Interior Design Thesis Project - Book 1 of 2

H T U O Y R y E t T i N E un C Y T I N U M M s t CO r A n a b r u for

Figure 1: Ashley Desa, 2015

Humber College Institute of Technology and Advanced Learning Bachelor of Interior Design

Ashley Desa Thesis Booklet Vol.1 December 1, 2015 Revised April 14, 2016

ABSTRACT

3 EXISTING STATE

13 FUTURE STATE

37 CONTENTS

Problem Statement Project Outline Client and User Profile

Site Analysis Unity Existing Facility

Future State Sustainable Approach Conceptual Approach Programming

SUMMARY OF EVIDENCE

62 CONCLUSION

76 APPENDCIES

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A: Survey B: Precedent Studies C:Observational Studies D: Interview with Mike Prosserman E: Free & Informed Consent Form F: Work Cited List & Image Sources G: WriteCheck

ABSTRACT

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Problem Statement Project Outline Client and User Profile

Problem Statement

As a student, education is very important to develop a community, a nation and the world. Education has a large impact in all societies. However, when reading recent news articles, it seems otherwise. With recent closures of youth centres and the constant strikes happening within the local school boards, it is evident that these major cuts are have a large impact on students. These include no extra-curricular activities, no school trips, no parent-teacher interviews or no homework until further notice. It is unfortunate for the children, youth and the parents to go through these situations seeing as they have no control over the situation. As a student, all these cuts that

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are being made were the reason school was enjoyable. In younger years, participating in sports and other extra-curricular activities such as clubs, helped to develop growing interests. For students now, it is difficult to develop interests that are not even available at the school.

Along with youth center closures due to government budget cuts and insufficient funding, the children and youth today will suffer immensely. The future of the world relies on children and the youth of today to strive for the better to push society forward. If these cuts continue, the future will be more at stake.

Figure 2: Unity Charity Festival , 2013

Project Outline

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From these current issues being faced in Toronto within the education sector, to provide the community with an institutional/corporate space where the youth ranging from ages 10 to 18, can participate in extra-curricular activities. This spatial environment will provide a comfortable outlet as a method to express recent interest’s specific to the arts within hip-hop culture. This youth centre will provide an inviting presence to the youth to meet and develop relationships with other young people who share the same interests. Encouraging youths to strive to exert the highest potential and strive for a successful future by implementing a program to focus on career building for youths. The corporate aspect of this institution is to provide parents, educators, directors, administration, staff and volunteers an open office space catering to different types of office users to develop and organize programs and funds to ensure that youths strive for success with the facilities and programs offered at the institution. The goals of the space is to provide the users of the private and public studio spaces that provide comfort to workshops and classes that are being held for topics such as graffiti, mc-ing, dj-ing and breakdancing. This facility will also pro-

vide impromptu performance areas, indoor-green lounge and impromptu lounge spaces, gallery space, and classrooms for youth, volunteers and employed artists. For Corporate open-concept offices and meeting areas to provide an active, creative and collaborative work environment for Board of Directors, CEOs and program facilitators (artists).

Located in the Downtown Toronto core, 21 Ossington Avenue is a two storey facility with 1200 sq. metre that is classified to be in a primarily commercial residence area. This mixed use community has access to large green open spaces that can be found a block north, south, east and west of the site. These green spaces that can be found are as Trinity Bellwood Park, Osler Park, Paul Garfunkel Parkette and Lawrence Avenue Parkette. The youth student centre can thrive on the local schools such as Givins Shaw Public School and Senhor Santo Cristo Elementary school that can be found a block away from the site. With the development of this area in the arts and amongst youth today, it can be viewed as a very accessible location to youth living in suburban area like Scarborough,

Ajax and Whitby since located directly outside of the site is a TTC bus shelter. Since most youth use public transportation to get around the city, the direct access to TTC to and from the site is beneficial. This site has potential since youth facilities are quite far in every direction and the idea of being in walking distance for the schools are ideal for students as well as the developing residential and commercial communities surrounding the site. The current student demographic in this area, families do not have as much money which means that youth are provided with less opportunities. An observation of limited to none youth centres within the vicinity showed lost opportunities to local families and students attending school within a five mile radius of the building location. These limited facilities that can help youth can be identified as Artscape YoungPlace, Trinity Bellwood Community Recreation Centre and Trinity Bellwoods Tennis Courts.

The community will thrive if more opportunities were provided in this specific area. 21 Ossington provides a large enough space for the proposed user can actively inhabit the space with activities to develop the surrounding community.

Figure 3: Co-Effective Creative, Unity Charity Festival Campaign, 2014

Client and User Profile UNITY Charity is a non- profit organization that started as a high school business project that became so much more. This non- profit organization that “…engages youth 10 to 18 by implementing school and community programs helping youth positively to express their stress and develop skills for success. UNITY empowers youth to make better choices as leaders, mentors and positive community role models leading to more productive citizens, safer schools, and healthier communities.” (Unity Charity,2015)UNITY focuses on five key values which include; respect, integrity, passion, community and youth. UNITY hosts workshops are local schools ranging from the elementary to high school levels. These workshops hosted follow key topic of expression through the hip-hop culture which include Graffiti, Breakdancing, Spoken Word Poetry, Rap and Beatboxing. The UNITY Charity travels from place

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to place within Canada and also some place in Europe and United States. These topics are split amongst the skilled artists and help students that are interested in the topic to pursue.

This organization caters to reaching out to the youth with a culturally diverse student body from all communities and programs with artists that need an outlet from a different culture by implementing hip-hop to create diversity for the youth today. Supporters that make UNITY programs possible with generous donations and believe in our mission are Canadian Imperial Bank of Commerce (CIBC), Art Gallery of Ontario, Ontario Trillium Foundations, Ontario Arts Council, StubHub, Tangerine Forward Banking and many more.

Figure 4: Unity Charity, 2015

Stakeholders

Figure 5: CIBC Logo

Figure 6: AGO Logo

Figure 7: Ontario Trillium Foundation Logo

Figure 8: Ontario Arts Council Logo

Figure 9: Stubhub Logo

Figure 10: Tangerine Banking Logo

Founded in 1987

by Enos Collins, The Canadian Imperial Bank of Commerce is known as Canada’s fifth largest bank today.

The Art Gallery of Ontario commonly known as the AGO is an art museum located in downtown Toronto. Home to Canada’s largest Canadian art collection.

Established in 1982, the Ontario Trillium Foundation is an agency of the Government of Ontario and is a granting foundation.

Established in 1963, Ontario Arts Council is a granting agency that supports art programs to all Ontarian artists. Through several different art disciplines, OAC supports professional artists, groups or collectives and organizations.

StubHub is a company owned by Ebay to provide tickets to many events, sports, live performances and many others. Founded in the year 2000, this company is an online marketing ticket buyer and seller.

Established in 2013, Tangerine is a Canadian direct bank. Previously known as ING Direct, this bank became a subsidiary of the well-known Scotiabank. Providing banking services to all ages.

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UNITY programs are made possible through the substantial contributions of these supporters listed above who believe in UNITY’s mission of empowering youth today.

Target Users

Local Artists

Volunteers

Youth

Figure 11: Diagram of Local Artists, Ashley Desa, 2015

Figure 12: Diagram of Volunteers, Ashley Desa, 2015

Figure 13: Diagram of Youth, Ashley Desa, 2015

The Ossington area is known for their local artist community with facilities such as Artscape YoungPlace. Local artists that a professionals in a particular hip-hop art form can come and even provide classes for the youth and perhaps even work at the facility to further promote UNITY’s mission and support youth for further development.

UNITY is known for many volunteering opportunities which include co-op and internship programs. As an non-profit organization, the opportunities focus on hosting workshop and interacting with the local artists and youth.

UNITY is known for hosting workshops whether in schools or for youth ages 1018. The programs offered such as spoken word (poetry), breakdancing, graffiti arts and many more provide youth with an outlet to expressive themselves. During this troubling age, youth often need to talk about issues that they are facing and can find support through the tough times.

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EXISTING STATE

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Site Analysis Unity Existing Facility

Site Queen West Self Storage 21 Ossington Avenue, Toronto, Ontario, M6J 2Y8

21 Ossington Avenue is classified as a Commercial Residential area with many parks, residential neighbourhoods and businesses that range from restaurants to galleries and even small owned companies. The Ossington Village neighbourhood demonstrates an artistic and family oriented living with Trinity Bellwoods Parks about two blocks East of the site. With the many neighbourhoods surrounding the site, this implies many shortcut accesses to the site as well as to schools and community centers either 2 blocks north or 2 blocks east

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of the site. Directly at Ossington Ave and Queen Street is CAMH (Center for Addiction and Mental Health Center located as a rehabilitation facility.

NATURAL FEATURES:

Trees planted in east side of building in the Green Parking Lot area. Low maintenance and minimum planting taken place on southern wall and to divide the homes backing on parking lot space.

Building is painted white to reflect heavy sunlight. This is effective during summer months so the building does not have to invest in Air Conditioning Units and can conserve on energy.

FENESTRATION:

Majority of windows have been sealed off except stairwell on east side of building leading directly to the second floor and the main level were the office is located right next to the main entrance.

Figure 14: Exterior Image of 21 Ossington Avenue, Ashley Desa, 2015

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EN S Q UE LEGEND SITE LOCATION: 21 OSSINGTON AVE. BUILDINGS

Figure 14: Location of Site Map, Ashley Desa, 2015

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Location Located in the heart of Ossington Village, this area caters to many local artists and home to the famous Trinity Bellwoods Park. Currently known as Queen West Self Storage is located near many businesses and residences as well as health rehabilitaion facilities.

