeswax later the form was left to solidify and cool fi nally and then the plaster cast torn off. It was then hung with its plaster counterpart and light studies carried out.

AEOLIAN VESSEL

Oct. 2006 – Aug. 2007 + Jan. – April 2008: Architectural AssistantHilditch Architect (Charles Rosenberg, partner 416.593.6500)

Design, research, competitions, client meetings, city meetings, site meetings, construction management, consultant co-ordination, working drawings, costing, permits, specification, tender, MOHLTC reports, Sketchup, PowerCad, Photoshop, Indesign, Illustrator.

Jan. – Sept. 2006: Architectural AssistantarchitectsAlliance (Deni Papetti, associate 416.593.6500)

Deficiencies, as-built drawings, working drawings, AutoCAD.

May – Aug. 2005: Architectural AssistantHancock, Bruckner, Eng and Wright (Salim Narayanan, Architect 604.683.4376)

Working Drawings, AutoCAD.

Sept. – Dec. 2004: Architectural AssistantKasian Architecture Ltd. (Jason Wexler, Architect 604.683.4145)

Graphic Design, Vectorworks, Photoshop, design development, model building.

Jan. – May 2004: Architectural AssistantDishlevoy and Hagarty Architects (Tom Dishlevoy, partner 250.339.9528)

Design, AutoCAD, contract administration, site visits, word processing.

SARAH NEAULTEMPLOYMENT HISTORY: ACADEMICAug. - Sept. 2010: David Johnston Thank-You Celebration CentrepiecesUniversity of Waterloo (Rick Haldenby, O’Donovan director 519.888.4567 x84544)

Three members of bohmLAB (Abe Galway, Sarah Neault, and Tyler Walker, plus an additional friend, Ian Huff) were hired to prepare installations for the dinner celebrating David Johnston’s accomplishments as president of the University of Waterloo. The theme of the evening was “barn-raising,” so I designed and fabricated laser-cut plywood centerpieces composed of nine pieces which were assembled collaboratively by guests into small “tab-and-slot” barns.

Jan. – Jun. 2010: Research AssistantUniversity of Waterloo (Donald McKay, associate professor 416.458.9675)

Designed and executed “Mapping the Campus Using Locative Media,” a pedestrian survey for “Emerging Responsibilities: A Signage and Wayfinding Strategy at the University of Waterloo.” Research, mobile technologies, graphic design, presentation, small-group management.

Jan. – Sept. 2009: Research AssistantUniversity of Waterloo (Fred Thompson, professor emeritus 519.546.6773)

Proposed and organized the revival of the Creative Problem Solving course and developed a new wireless webcam set-up to replace an obsolete video-camera/VCR configuration. Assisted in the preparation of a paper on Lewerentz’s funerary architecture for the 2009 A+P2 architecture and phenomenology conference in Japan.

Sept. – Dec. 2009: Teaching Assistant (Arch 100: Introduction to Architecture)University of Waterloo (Donald McKay, associate professor 416.458.9675)

Jan. – Apr. 2009: Teaching Assistant (3rd year Studio)University of Waterloo (Philip Beesley, associate professor 416.766.8284)

EMPLOYMENT HISTORY: PROFESSIONAL

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Sarah Neault Portfolio 2011

Documents

Transcript of Sarah Neault Portfolio 2011