marc dainow resume/portfolio 2014
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portfolio 2014
M A R CDAINOW
M A R CDAINOW
REFERENCESNicholas Sakata Manager (Memphis Blues) (604) 653-6319 [email protected] Cristina Verissimo Professor (Dalhousie), Principal (CVDB) [email protected]
WORKFeb 2013 - June 2013 Barista/Cashier l Futures Bistro Toronto, ON
Feb 2011 - Jan 2013 Cook/Host l Memphis Blues Vancouver, BC
Sept 2009 - Aug 2010 Server/Bar-back l Bodean’s BBQ Soho London, England
Dec 2008 - Aug 2009 Barista/Cashier l Blenz Coffee New Westminster BC June 2007 - Aug 2008 Gymnastics Instructor l Arenex New Westminster BC
EDUCATIONPresent Bachelor of Environmental Design Studies Halifax, NS Dalhousie University
Sept 2010 - Dec 2012 Music Composition Vancouver BC Simon Fraser University
SKILLS Auto CAD, Rhino, Grasshopper, always learning
Photoshop, Illustrator, InDesign
Model making (conventional/sculptural), and hand drafting
HALIFAX NS B3K 3T32-2091 MAYNARD ST(902) 403-0454
Architectural Design
2002 Serpentine Response Pavilion
This pavilion responds to Cecil Balmond and Toyo Ito’s collaboration for the 2002 Serpentine Pavilion. The idea was to create more intimate spaces by using the same algorithm derived for the 2002 pavilion. Key intersections are pulled down to create inhabitable columns keeping the idea of an open free plan.
The pavilion is wrapped in a durable translucent PVC coated fabric.
Pods are illuminated at night to allow use during evening events.
Mapping out points of intersection in the algorithm provided insight into where the structure could be pulled down.
Iterations were explored considering multi-functionality, size and occupation, and opportune structural moments.
As a general massing, the form wanted to provide enclosure not just inside the pods, but between them as well.
Roof members are extruded to creating contour below, while keeping a drainage plane on top. Drainage happens inside the pods by using some members as gutter pipes (D1) Pins are used as screws to attach membrane to skeleton, (D2). As a temporary structure, the pavilion rests on grade without a permanent foundation.
D1
D1
D2
D2
Mixed Use Row Housing on Waterfront
A design for a housing development on an old working waterfront.
Mixed use row housing follows a wharf building typology and creates public commercial ‘streets’ for tourists and private ‘alleys’ for residents. Porosity between buildings allows for free flow of activities.
Parking is incorporated into the plan using alleys as access points.
A heavy timber post and beam system at the lower commercial level opens up the space, allowing for an internal arcade and possible partitions where loads come down.
Upper two floors use light timber framing system. Exterior walls are one and one half storeys to exclude a knee wall.
Density of the urban plan limits the light that each three storey building will receive. By rotating the service areas, the served spaces are able to receive more direct sunlight, and are oriented towards harbour views.
‘Cuts’ created by rotation provide a private entrance nook for residents along the alley, and continue further into the building allowing for double height spaces.
Community Facility for Halifax Commons and Skating Oval
An idea for a multi -use facility on the Halifax North Commons, which includes a permanent facility for the Nova Scotia Speed Skating team.
Situating the pavilion along the street provides an opportunity to address the South Commons and engage street life into the park. Splitting the pavilion into two distinct buildings creates a plaza that opens up to the skating oval.
1. Skate Change / Movie Theatre 2. Skate Rental 3. Bathrooms 4. Lounge 5. Cafe 6. Office 7. Gym 8. Lounge / Kitchen 9. Bathroom / Showers 10. Janitor Closet / Mechanical Room 11. Ice Resurfacer Garage / Refrigeration Units / Storage
A long-spanning truss roof sits on two ‘ballasts’ that contain programmed spaces. On either side, the extended roof allows for large, fluid and versatile spaces beneath the canopy.
Outside ballasts, spaces are passively heated providing shelter from rain and winds with a variable thermal advantage. On the cafe lounge side, ballasts with a thermal mass collect southern sunlight in the winter months.
1
2
3
4
5
67
89
10
11
Ballasts are composed of masonry unit walls. Within the wall, there is one reinforced bearing layer, a finishing layer, and a cavity for thermal and vapor protection in between.
Steel fins attach roof to ballasts and allow for clearstory glazing.
D1
D2
D3
D4
D5
D1
D2
D3
D4
D5
Design/Build
A public installation that would be attached to a building. It is meant to collect run-off water to ring a bell housed within the structure. The enclosure is made of lightweight thin wood to allow sound to resonate within the structure. Small holes in its exterior to let sound ring out. Project uses mostly found materials in the construction.
Exterior: plywood, corrugated plastic
Interior: fire bell, rubber ball, juice can, bottle, scrap wood, wooden dowel, metal dowel, bolts glued to weight can
21” x 38” x 13”
Rain / Sound
Lamp in Three Parts
A lamp designed for a minimal expression of material and a purity of form.
The lamp constructed of three main parts and is easy to disassemble. Concrete shade is removable and sits on reinforced hinge shoulders. Wooden support is split in two parts to house wiring. Lamp is self supported without the use of pins or glue.
Music Compositions
Walkthrough
Player 1. Long thin found metal object. Played with a hard rubber mallet
Player 2. Found metal gutter drain pipe. Suspended and played with a metal mallet
Player 3. Instrument made of found objects threaded onto fishing twine. One end loose to allow player to adjust tautness of the string. Played by tugging on the light switch or by shaking.
Player 4. Found Circuit board from child’s toy. Played with fingers pressed against nodes of circuit board.
c and d for a fast melodic pattern.
b to add distortion.
a to create phasing effect.
Volume is controlled by pressure applied.
Intrumentation
a
bcd
11
2
3
4
A Note for Players
Time will be kept on a stopwatch easily visible in front of players. Players are asked to loosely follow events at intervals shown. It is understood that events may take longer or shorter than designated, but transitions are asked to occur somewhat simultaneously in the group.
Shake constantly
Distortion
Unusual Articulations
Players are asked to take a walk through the city before the performance, and are asked to engage with the environment while exploring new instruments, articulation and vocal phrasing as it interacts with their surroundings.
Walkthrough
Repeat signs repeat for indicated duration (10s)
Marc Dainow
M A R CDAINOW