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Demographics

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people m2

HIGHLIGHTS 65%

Ward

with postsecondary certificate, diploma or degree

65%

2011 Population By Age Group 60% 50% 40% 30% 20%

$1,184

$

$1,184

average Portugal monthly rent

10% 0%

$

average monthly rent

0-14

15-24

25-44

45-64

#1 immigrant place of birth

65+

Portugal

with postsecondary certificate, diploma or degree

58%

with postsecondary certificate, diploma or degree

58%

with postsecondary certificate, diploma or degree average monthly rent

$1,184

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Density

Ward 58%

with postsecondary certificate, diploma or degree

Toronto

0%

HIGHLIGHTS 65%

$

with postsecondary certificate, diploma or degree average monthly rent

$1,026

Postsecondary 30%

certificate, diploma or degree Torontoor trades certificate or diploma Apprenticeship College, CEGEP or other non-university certificate or diploma 25% University certificate or Household diploma below bachelor level 2010 Income University certificate, diploma or degree at bachelor level or above 20% 30% Bachelor's degree Toronto University certificate, diploma or degree above bachelor level 15% 25% Total population 15+ years 2010 Household Income 30% 10% 20% 25% 5% 15%

20% 0% 10% University certificate or diploma below bachelor Under $20,000 $20,000 to $50,000 to $80,000 to level $49,999 $79,999 $124,999 15% 5%

Key Facts

$1,026

average China monthly rent

Key Factsaverage household 0% average household Under $20,000 $20,000 to $50,000 to $80,000 income (2010) income (2010) to No certificate, diploma or degree $49,999 $79,999 $124,999

China

According to Toronto City Statistics, 21 Ossington Avenue is considered to be under Ward 19 – Trin41.0% 25.2% 17.9% ve in apartment ity- Spadina Area. As of 2012, the ward populachildren 25 years of age children 25 years of age uildings of or more living at home or more living at home or more storeys tion of 57, 240 people and consists of primarily students and working ages ranging from 25-34.

The majority of this8.2% population is male oriented 5.3% 15.6% in all age groups.

Predominantly anocouples with no knowledge of with knowledge ofwith ve in apartment english or french english or french no children (51%), 33% of couples have children uildings of less han 5 storeys and 16% is considered a lone-parent. With 49% of the family population 2.05 having a majority 2.46 of 1-2 persons per persons per 5.8% children. Especially with single parents, household householdthis youth ve in row / center can help aid these children and perhaps ownhouses bring an environment to connect with other youths 40.8% 31.6% with similar interests and issues faced in day to one person one person 37.6% households households day life. With the number 1 immigrant place of ve in houses birth within ward 19 is Portugal, the top four visible minority ethnic groups are Chinese, Black, South Asian and Latino. With Canada containing and embracing many cultures, especially since Pg. 1 of 10

$125,000+

College, CEGEP or other non-university certificate or diploma

$85,294

$125,000+

$87,038

High school diploma or equivalent

$85,294 38% average household

Key Facts

Figure 16: City of Toronto, Demographic Facts,2014

Figure 15: City of Toronto, Population Age, 2014

University certificate, diploma or degree at bachelor level or above

Key Facts 10% 0% Under $20,000or $20,000 to $50,000 to $80,000 to Apprenticeship trades certificate or diploma $49,999 $79,999 $124,999 5%

#1 immigrant place of birth

income (2010)

0% 5% $87,038 51% average household

$125,000+

10%

15%

City of Toronto

20%

25%

30%

35%

40%

45%

50%

Ward 19

income (2010)

born outside Canada born outside Canada Figure 17: City of Toronto, Level of Education, 2014

$85,294 $87,038to Toronto, the average amount place of birth place of birth By providing Toronto has no dominant ethnicity.

When compared average household average household 38% 51% 25%of monthlyincome 12% income (2010) (2010) a social platform for young people to meet others rent within ward 19 is $1184. This is built built borndwellings outside Canada borndwellings outside Canada Portugal China after 2000 after 2000 with different ethnicities and cultures, the facility about 100$ higher.

In order to live in a neighbour#1 immigrant #1 immigrant place of birth of birthand can open encourages youth to easilyplace relate hood close to the Toronto downtown core, 70.5% 20% 13% 38% 51% 25% 12% conversation for young people to learn and underof the ward populations live in apartments varying of people of people born outside Canada borndwellings outside 6.7 9.3Canada dwellings built built moved in 2010 moved in 2010 after 2000between 2000 rate stand other cultures closer to home.

5 after more or less storeys. Especially beunemployment rate unemployment The majority of the labour force considers two cause of the area and plenty of schools ranging 20% 13% 25% 12% to post-secondary, 25.2% of main fields which are “Sales and Services” as well from elementary of people of people dwellings built dwellings built 6.7 9.325 moved in 2010 moved in 2010 as “Business, finance and administration” which childrenunemployment ages and up still live at home. Even after 2000 after 2000 unemployment rate rate leaves the categories “art, culture, recreation and though 65% have post-secondary diploma, de20% 13% sport” and “education, law and social, community gree or certificate, an alarming 35.2% either have of people of people 22 6.7 9.3diploma or Pg.do1 of not moved in 2010 moved in 2010 and government” to a lower rate. With this facilia high school have any. This faunemployment rate unemployment rate ty, the youth are encouraged to participate within cility not only can help provide an outlet for these these fields perhaps gaining a job through hobchildren but as well as help the youth to strive for Pg. 1 of 22 bies that the young people participate in. Joining a career that highly interests them and encouragthe work force to stay out of trouble. This can also es them to attain higher education (i.e., post-secencourage sectors such as “Sales and Services” ondary education).

Pg. 1 of 22 as well as “Business, finance and administration” to help students to pursue job close to home. #1 immigrant

58.4 5.1 15.2 5.2 32.9 20.1 12.9 100.0

Population 15+ years by highest certificate, diploma or degree

$1,026

average monthly rent

1,271,555 111,450 330,085 113,640 716,380 436,755 279,625 2,175,835

#1 immigrant

Pg. 9 of 22

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Zoning Information Permittied Use 40.10.20.10 (1) Use - CR Zone

(A) In the CR zone, the following uses are permitted under the letter “c” in the zone label referred to in regulation 40.5.1.10(3)(A)(i): Ambulance Depot Art Gallery Artist Studio Automated Banking Machine Community Centre Courts of Law Education Use Financial Institution Fire Hall Library

Floor Index Massage Therapy Medical Office Museum Office Park Passenger Terminal Performing Arts Studio Personal Service Shop Pet Services Police Station Post-Secondary School Production Studio Religious Education Use Retail Store Software Development and Processing Veterinary Hospital Wellness Centre

Height

40.5.40.40 (2) Floor Space Index Calculation for a Non-residential Building in the Commercial Residential Zone Category

In the Commercial Residential Zone category the floor space index for a non-residential building is the result of the gross floor area minus the areas listed in regulation 40.5.40.40(1) divided by the area of the lot.

(3) Gross Floor Area Calculations for a Mixed Use Building in the Commercial Residential Zone Category

In the Commercial Residential Zone category the gross floor area of a mixed use building is reduced by

the area in the building used for:

(A) parking, loading and bicycle parking below-ground; (B) required loading spaces at the ground level and required bicycle parking spaces at or above-ground; (C) storage rooms, washrooms, electrical, utility, mechanical and ventilation rooms in the basement; (D) shower and change facilities required by this By-law for required bicycle parking spaces; (E) amenity space required by this By-law; (F) elevator shafts; (G) garbage shafts; (H) mechanical penthouse; and (I) exit stairwells in the building.

40.10.40.10 Height (2) Development Standard Set 2 Maximum Height

In the CR zone subject to Development Standard Set 2 (SS2), the maximum height of a building or structure on a lot is:

(A) the numerical value, in metres, following the letters “HT” on the Height Overlay Map; or (B) 14.0 metres, if there is no numerical value following the letters “HT” on the Height Overlay Map.

Lot Coverage

Setbacks

Parking Requirements

40.10.30.40 (1) Maximum Lot Coverage

In the CR zone:

(A) if a lot is in an area with a numerical value on the Lot Coverage Overlay Map, that numerical value is the permitted maximum lot coverage, as a percentage of the lot area; and (B) if a lot is not in an area with a numerical value on the Lot Coverage Overlay Map, no lot coverage applies.

40.5.40.70 Setbacks (1) Building or Structure to be Set Back from a Lane

A building or structure in the Commercial Residential Zone category may be: (A) no closer than 3.0 metres from the original centreline of a lane if the lot abutting the other side of the lane is not in the Residential Zone category or Open Space Zone category; and (B) no closer than 3.5 metres from the original centreline of a lane if the lot abutting the other side of the lane is in the Residential Zone category or Open Space Zone category.

40.5.80.1 General (1) Use of Required Parking Space

A parking space required by this By-law for a use in the Commercial Residential Zone category must be available for the use for which it is required.

40.5.80.10 Location (1) Location of Required Parking Spaces

A parking space must be on the same lot as the use for which the parking space is required.

40.10.80.20 Setbacks (2) Location of Outdoor Surface Parking- Corner Lots in SS2 Area

On a corner lot in the CR zone subject to Development Standard Set 2 (SS2), a parking space must be set back at least 7.5 metres from a lot in the Residential Zone category, Residential Apartment Zone category or open Space zone category.

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Zoning Information/ OBC Matrix Zoning Summary

OBC Matrix

Permitted Uses: Commercial Residential (CR T2.5 C2.0 R1.5/ R4 Z1.0) Mixed Use Areas, Residential (40.10.20.10) Floor Space Index: 0.86 (40.5.40.40(2)&40.5.40.40.(3)) Height: 2 Storeys. Total of 8m high (40.10.40.10(2)(A)(B)) Lot Coverage: 2411.3 sq. m (40.10.30.40(1)(B) Frontage: 45.08m Depth 69.8m

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Setbacks: The building is located in the CR T2.5 zoning range which means there is no front yard, side or rear setback limits.

The area with the parking is located in R1.5/ R4 1.0 zoning and therefore setbacks are needed there-- but do not apply to the existing building. (40.5.40.70(1))

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Parking Requirements: In total, there are 22 parking spaces. 6 spaces are dedicated for the storage facility and there are 16 additional spaces for Green P parking. Location of parking spaces must be at least 7.5 metres from Residential zone (40.5.80.1(1), 40.5.80.10(1) &40.10.80.20(2)) Zoning Requirements found on Toronto City Zoning- By Laws T WES

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LEGEND

LEGEND

LOCATION OF GRAFITTI ART

PUBLIC TRANSPORATION SUNRISE

PEDESTRIAN CIRCULATION

DAYTIME

VEHICLE TRAFFIC CIRCULATION

SUNSET DIRECTION OF WIND (8 KTS)

SITE LOCATION

SITE LOCATION: 21 OSSINGTON AVE.

ART GALLERIES

BUILDINGS

BUILDINGS

Figure 18: Summer Solstice Site Map, Ashley Desa, 2015

Figure 20: Transportation Site Map, Ashley Desa, 2015

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Transportation

Sun analysis was taken on October 1, 2015. When times of sunrise, daytime and sunset times vary.

Times During Summer Solstice VS. Winter Solstice Sunrise: 6 AM ---> 8 AM Daytime: 12PM ---> 12 PM Sunset: 7 PM ---> 6 PM

This site is accessible via three methods of transportation (i.e., walking, public transportation and driving)

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Figure 19: Winter Solstice Site Map, Ashley Desa, 2015

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LEGEND PUBLIC TRANSPORATION

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Since the site is further in on Ossington Ave., the heavy traffic created on Queen Street West does not have an effect on the site. This site almost creates a pocket to have limited amount of wind passing through.

Surrounding buildings as well are at the same height if not taller than the current site. This implies that other building are blocking the wind from reaching the site.

PUBLIC TRANSPORATION: Directly outside of the site is a bus stop for the TTC 63 or 363 Ossignton bus route which begins at Ossington Subway Station. This bus take you directly to Ossington Station or take the Queen Street West streetcar from Queen Subway Station and exit at Ossington Avenue and walk North on Ossington Avenue to site location.

DRIVING: West: Accessible via Gardiner Expressway Freeway and heading East on Queen Street West to Ossington Ave and going North on Ossington Ave to destination.

East: Accessible via Don Valley Parkway South (404) to Gardiner Expressway. Exit Bathurst and continue North to Queen Street W and head West on Queen Street W to Ossington and head North on Ossignton to reach destination.

Figure 21: Exterior of 21 Ossington Avenue, Lindsey Gallagher, 2015

Figure 22: East View From Site, Lindsey Gallagher, 2015

Figure 23: View of Queen Street, Lindsey Gallagher, 2015

Figure 24: View of Queen Street and Ossington Avenue Intersection, Lindsey Gallagher, 2015

Adjacent Uses to Site NORTH: Located directly next to site is a condominum on Rebecca Street.

EAST: Green P Public Parking as well as residences backing the green p parking SOUTH: Small Businesses which include

stores as well as restaurants

WEST: A Church, small businesses with residence on top which include stores and businesses as well

Figure 25: View of Shaw Street, Ashley Desa, 2015

Figure 26: West View of Site, Ashley Desa, 2015

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Neighbourhood Context: Parking & Green Space

Figure 30: Trinity Bellwoods Park Photograph, Ashley Desa, 2015 Trinity Bellwoods Park is a public park that is 14.6 hectares large.

With boundaries including Queen Street West, Crawford Street, Dundas Street West and Gore Vale Rd. This park hosts main games and has a large dog park closer to Dundas Street West

Figure 27: Site Map, Ashley Desa, 2015 Lakeview Avenue Parkette is surrounded by Dundas Street West and Lakeview Avenue.

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Located behind 21 Ossington is a Green P Public Parking that was proposed in 2013. This is only accessible vie Ossington Avenue.

Another Green P Public Parking is across the street with the Church as well

Osler Park is a small park located on Dovercourt Rd and Argyle Street is home to a children’s playground and a wadding pool. Neighbouring this park is Senhor Santo Cristo Catholic Elementary School.

Figure 28: Photograph of Osler Playground, Ashley Desa, 2015

Figure 29: Green P Parking Image, Ashley Desa, 2015

Neighbourhood Context:

Trinity Bellwoods Tennis Court is located in Trinity Bellwoods Park.

This is an outdoor tennis court open to the public and usually is decorated with words of the community

Schools & Community Spaces

Figure 34: Trinity Bellwoods Recreation Center Photograph, Ashley Desa, 2015

Trinity Bellwoods Community Recreation Center is located in Trinity Bellwoods Park. This center has a an array of community activities as well as indoor fitness/ sport related activities.

Figure 31: Site Map, Ashley Desa, 2015 Senhor Santo Cristo Catholic School is a elementary school that is mainly for students from grades JK to 8. This school neighbours the Osler Park

Figure 32: Senhor Cristo Catholic School Photograph, Ashley Desa, 2015

Givins/Shaw Junior Public School is a school that cater to mainly for students from JK to Grade 6.

This school neighbours Artscape Youngplace.

Figure 33: Givins/Shaw Junior Public School Photograph, Ashley Desa, 2015

Figure 35: Artscape YoungPlace Photograph, Ashley Desa, 2015

Artscape YoungPlace is a community hub located on Shaw Street.

This old school was rebuilt into an area for the community express their inspiration and ideas to the public by hosting workshops, studio spaces and shows.

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PART 2: BUILT FORM CONDITIONS EXTERIOR MATERIALS Built Form Conditions

Figure 40: North Exterior Image of 21 Ossington Avenue, Ashley Desa, 2015

Exterior Materials Brick has been plastered and painted white with giant floral design within the past 8 years due to vandalism Brick has been plastered and painted white with gi(i.e., graffiti). ant floral design within the past 8 years due to vandalism (i.e., graffiti).

The current brick plaster is peeling and needs to be redone. Graffiti on site is located on north exterior wall.

Figure 35: South Exterior Image of 21 Ossington Avenue, Ashley Desa, 2015

Figure 36: North Exterior Image of 21 Ossington Avenue, Ashley Desa, 2015

Figure 37: South Exterior Image of 21 Ossington Avenue, Ashley Desa, 2015

The current brick plaster is peeling and needs to be

The fenestrations been painted and sealedexterior so redone.

Graffitihave on site is located on north there wall.is no sunlight entering the facility via windows or skylights.

The fenestrations have been painted and sealed so there is no sunlight entering facility via windows skylights.

The existingthe roof is a sloping flat roof or with a parapet.

Windows are sealed with posters and/or graffiti

Windows are sealed with posters and/or graffiti Dimensions Exterior brick: 8” L x 4” W x 3” H The existing is a sloping flat roof with a parapet.

Window: 11’-0” Lroof x 4’-0” Dimensions Exterior brick: 8” L x 4” W x 3” H Figure 38: West Exterior Image of 21 Ossington Avenue, Ashley Desa, 2015

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Figure 39: West Exterior Image of 21 Ossington Avenue, Ashley Desa, 2015

Window: 11’-0” L x 4’-0”

INTERIOR MATERIALS

Figure 41: Existing Flooring on Second Level Image, Ashley Desa, 2015

Figure 42: Existing Flooring on First Level Image, Ashley Desa, 2015

Figure 43: Skylight 1 Image, Ashley Desa, 2015

Figure 44: Skylight 2 Image, Ashley Desa, 2015

Floors- PaintedMaterials wood flooring as well as polished and painted concrete flooring is found cracking interior

and peeling on first and second floors. On second level, flooring is uneven and carries many height Floors- Painted wood flooring as well as polished and painted concrete flooring is found changes within the floor.

Floors- and Painted wood flooring as well asfloors. polished second and painted found cracking cracking peeling on first and level,concrete flooring isflooring unevenisand carMust have an engineer come and second level out eitherOn floor or ceiling. andmany peeling on first and second floors.

On second level, flooring is uneven and carries many heigh ries changes within the floor.

In the mainheight stair well leading to 2nd level of space, the risers and threads are all made of wood. changes within the floor.

Must have an engineer come and level out either floor ceiling.

For all other stair wells have risers and thread made of or concrete.

Must have an engineer come and level out either floor or ceiling.

In the main stair well leading to 2nd level of space, the risers and threads are all made of Floors are fire rate and 1’-0” in thickness In the main stair well leading to 2nd level of space, the risers and threads are all made of wood. wood.

Forall allDry other stairwells wells haverisers risers and threadmade madeofofconcrete. concrete.

For other stair have and Wallswalled and painted white.

In thread certain locations, wall on paint can be found peeling.

Floorsare arefire firerate rateand and1’-0” 1’-0”ininthickness thickness Floors Unfinished Partition walls in storage units as a division bewteen units Wallspaint can bebe found peeling.

Walls-Dry Drywalled walledand andpainted paintedwhite. white.InIncertain certainlocations, locations,wall wallonon paint can found peeling.

Concrete walls located in doorway as well as found in stair wells with both sealed and unsealed Unfinished units UnfinishedPartition Partitionwalls wallsininstorage storageunits unitsasasa adivision divisionbewteen bewteen units windows.

Concrete walls inindoorway asaswell asasfound ininstair both sealed and un-unsealed Concrete wallslocated located doorway well found stairwells wells with both sealed and CeilingFinished dry wall painted ceiling.

Existing emergency firewith sprinkler/light sealed windows. windows. ing and Gas Heating systems and alarms are exposed below finished ceiling.

Fluorescent lighting use throughout space.

Ceilingdry painted ceiling.

Existing emergency sprinkler/light Ceiling-Finished Finished drywall wall painted ceiling.

Existing emergency fire sprinkler/light Skylights were insulated and blocked lighting from entering the fire storage units ing ceiling. ingand andGas GasHeating Heatingsystems systemsand andalarms alarmsare areexposed exposedbelow belowfinished finished ceiling.

Fluorescent Fluorescentlighting lightinguse usethroughout throughoutspace. space.

Dimensions Skylights were insulated and blocked lighting from entering the storage units Skylights and Floor were joistsinsulated 2” x 10” @ 10”blocked O/C. lighting from entering the storage units

Figure 45: Interior View of Site Image, Ashley Desa, 2015

Figure 46: Interior View of Lockers Image, Ashley Desa, 2015

Dimensions Dimensions

Floor joists joists 2” Floor 2” xx 10” 10” @ @ 10” 10” O/C. O/C.

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STRUCTURAL FABRIC Building was constructed with “Douglas fir” wooden beams and columns.

Structural Fabric

Building was constructed with “Douglas fir” wooden beams and columns.

Columns are 10” in thickness.

Columns are 10” in thickness.

Wooden beams varied depending on floor are if were reinforced with steel brackets to termite infestation on damage.

Woodendue beams varied depending floor are if were reinforced with steel

Figure 47: Existing Beam and Column Connection, Ashley Desa, 2015

Figure 49: Main Stairwell Image, Ashley Desa, 2015

Figure 50: Existing Windows on Concrete Wall Image, Ashley Desa, 2015

Figure 52: Stairwell Leading to Exterior Image, Ashley Desa, 2015

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Figure 48: Existing Beam, Ashley Desa, 2015

brackets due to termite infestation damage.

These beams were 10” in thickness.

These beams were 10” in thickness.

On the first floor, wooden beams had signs of termite damage.

On the first floor, wooden beams had signs of termite damage.

The beams on the second floor were sloping due to termite/ water damage as well as the The beams onroof the sloping. second floor were sloping due to termite/ water damage as well as the roof sloping.

One beam on the second level was rebuilt and using 5 large planks of One beam on the second level was rebuilt and damaged using 5 large planksbeam. of wood wood to rebuild what was previously a heavily wooden It to rebuild what at was a heavily damaged wooden beam. It can be seen at can be seen thepreviously capital the difference in wood applications. the capital the difference in wood applications.

Some beams have been sand blasted as well Some beams have been sand blasted as well Plastered brick walls found on interior of site as existing site walls prior to Plastered brick walls found on to interior of site as existing site to exexpanding.

These walls aided wooden beam structure aswalls theseprior walls panding.

These walls aided to wooden beam structure as these walls had also had also continued in the hallway on first level. continued in the hallway on first level.

Figure 51: Existing Beam, Ashley Desa, 2015

Figure 53: Existing Beam and Concrete Eall Connection Image, Ashley Desa, 2015

Figure 54: Termite Column Damage, Ashley Desa, 2015

BUILDING SYSTEMS. VERTICAL CIRCULATION Overhead Sprinkler Systems

Building Systems & Vertical Circulation Overhead Sprinkler Systems

Figure 55: Existing Ventitlation System Image, Ashley Desa, 2015

Figure 57: Existing Mechanical above Washroom Image, Ashley Desa, 2015

Figure 56: Existing Mechanical above Washroom Image, Ashley Desa, 2015

Figure 58: Existing M echanical System Image, Ashley Desa, 2015

Figure 59: Existing Security System Image, Ashley Desa, 2015

Emergency fire safety systems (i.e., sprinkler, alarm, lighting and exit Overhead Sprinkler Systems signage) exposed on ceiling. systems alarm, have plenty pipes Emergency fire safety systemsThese (i.e., sprinkler, lightingofand exitthat run throughout facility and are altered to go around existing beams. signage) exposed on ceiling.

These systems have plentylighting of pipesand thatexit Emergency fire safety systems (i.e., sprinkler, alarm, run throughout facility are altered go around existing beams. signage) exposed onand ceiling.

Thesetosystems have plenty of pipes that Gas Heat system and no Air Conditioning System since the building is run throughout facility and added are altered go around existing painted white which heat to inSystem summer months as beams. oppose Gas Heat system andreflects no Air Conditioning since the building is to winter months. painted white which reflects added heat in summer months as oppose Gas Heat system and no Air Conditioning System since the building is to winter months. painted white which reflects added heat in summer months as as oppose Gas Heating systems located on the 1st level above washrooms to winter months. well as above in a corridor on on south of building.

Gas Heating systems located the side 1st level above washrooms as well as above in a corridor on south side of building.

Gas Heating systems located on the level above washrooms as Electrical systems are hidden within the1st plenum above finished ceiling. well as above in aare corridor south of building.

Electrical systems hiddenon within theside plenum above finished ceiling.

Electrical systems are hidden within the plenum above finished ceiling.

Figure 60: Existing Plumbing and Electrical Image, Ashley Desa, 2015

Figure 61: Existing Plumbing and Electrical Image, Ashley Desa, 2015

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Opportunities/ Limitations Multiple Access To the site- With the space containing several exterior to interior access points. These include entrances from ground level to both main level to second level. This insinuates opportunities to have a flexibility to the circulation and multiple functions upon entry.

encourage more sustainable energy costs.

Stairs- The building site contains three Sets of stairs leading from the main level to the second level. This provides opportunities from multiple access from street level as well as multi-functioning entry spaces.

Existing Trees and Foliage- With foliage climbing up the North side of the building, with more growth can provide shade for the building to encourage less HVAC use. With the existing trees located around the facility as well as the parking lot located behind can provide separations between the facility and the residences located behind the facility.

Floor- The facility has uneven flooring and need to be leveled out.

With this alteration, this can provide a new design to the space with can incorporate mezzanines to open up the space to achieve a more fluid design.

Sky Lights- With only 2 sky lights on roof, this provides opportunities to have natural lights and potentially create more sky lights to encourage natural light to be a part of the design.

Multiple Levels – With the building site containing two levels, this provides opportunities for mezzanines and separate stair exits for safety and other functions Columns & Beams- Although throughout the facility, there are many wooden columns and beams that need to be evaluated by an engineer for safety regulations due to existing termite damage.

This provides the opportunity to design the facility with columns and beams to enhance spatial design and influence future state by perhaps changing the structural layout to become a sculptural feature within the space.

Windows- Throughout the space, many of the windows have been covered and sealed since the facilities current use requires the utmost privacy with storage. This provides ample opportunities to open windows to have more natural light enter the space. This will 28

Walls- Since the use of the existing space dedicated to storage spaces, they are many temporary partitions that are place throughout the facility, and some of these walls can be reused for future divisions of space which can comply with LEED accreditation for Material Reuse.

Public Transpiration/ Parking- With public parking located directly across from site as well as behind the site, this provides easier accessibility from the public to park and attend functions happening at the facility. Especially since youth ages 10-18 are attending this site, the site is easily accessible via TTC which has a bus shelter directly outside of the site.

As- Built Plans

Figure 62: Existing Plumbing and Electrical Image, Ashley Desa, 2015

Figure 61: Windows in Concrete Block Wall Image, Ashley Desa, 2015

Figure 64: Existing Stairwell Image, Ashley Desa, 2015

Figure 63: Connection with Reinforced Timber beam and Concrete Block Wall Image, Ashley Desa, 2015

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FIRST LEVEL FLOOR PLAN NOT TO SCALE

Figure 65: Above Washroom Vertical Circulation Image , Ashley Desa, 2015

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Figure 66: Exisitng Second Level Flooring Image , Ashley Desa, 2015

Figure 67: Sloped Beam Image , Ashley Desa, 2015

2

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SECOND LEVEL FLOOR PLAN NOT TO SCALE

Figure 68: Exisitng Skylight Image , Ashley Desa, 2015

As- Built Sections

1 Figure 68: Timber Beams with Capital Image , Ashley Desa, 2015 3

LONGITUDINAL BUILDING SECTION NOT TO SCALE

1 TIMBER COLUMNS W/ CAPITALS

1 REINFORCED TIMBER BEAMS

2 Figure 69: Reinforced Timber Beam , Ashley Desa, 2015 4

LATITUDINAL BUILDING SECTION NOT TO SCALE

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As- Built Elevation

1 BLOCKED WINDOWS

2 DEGRADATION OF PLASTER ON BRICK

1 Figure 70: Blocked Windows Image , Ashley Desa, 2015

5

SOUTH EXTERIOR BUILDING ELEVATION NOT TO SCALE

2 Figure 71: Degradation of Plaster on Brick , Ashley Desa, 2015

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UNITY Existing Facility

Currently located in the Toronto Downtown Core, 20 Carlton Street Suite #126, Toronto, ON, acts more as an office/ administrative space. Within this office/administrative space are meeting rooms and individual work stations for employers (founder/ CEO, Board of Directors). This space incorporates an informal work areas, i.e., a small offices and a large conference room to host meetings with potential clients and supporters. As well as collaboration room for staff, merchandise area and a waiting area. This office lacks a formal lunch area and is combined with the vmail/ copier room.

However since this is a young non-profit organization, with the current funding, the space that the founder selected was more for office spaces and focused on expanding by collaborating

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with other local facilities by renting/ booking studio spaces to conduct workshops for students. These include the Art Gallery of Ontario, SKETCH (Artscape YoungPlace) and other facilities that are local and easily accessible to students in the downtown core. Although this may seem like an amazing alternative to own/ renting a larger facility, it has negative impacts which include commuting constantly from one location to the next to host workshops and for students to commute to. If the space was more accessible for youth living in suburban neighbourhood outside of the city and essentially develop a space where all staff and faculty members can be near the young people who are active member of the UNITY Charity and participate frequently within the organization.

Figure 73: Board Room, Ashley Desa, 2015

Figure 72: Sketch of Floor Plan, Ashley Desa, 2015

Figure 74: Copy/ Mail/ Lunch Room Area, Ashley Desa, 2015

Figure 75: Waiting Area, Ashley Desa, 2015

FUTURE STATE

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Future State Sustainable Approach Conceptual Approach Programming

Future State

From these current issues being faced in Toronto within the education sector, to provide the community with an institutional/corporate space where the youth ranging from ages 10 to 18, can participate in extra-curricular activities. This spatial environment will provide a comfortable outlet as a method to express recent interest’s specific to the arts within hip-hop culture. This youth centre will provide an inviting presence to the youth to meet and develop relationships with other young people who share the same interests. Encouraging youths to strive to exert the highest potential and strive for a successful future by implementing a program to focus on career building for youths. The corporate aspect of this institution is to provide parents, educators, directors, administration, staff and volunteers an open office space catering to different types of office users to develop and organize programs and funds to ensure that youths strive for success with the facilities and programs offered at the institution. The goals of the space is to provide the users of the private and public studio spaces that provide comfort to workshops and classes that are being held for topics such as graffiti, mc-ing, djing and breakdancing. This facility will also provide

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impromptu performance areas, indoor-green lounge and impromptu lounge spaces, gallery space, and classrooms for youth, volunteers and employed artists. For Corporate open-concept offices and meeting areas to provide an active, creative and collaborative work environment for Board of Directors, CEOs and program facilitators (artists).

Located in the Downtown Toronto core, 21 Ossington Avenue is a two storey facility with 1200 sq. metre that is classified to be in a primarily commercial residence area. This mixed use community has access to large green open spaces that can be found a block north, south, east and west of the site. These green spaces that can be found are as Trinity Bellwood Park, Osler Park, Paul Garfunkel Parkette and Lawrence Avenue Parkette. The youth student centre can thrive on the local schools such as Givins Shaw Public School and Senhor Santo Cristo Elementary school that can be found a block away from the site. With the development of this area in the arts and amongst youth today, it can be viewed as a very accessible location to youth living in suburban area like Scarborough, Ajax and Whitby since located directly outside of the site is a

TTC bus shelter. Since most youth use public transportation to get around the city, the direct access to TTC to and from the site is beneficial. This site has potential since youth facilities are quite far in every direction and the idea of being in walking distance for the schools are ideal for students as well as the developing residential and commercial communities surrounding the site. The current student demographic in this area, families do not have as much money which means that youth are provided with less opportunities. An observation of limited to none youth centres within the vicinity showed lost opportunities to local families and students attending school within a five mile radius of the building location. These limited facilities that can help youth can be identified as Artscape YoungPlace, Trinity Bellwood Community Recreation Centre and Trinity Bellwoods Tennis Courts. The community will thrive if more opportunities were provided in this specific area. 21 Ossington provides a large enough space for the proposed user can actively inhabit the space with activities to develop the surrounding community.

Figure 76: Co-Effective Creative, Unity Charity Festival Campaign, 2014

Users/ Client Needs (Amenties chart) Survey AmenitiesResults Chart

Client Results

Important

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Location Flexible fast service Access to Transit Lockers Large Community/ lounge space Ability to book flex studio spaces Studio Classrooms 24/7 café Snack Machines Private studio spaces Study spaces Parking/ Biking Event Spaces Access to Technology Showers Sleeping areas Indoor/ outdoor space Cleanliness Acoustics Safe Environment

Yes (Very) Yes (Very) Yes (Very) Somewhat important Yes (Very) Yes (Very) Yes (Very) Not Important Somewhat important Somewhat important Yes (Very) Not Important Yes (Very) Yes (Very) Yes (Very) Yes Yes Yes Yes Yes (Very) Yes (Very)

Amenities Chart

Important

Private spaces Natural Lighting Large community spaces Views Transportation/ Commuting Location Studio Classroom Office/ Meeting Space Main building was painted white. Dance Studio Furniture. Classroom Furniture Minimal Performance Area settings use typical furniture (none pictured)

Survey

Yes (Very) Yes Yes (open spaces) Yes (into studio) Yes (To and from facility/ workshops) Yes (Preferably in the Heart of Downtown) Yes No Yes (For Admin) Yes Classroom furniture. Seating Urban lounge carries Yes configuration range from 4 (round tables) to 6 (bench seating).

Colourful comfy seating (couches and bean bag chairs) Movable single chairs located throughout facility

intimate seating and large bench areas which include pops of colour. Movable cube seating provided pops of colour. Seating used in flex studio spaces are wood to bring warmth to space

Limited seating but in gallery spaces have large white bench areas. Seating used in flex studio spaces are wood to bring warmth to space

This survey online questionnaire was designed to target users of the youth community center proposed

Precendent/ Observational Studies results Amenities Chart- Precedent/ Observation

space and had shown very interesting results. Some of which are repetitive and some new and Precedent Study 1 Precedent Study 2

Observational Study 1 Observational Study 2

innovating ideas for the proposed space.

Unfortunately, I was not able to contact many youth ages 10Yes (3 levels) Yes Yes 2 Floors or More Yes (4 levels)

Yes (Outdoor Facility) No No Green/ Outdoor Facility 18, due to ethics and Yes regulations, the focus was mainly on users who have participated in hip-hop Yes No Yes Yes Gallery Yes Yes of individuals being Yes over the age of 18.

Lounge Space sectors through volunteering or careerYes options. With ±93% No Yes Yes Residential Space No Majority of these participants are participated in hip-hop and Graffiti No Yes Yesactivities such as Breakdancing No Café Yes Yes Yes Studio Yes Arts (43.33%) whereas in sectors such Yes as emceeing (26.67%) and disc jockying (23.33%) showed less No No Classroom Yes Yes Yes Office/ Meeting interest.

ManySpace of these individuals didYes not continue to participate any moreYes in the selected sectors. 30 Yes No No Kitchen Yes No No of hip-hop. May Dance Studio % of participants haveYeslow confidence No levels when participating in these strands No Yes No No Recording Studio participants hadArea found of the reason for being involved Yesinterest in participation Yes No No in hip-hop culture to be Performance

associated with the other category. Majority of stated that they “grew up listening to hip-hop” or that its helped them to express themselves. 40% of participants stated that they would prefer that workshops

Goals & Objectives

Goals Provide a large open space to encourage youth and community to collaborate

Characteristics - Stimulating (Bright) - Open - Flexible - Comfort - Playful - Engaging - Connection to nature

Studio spaces for the - Security community and youth - Privacy to rent - Bright

A place for youth to - Public escape and express - Privacy themselves freely - Security - Bright - Reflection

To provide a collaborative space for organization to work in

- Nature - Comfort - Security - Home- Like - Bright - Collaborative

Sketch/ Diagram

Objectives - Mobile furniture/ Fixture - Acoustics regulated for better quality (i.e., noise reduction) - Access to technology - Comfortable - Accessibility - Bright colours - Proper air circulation - Well-lit space using natural and artificial lighting - Ability to access 24/7 - Proper lighting and acoustics - Security for tool rentals - Access to Technology - Proper air circulation - Closed space

- Ability to seek both Private/ Semi- Private spaces - Translucent space divisions - Acoustics regulated for better quality - Access to technology - Connection to nature through ample views - Proper air circulation - Multi-purpose opportunities for space - Acoustics regulated for better quality - Proper air circulation - Comfortable atmosphere - Mobile Furniture/fixtures - Warm colours to insinuate home-like environment

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Sustainable Approach As noted by Alexander Garvin, there are 6 sustainable practices that can be applied when designing a building Social Sustainability: Since the client (UNITY Charity) is a non-profit organization, this facility will incorporate community use amongst youth and volunteers in hopes to educate young people that there are places to collaborate with one another and encourage them to express themselves through available outlets. This organization can offer career opportunities to locals and youth who wish to take the hobby to further lengths. This provides opportunities for community-use, youth, volunteers, guidance for young people, organizations and events. This space will provide counselling for youth in need.

Functional Sustainability: Flexible layout for community and multi-purpose communitive spaces are provided within this facility Environmental Sustainability: With the current use of the building is dedicated to storage spaces, some of the temporary partitions can be salvages and reused and even remain in the building to comply with LEED for Material Reuse accreditation. This

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will also comply with the use of new materials from local companies. As well as if the facility is providing plenty of natural light, this gives the opportunity to have very limited HVAC systems. In the winter, the natural lighting can heat up the facility without heating systems and in the summer only Air Conditioning can be used to cool the facility. By implementing these sustainable factors, the users will be enhanced by the use of natural lighting and encourage them to engage in activities. The natural light stimulates youth to become more active and attentive within learning environments. Since the lighting is not considered as a barrier but as a continuation of the space being consumed by the light to enhance that specific area.

Through natural lighting, the building will continue on especially with the flexible programming provided.

With the use of mezzanines within this multi-level facility can provide ample views of the interior and as well as the exterior. Aesthetically adding natural lighting can help provide spaces with a warm ambiance and open collaborative spaces to show active learning spaces within this community.

Financial Sustainability: Not only does unity offer multiple users including volunteers and community

involvement, this facility will incorporate non-profit funding to produce this building. With non-profit organizations, programs and facilities are run through sponsors and/ or grants that have been awarded to the company. From there, the organization is given a tax exemption where with the money given is put towards a space that is affordable and for programs offered to youth.

Political Sustainability: This space provides amazing educational opportunities for the community and youth about future goals and services. This space supports a great cause that needs to be more available within the Ontario region.

Aesthetic Sustainability: This space will provide bright and open spaces with plenty of colour to ensure stimulating spaces for youth and community enhancement. Flexible spaces for youth to interact with one another through user control.

Conceptual Approach

From my current thesis project focusing on hip-hop culture. Captivated by this theory of style and how through the evolution of Hip-Hop, explosive style takes over the different strands of Hip-hop to create, what this culture is today. These strands are MC-ing, DJ-ing, Breakdancing and Graffiti. This form of hierarchy between styles has my investigation focusing on how graffiti art not only performs as an outlet of expression but an explosive hierarchy when placed on a building. This exploration journey with literal examples of how this traditional street art form can be implied as a form of hierarchy when applied to existing architecture.

This exploration focuses on urban street art precedents in popular North America cities such as Toronto and New York. Especially since New York was the city where hip-hop culture began. Exploring street art specifically on traditional aerosol graffiti and murals, explains how the styles pour and expand throughout the city for the public to be visually impacted by different levels of expression. This journey delves into the hierarchy between different

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graffiti / mural art.

From these precedents, I began to diagram each strand of hip-hop and started to create several diagrams that relate to how the style began to form hierarchy within the specific strand. This style change varied on the song or video but each diagram seemed to take the same general shape and form. From that point, I began using a variety of materials for the building ranging from different colour cardstocks as well as a wooden box to symbolize the existing architecture of the space. The wire material was meant to be consistent. This was because the wire accurately explained the movement happening within the exterior of the space. Eventually bringing this material as an interior hierarchy of style. Throughout my exploration, I began to realize that these artists use style to create explosive forms of expression to be seen to the public but also do not limit themselves to the select areas for people to see. Eventually people will see the art and hopefully feel emotional about it. Whether good or bad, the form of hierarchy of space is determined by the

strength of the expression and not necessarily the placement of the art being interior or exterior. When applied to this Youth Community Youth Center, it can be view to mark public and private areas within the space. As well as apply exterior emphasis to ensure security of being an open and active space with an ample view of allowing the street to pour through.

Figure 77: Make Art Not War, Shepard Fairley, 2015

Diagrams & Models of Precedents Diagrams of DJ- ing

Diagrams of Grafitti Arts

Diagrams of Breakdancing

Figure 78: Diagrams of DJ-ing, Ashley Desa, 2015

Figure 79: Diagrams of Grafitti Arts, Ashley Desa, 2015

Figure 80: Diagrams of Breakdancing, Ashley Desa, 2015

Grafitti Alley, Toronto

Ossington Alleyway 1, Toronto

Figure 81: Diagrams of Grafitti Alley, Ashley Desa, 2015

Figure 82: Diagrams of Ossington Alleyway 1 , Ashley Desa, 2015

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Ossington Alleyway 2, Toronto

Figure 83: Diagrams of Ossington Alleyway 2 , Ashley Desa, 2015

5 Pointz Warehouse, New York

Figure 84: Diagrams of 5 Pointz, Ashley Desa, 2015

3d Models of Research Relating to Site

Figure 89: Digital Model of Conceptual Design Ashley Desa, 2015 Figure 86: Digital Model of Conceptual Design Ashley Desa, 2015

Figure 87: Digital Model of Conceptual Design Ashley Desa, 2015

Figure 88: Digital Model of Conceptual Design Ashley Desa, 2015

Figure 86: Digital Model of Conceptual Design Ashley Desa, 2015

Figure 90: Digital Model of Conceptual Design Ashley Desa, 2015

Figure 94: Digital Model of Conceptual Design Ashley Desa, 2015

Figure 91: Digital Model of Conceptual Design Ashley Desa, 2015

Figure 95: Digital Model of Conceptual Design Ashley Desa, 2015

Figure 92: Digital Model of Conceptual Design Ashley Desa, 2015

Figure 96: Digital Model of Conceptual Design Ashley Desa, 2015

Figure 93: Digital Model of Conceptual Design Ashley Desa, 2015

Figure 97: Digital Model of Conceptual Design Ashley Desa, 2015

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Programming

Based on the evidence- based design research found throughout articles, books, surveys, precedent and observational studies and interviews methodologies, the programming for the proposed “Ossington Youth Community Centre” follows a very open and large layout with plenty of multi-purpose spaces.

The main floor level focuses on collaborative spaces which are private and public studio spaces, retail space, interactive community space, reception area, tool rental area, washrooms and some storage areas. The main level focus is for bright and stimulating space to encourage the youth as well as ample views to the street, natural lighting, proper acoustic levels and access to technology.

The second level of this facility focuses on mainly corporate spaces which include an open office area, collaborative spaces, think tanks, educational area, staff/lounge area, board/ meeting rooms, copy/mail room, washrooms, private offices for both counselling and office use. Since this area is more private

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than the rest of the facility, the idea to ensure that acoustic and natural lighting are incorporated into the design of space. This office are as mentioned by client needs to feel “home-like”.

This can be achieved through warm tones and comfortable areas to work and lounge in the office areas. Since office space does not necessarily take up entire space, some spaces such as recording studios and some large studio spaces are found on second level. Since this level is higher, ample view provide opportunities for studio and office spaces.

Through the use of evidence based design research and literature such as Human Dimension and Interior Space by Julius Panero and Time-saver Standards for Interior Design and Space Planning by Joseph De Chiara, helps determine a preliminary scope of the square footage for each space has been developed. As well as provide key characteristics and components required for the proposed space.

Figure 98: Battle Opsession #10, David Gallard Photography, 2015

Program Analysis Space (Function)/ Square Users Footage Community/ Lounge Space 20-30 (multi-purpose)

Types of Activities

Required Adjacencies

Furniture requirements

Lounge, performance space

- Studio - Community/ Lounge Space (multipurpose)

- Movable chairs

Public Studios (Dance) 10-15

- workshops (dance, spoken word, beat boxing)

- Recording Studio - Private Flex- Studio - Studio - Community/ Lounge Space (multipurpose)

Public Studios (Art) 10

- Workshops (graffiti, spoken word, beat boxing)

Private Flex- Studio 2-4

- Recording Studio - Private Flex- Studio - Studio - Community/ Lounge Space (multipurpose) - Main Lobby - Tool Rental - Storage - Gallery/ Event Space

Performance Decks 5

Recording Studio 4-6

Tool Rental 2-3 Storage 15

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Flexibility

Lighting

Acoustics

- A/V Equipment - Monitor - Computers - White boards A/V Equipment

Open

Natural, Ambient, Task

High Level

Open

Natural, Ambient, Task

No Level

- Mirrors - storage

A/V Equipment

Semi- Private

Natural, Ambient, Task

High Level

- Easels - Vertical surfaces - Work Surfaces - storage

N/A

- rentable spaces for community both youth and public - workshops (dance, graffiti, spoken word, beat boxing) - workshops for - Studio dj-ing and mc-ing - Offices - Performance Decks - Storage

- Whiteboards - Chair - Work surface (Table)

N/A

Private

Natural, Ambient, Task

Medium Level

- Chair - tables - Sofas

Private

Ambient Task

High Level

- rent tools to community using flex spaces - Storing items

- Storage - Work surface - Shelving - Shelving - Storage

- microphones - computer - mechanical equipment - Audio Equipment - Speakers N/A

Private

Ambient Task

None

N/A

Private

Ambient Task

None

Lounge, - Main Lobby Community Space, - Studio - Performance Decks

- Private Flex- Studio - Storage - Main Lobby - Tool Rental - Studio - Private Flex- Studio

- Chairs - Sofas - Tables

Equipment Requirements

High Level

Sustainability

Program Analysis Continued Gallery/ Event Space 20 Washroom 1 or 8

Office Space 15

Reception area 7-10 Videoconferencing 3-5

Meeting rooms 4-5 Board Rooms 10-15 Lunch/ Staff Lounge Area 10-15

- showcasing work and events UNITY hosts year around

- Studio - Private- Flex Studio - Recording Studio First Level - Main Lobby - Community/ Lounge Space (MultiPurpose) - Private – Flex Studio Second Level - Offices - Studio - Recording Studio - Counselling Offices - UNITY office - Reception Area space for staff - Videoconferencing - Meeting Rooms - Board Room - Lunch/ Staff Lounge Area - Counselling Offices - Waiting Area - Studio - Reception - Recording Studio - Counselling Offices - Meetings online - Videoconferencing through mediums - Meeting Rooms such as Skype - Board Room - Office Space - Small Impromptu - Videoconferencing team meetings - Board Room - Office Space - Large Meetings - Videoconferencing for entire staff - Meeting Rooms - Office Space - Where staff can - Office Space take a break - Counselling Offices - Lunch Break - Reception Area (kitchen)

Counseling Offices 4-5

- Counselling youth meetings

Copy/ Mail Room 4-5

- Printing - Photocopying - Mail

- Meeting Rooms - Board Room - Lunch/ Staff Lounge Area - Reception - Office Space - Videoconferencing

- Displays - Seating (Chair or builtin) - Vanity - Chair - Mirror

- Monitor

Open

Natural, Ambient, Task

High Level

- Toilet -Sink

Private

Ambient Accent

Medium Level

- Task Chairs - Desks - Storage

- Computer - Phone

Open

Natural, Ambient, Task

High Level

- Task Chair - Reception Desk - Storage - Videoconferencing Unit

- Computer - Phone

Open

Natural, Ambient, Task

High Level

- Monitor

Private

Natural, Ambient, Task

High Level

- Table - Task Chairs - Whiteboards - Table - Task Chairs - Whiteboards - Chair - Sofa - Nap Pod - Tables (42” and 36”) - Cabinets

- Monitor - Smart Board

Semi- Private/ Open

Natural, Ambient, Task

High Level

- Monitor - Smart Board

Semi- Private

Natural, Ambient, Task

High Level

- TV - Stove - Microwave - Sink - Dishwasher - Fridge - Computer

Open

Natural, Ambient, Task

Medium Level

Private

Natural, Ambient, Task

High Level

- Table - Desk - Task Chairs - Whiteboards - Storage - Mail Storage

- Printers

High Level

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Test Fits- Individual Offices

Figure 99: Office Test Fit A,6’x 7’, Ashley Desa, 2015

Figure 103: Office Test Fit 1-A, 8’ x 6’, Ashley Desa, 2015

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Figure 100: Office Test Fit B,6’ x 8’, Ashley Desa, 2015

Figure 101: Office Test Fit C, 8’-5” x 8’, Ashley Desa, 2015

Figure 104: Office Test Fit 1-D, 8’ x 8’, Ashley Desa, 2015

Figure 105: Office Test Fit 1-C, 8’-5” x 8’, Ashley Desa, 2015

Figure 102: Office Test Fit D, 9’ x 6’-5”, Ashley Desa, 2015

Figure 106: Office Test Fit 1-D, 7’-5 x 8’, Ashley Desa, 2015

Test Fits- Office Cluster Modules (4-6 People)

Figure 107: 8’ - 5” x 8’ Modules in a 4- Unit Cluster, Ashley Desa, 2015 Figure 108: 6’ x ’ Modules in a 6- Unit Cluster, Ashley Desa, 2015

Figure 109: 6’ x 8’ Modules in a 6- Unit Cluster, Ashley Desa, 2015

Figure 110: 8’ x 8’ Modules in a 6- Unit Cluster, Ashley Desa, 2015

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Test Fits- Private Office layouts/ Conference Rooms/Videoconference layouts

Figure 111: 14’ x 12’ Private Office Test Fit, Ashley Desa, 2015

Figure 112: 13’ x 12’ Private Office Test Fit, Ashley Desa, 2015

Figure 113: 9’ x 15’ Private Office Test Fit, Ashley Desa, 2015

Figure 116: 14’ x 20’ Conference Room Test Fit, Ashley Desa, 2015

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Figure 114: 16’ x 12’ Videoconference Room (3 seats) Test Fit, Ashley Desa, 2015

Figure 115: 12’ x 9’-5” Videoconference Room (3 seats) Test Fit, Ashley Desa, 2015

Test Fits- Reception Desk/ Waitng Area & Kitchen Layouts

Figure 118: Reception Seating 3 Test Fit, Ashley Desa, 2015

Figure 119: Reception Desk Test Fit, Ashley Desa, 2015

Figure 117: Reception Seating 5 Test Fit, Ashley Desa, 2015

Figure 120: Broken “U” Shaped Kitchen Layout Test Fit, Ashley Desa, 2015

Figure 121: “L” Shaped Kitchen Layout Test Fit, Ashley Desa, 2015

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Test Fits- Private Flex Studio Layouts

Figure 122: Private Flex Studio Test Fit 1, Ashley Desa, 2015

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Figure 123: Private Flex Studio Test Fit 2, Ashley Desa, 2015

Test Fits- Large Flex Studio Layouts

Figure 124: Large Flex Studio Test Fit 1, Ashley Desa, 2015

Figure 125: Large Flex Studio Test Fit 1, Ashley Desa, 2015

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Test Fits- Washroom Layout and Storage layout

Figure 128: Unisex Water Closet Test Fit, Ashley Desa, 2015 2015

Figure 126: Women’s Water Closet Test Fit, Ashley Desa, 2015

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Figure 127: Men’s Water Closet Test Fit, Ashley Desa, 2015

Figure 129: Storage Test Fit, Ashley Desa, 2015

Test Fits- Collaborative Spaces & Retail Space

Figure 131: Retail Area Test Fit, Ashley Desa, 2015

Figure 130: Collaborative Area Test Fit, Ashley Desa, 2015

Figure 132: Dj Deck Test Fit, Ashley Desa, 2015

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Test Fits- Vestibule Layout/ Recording Studio/ Tool Rental Area

Figure 97: Vestibule Layout Test Fit, Ashley Desa, 2015

Figure 133: Tool Rental Area Test Fit, Ashley Desa, 2015

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Figure 134: Recording Studio Test Fit, Ashley Desa, 2015

SUMMARY OF EVIDENCE

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SUMMARY OF EVIDENCE Abstract

The intent of this thesis is to explore ways for youth to apply self-expressive methods by using hip-hop culture through the design of a youth community center facility.

The concepts within the research conducted focus on a small group of employees, artists and volunteers of a youth center aged 10-18. The following summary of research caters to answering these following questions: what types of spatial characteristics are required to help provide youth with a space to encourage self-expression? In what ways can adolescents be inspired to further develop and succeed in an extra-curricular learning environment in relation to design of spaces? Can the influence of “hip-hop” youth culture affect characteristics of a space? What is the definition of spatial formation in relation to hip-hop?

Why are these important factors when exploring extra-curricular activities specific to youth culture? From these questions, a focus of the relation of hip-hop culture and self-expressive methods can be applied to the space and how spatial dominance can play as a factor toward this specific facility.

Supporting evidence is established when designing this specific institutional space

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elements to establish space. Through hierarchy and spaces that encourage self-expression specifically for young people are supplementary factors that will be explored through this guide of summary of evidence.

What is the definition of spatial formation in relation to hip-hop? Why are these important factors when exploring extra-curricular activities specific to youth culture?

Hip- hop can be defined as Dimitriadis (2015) stated, “Hip hop is multi-layered art form that has only grown in depth, power, and significance over time. In many respects, its importance could not be exhausted by the critical frameworks available in the academy as it had been traditionally defined.”(pg.31-51) Hip hop culture arguably is a form of expansion and territorial that can be viewed as domination. Within all methods of self-expression that hip-hop brings, there are many ways that this spatial domination is emphasized. The strongest example is through literature, poetry and music. Poetry, literature, music and dance are forms of communication, it is shown that in any society communication is the key to the success of that society. According to Swineheart (2010), “Language is looked at not from a standard national, linguistic, and hegemonic norm, but in terms of actual use and linguistic practices of young people.” (pg.250-252) With slangs and slurs developed through

through research methods such as books, articles, precedent spatial observations, surveys

literature, poetry, and even music (rap, r&b, disc jockeying) has shown quite an impact on

and interviews being conducted and reviewed. The focus of this research is to better

the development of the English language. Arguably, Chang (2015) states that, “rapping,

improve how precedent youth centers have been designed to better understand the needs

dancing, disc jockeying, and graffiti art are four central elements to hip-hop.” These forms

of users, as well as how to create a better functioning space for youth to further succeed.

of outlets that the hip-hop culture provides are the big four aspects, there are also several

Desired spaces by the users, characteristics that are associated with the design development

supplementary factors that are associated with the hip-hop world. These outlets continue to

of spaces for youth, circulation and wayfinding, private vs. public areas, are key design

be developed by our society and change our language, it is uncontrollable. These elements

are also developed by the youth today growing up in this atmosphere. Hip-hop is an

or heritage building is truly like. Dissecting a building reveals its true architectural structure

uncontrollable culture through its domination of expression and communication. Through

to define the accurate spatial qualities. Similarly, youth today need a way to express issues

every element of these self-expressive methods and non-conforming views, it has managed

they are currently facing. Many youth today seek ways of self-expression through the hip-

to seep, if not pour into civilizations whether intentionally or not. Without the central

hop culture both in educational and external environments.

elements of rap, dancing, disc jockeying, and graffiti, the formulation of hip-hop culture would cease to exist as mentioned by Dimitradis (2015) that, ““It was, and is, inconceivable in the African culture to make a separation between music, dancing, songs, the artifact, and a man’s life or his worship of his gods. Expression issued from life, and was beauty.” A

Can the influence of “hip-hop” youth culture affect characteristics of a space?

In what ways can adolescents be inspired to further develop and succeed in an extra-curricular learning environment in relation to design of spaces?

By implementing hip-hop as a form of educational environment who found that

“dreadful split between art and life” allowed a rupture between “‘art’ music” and

young children are developing linguistic skills. According to Love, B. L. (2015), “young urban

“something someone would whistle while tilling a field”. ” (pg. 31-51)

children are entering learning spaces with complex language-shifting abilities, kinesthetic

Spatial domination is acquired through art and dance. Break dancing is the dominance of horizontal planes. When dancing, this three-dimensional volume is constantly demanding space through extensive moves and development. When break dancers do headstands and freezes, an essential flow begins. Once this flow of movement begins it becomes demanding and occupies the space. Not only demanding attention of the surrounding vision of the audience but also floor space. The spins begin its territorial dominance and become in control of the space around the dancer that the individual becomes the space.

Vertical spaces in the hip hop culture are dominated by graffiti arts. The expansion of developing art on a wall through a series of words and images of self- expression. Graffiti becomes territorial when other create layers of art that if peeled away can find several

brilliance, creativity, focused play, and reflective and critical thinking skills.” (pg.106-131). By promoting this aspect of hip-hop within educational facilities, Love, B. L. (2015) continues to state that: ““The promotion of an understanding that urban children come to school with skills and knowledge developed by their culture is what Bartolomé (1994) calls a “humanizing pedagogy that respects and uses the reality, history, and perspectives of students as an integral part of educational practice”” (pg.106-131) It can be understood that youth today not only use hip-hop as a way to help, expand and develop the necessary skills within an educational environment. When discussing hip-hip relevant within the educational sector, three distinct ways are found that relate within teaching environments. According to Petchauer, E. (2009),

layers of expressions. In spaces, eventually peeling back the layers can define what a historic 64

“Hip-hop has become relevant to the field of education and educational research in at least three distinct ways. First, at an increasing rate, teachers are centering rap music texts in urban high school curricula, often in the name of culturally responsive teaching and critical pedagogy, to empower marginalized groups, teach academic skills, and educate students about how aspects of their lives are subject to manipulation and control by capitalist demands. Second, hip-hop exists as more than a musical genre. The creative practices of hip-hop and the messages constructed in the music are woven into the processes of identity formation by which youth and young adults conceive of themselves, others, and the world around them (Chang, 2006; Dimitriadis, 2001; Ginwright, 2004; Petchauer, 2007a). This includes not only Black and Latino youth in the United States but other ethnicities as well (Iwamoto, Creswell, & Caldwell, 2007), including White youth (Kitwana, 2005).

Processes of identity formation have the potential to be intricately woven into teaching, learning, and nearly all things educational. Finally, more and more higher education institutions around the world, particularly in North America, are engaging hip-hop in an academically rigorous manner through courses, research, conferences, and symposia. Currently, more than 100 institutions offer courses on hip-hop, with many universities offering multiple courses in various departments (Walker, 2006)” (pg. 946978) These three reasons why hip-hop exists gives the understanding as to why hip-hop should be implemented more into the curriculum so that children and young adolescents can analyze and associate themselves in this topic without promoting the negatives that hip-hop offers. Petchauer continues to analyze Pardue’s research when exploring the effects of implementing hip-hop-based programs in Sao Paulo, Brazil. This fully government funded program discussed rap as its’ solid curriculum. The results that Pardue had found according to Petchauer (2009), 65

“In Sao Paulo, uses were broader because hip-hop activities such as DJing, street dancing, rapping, and graffiti art were the educational methods used to develop citizenship, self-esteem, and some transferable skills such as graphic and artistic design among poor and working-class youth on the social periphery (periferia). It is important that the participants included not only youth or students but also adult hip-hoppers who were employed by the state to teach in these programs in state-built cultural activity centers.” (pg. 946-978) With these results, Sao Paulo proves that when the government helps to implicate hip-hop as a basis for educational learning, the standards develop critical areas to benefit the public.

These areas which not only provide help but, give youth and adults who are inspired by these to be able to continue to volunteering as a means of profit by providing job opportunities. Petchauer (2009) discovers that “Pardue (2004) argued that employing hip-hop practitioners as worker– educators of the state was neither a case of the state completely co-opting hip-hop nor a case of marginalized citizens creating a coherent movement of social change” (pg. 946-978) From this information provided that they are more people believe this program has been viewed as impactful and beneficial to the development of a community and even the city as viewed in Sao Paulo as elaborated throughout this summary of research. By continuously supporting this form of integration within the hip-hop culture not only within a government level but, on a community basis, the community will continue to strive for better opportunities to help young people to apply their skills by focusing on exploring selfexpressive methods amongst youth.

What types of spatial characteristics are required to help provide youth with a space to encourage self-expression?

Hip-hop culture can be easily related to an entity with a collection of spaces. An example of this is a home. Within a home, programming involves several spaces which include and are not limited to the bathroom, a bedroom, kitchen, a living room and a basement. Similarly

high school or in college. I recall the overwhelming sensation that what I was listening to in hip hop was as important and as valuable as anything I was being taught in school.” (pg.31-51) Essentially, in this personal story the application of hip-hop replaced current educational methods of learning with rap music and poetry as a way for these individuals use self-

hip-hop is a collection of self-expressive methods. Hip-hop has become the gateway to

expression and motivation.

expressing issues from politics to just everyday problems that people in society face.

The Implications of a Hip-Hop Based Program with a Disadvantaged Community

According to Baker (1991), “Rap music is the primary artifact through which urban youth of

Another method found that community used to help youth towards self-expressive

various backgrounds come together collectively to escape the oppressive structures of

methods to encourage good behavioural skills within the community and school is accessible

urban settings (pg.1-25).” From this, it can be noted that many youth go through oppressive

physical activity in the form of dance. In a recent research study which focused on the

situations and are countlessly resorting to hi-hop culture for outlets. Newman (2001)

program offered for the youth in need of accessible physical activity programs in

suggests that “hip hop is best understood as a peer culture and aesthetic sensibility,

disadvantaged communities. “…adolescents living in a multicultural and lower-income urban

comparable to the classic European-based movements of romanticism, modernism …” (p.

community in Ottawa, Canada” (Beaulac, J., Olavarria, M., & Kristjansson, E. (2010). A

389) Throughout researching this topic about the value of self-expression and how

background of the research study conducted, Humbert et al., argued that;

Dimitriadis’ personal story on finding methods of self-expression and how it helped throughout college years. Dimitriadis (2015) further states that; “I recall here my own earliest encounters with hip hop and my earliest efforts to understand what it meant for me and for others. My first, deepest connections with hip hop came in 1987. The first albums I recall most powerfully influencing me include Boogie down Production’s Criminal Minded (1987), Public Enemy’s Yo! Bum Rush The Show (1987), and Eric B and Rakim’s Paid in Full (1987). My earliest infatuation with hip hop came by way of lyrically gifted and politically astute rappers such as KRS-One, Chuck D, and Rakim. Each of these rappers demonstrated a poetic dexterity and political acumen that rivaled anything I was exposed to in

“Young people living in poverty or on the margins of society are vulnerable to health and social problems. Physical activity is important for the prevention of these problems and for the promotion of youth well-being (Biddle, Gorely, & Stensel, 2004; Task Force on Community Preventive Services, 2002). Yet youth who are socially or economically disadvantaged participate significantly less in physical activity compared to the average youth (Burton, Turrell, & Oldenburg, 2003; Mo, Turner, Kreski, & Mo, 2005); this is likely due, in part, to greater contextual constraints, such as discrimination, poorer perceived safety of the environment, and inequalities in access to physical activity resources because of both lower incomes and living in resource-poor communities (pg. 61S-69S) 66

This provided a scope of how the research was conducted and what the main issues that the study focused on. To further elaborate, (Beaulac, J., Olavarria, M., & Kristjansson, E. (2010) stated, “This study was designed to break down barriers to participation expressed by the community members and partners, in particular by providing a free, relevant, and supervised activity in an accessible location which included transportation assistance and participation incentives.” (Pg.61S-69S) Proving that the study was conducted on an ethic basis and that promoting hip-hop based programs into a community application can help youth to succeed. This shows results focusing on categories such as “sense of competence, self-efficiency, emotional connections, positive behavior, and identification with prosocial norms”. (Beaulac, J., Olavarria, M., & Kristjansson, E. (2010). Especially by incorporating voluntary opportunities within the facility help youth to continuously be motivated and increase efforts through engagement have been linked as a positive effect on youth development, as mention by Larson (2000). The research conducted with this study focused on these key aspects of the program implemented within the hip-hop program for the youth with include; “… (a) to foster improved youth self-identity; (b) to improve physical, psychological, and social well-being, including quality of life; (c) to improve family and social relationships; and (d) to improve youth behaviors. In the longer term, the ultimate program objectives, beyond the evaluation, were to reduce involvement in violent and delinquent activities, to improve school results and completion, and to increase positive involvement and leadership in the community.” (Beaulac, J., Olavarria, M., & Kristjansson, E. (2010). (Pg.61S-69S)

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Dance was chosen specifically as this appeals to youth across various genders, ethnicities and other social and cultural lines. According to Beaulac, J., Olavarria, M., & Kristjansson, E. (2010), “it is also likely to be particularly attractive to female youth, who have the lowest rates of physical activity (Grieser et al., 2006). This appeal across cultural groups is not surprising given hip-hop’s roots in black urban American culture, which has since “evolved into a cultural form that transcends race, color, and gender” (Wilkins, 1999, p. 108).” (Pg.61S-69S). Accessibility and safety are major factors to parents when implementing these programs for young adolescents. According to Beaulac, J., Olavarria, M., & Kristjansson, E. (2010), “The accessibility of the program was viewed by most as a significant factor promoting youth participation, including the recruitment, free cost, transportation assistance, ad participation incentives, and the location being a densely populated low-income neighborhood. Most parents stated that the fact that the program was offered for free was especially important. The young people echoed this sentiment, one saying “Getting a free program like this in the community . . . it rarely happens.” (pg. 61S69S) The fact the having a free program was very rare in the neighbourhoods is very unfortunate and can be viewed as unfair in these types of communities where the help is definitely needed. One parent within the study stated that “to explore their talent and practice something healthy in a structured and safe environment.”

More specifically, and consistent with the youth development literature, the opportunity to positively connect with the staff members was vital (AndersonButcher, Cash, Saltzburg, Midle, & Pace, 2003; Rhodes, 2004; Roth et al., 1998).”

(Beaulac, J., Olavarria, M., & Kristjansson, E. (2010). These are a few characteristics

implications into not just the spaces that are being provided for the students, but why it is

that the program needs to run successfully.

important to have mentors and volunteers can be an aspect of how youth can further

Through a series of methodologies such as observations, youth survey, personnel survey, focus group and interviews conducted with both youth and parents. Youth found that the choreography had provided positive feedback but with all a few unnecessary negatives played a factor with performance space. As mentioned by Beaulac, J., Olavarria, M., & Kristjansson, E. (2010), “… youth the opportunity to work toward a goal, some staff members and youths suggested that there was too much pressure to perform well and that this affected participation adversely, in particular during the second session. In addition, consistent with the literature, the youths, staff members, and parents felt that the program should be longer term” (pg.61S-69S) Throughout the study it was found that there was no difference when it came to

develop. As mentioned through Beaulac, J., Olavarria, M., & Kristjansson, E. (2010), “Overall, the findings provided valuable feedback on this new program and suggest implications for the implementation of similar health promotion programs for disadvantaged youth” (pg.61S-69S) and continues on to state that, “The opportunity to connect with peers and adult role models is vital and could have been emphasized more (Anderson-Butcher, 2005).”

(Pg.61S-69S) This proves that the healthy relationship between youth and staff can provide a form of adult role model to help the youth throughout programs.

Throughout this study proved that self-expressive methods within a disadvantaged community helped diminish social barriers that can be found predominantly within the youth culture, and to bring a community forward.

In another research study which focuses on a program created by a company named

girls’ only programs or co-ed programs for the hip-hop dance program. What majority of the

“YOUmedia”. “YOUmedia” had created a digital-based youth course situated on the first

parents and staff stressed was having more resources. According to Beaulac, J., Olavarria,

level in the Chicago Public Library had created spaces that encouraged youth to socialize

M., & Kristjansson, E. (2010),

with other young people. The primary users of this space were digital media mentors, clerks,

“Finally, all respondents agreed that the program should be continued, most suggesting only minor changes if any (e.g., space for parents to mingle)” (pg.61S-69S) From the results found in this study, spaces including an area for parents to attend

librarians and youth. This space found that there was no direction on how the users used the space but found that youth used the space in various ways. According to Bannon (2012), “… youth use technology both for social reasons and for reasons related to interests and learning.” (pg.33-35) This proves that the implication of technology can possibly be used as a

and watch their children learn or perhaps socialize, creates an emphasis on another user

way to help student to socialize. The space was designed to cater to socializing among young

besides youth, volunteers and workers within the space. Throughout the results, a few

people, the design focused on bright colour materials and comfortable furniture. Bannon

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(2012) states that “it allows eating and drinking, which creates a laid-back feeling for

Thus proving that youth us other forms of activities such as watching television and

socializing with friends.” (pg. 33-35) By implicating material choices helped to encourage

staying indoor as a means to avoid or just not encourage a sports lifestyle. This study had

students to participate as well as an act accordingly within the space. As well as equipment

collected data by asking participated that were ages 7-16 to wear an accelerometer for eight

as Bannon (2012) elaborates, “Digital equipment, ranging from computer, to keyboards, to

days to accumulate the amount of time spat doing activities. Results showed that the

drawings tablets, to turntables, is easily accessible for student to experiment with.” (pg. 33-

average youth age was 13.3 years and that younger girls participated in less moderate to

35) From this it can be established that by providing all equipment that was easily accessible

vigorous physical activity compared to boys. However, urban students had participated

to students help student to explore and further develop skills when participating in the

more in these physical activities when compared to students living in suburban and rural

program. Help youth to have all the resources and necessities available is vital when

environments.

designing for youth programs.

Spatial Classifications and Level the of Youth Physical Participation When focusing on youth physical activity patterns, it can be shown to play as an important factor when analyzing where youth primarily spend time when interacting in moderate to vigorous physical activity. A study named “Spatial Classification of Youth Physical Activity Patterns” focuses on children ages 5-17 to achieve health benefits. According to Rainham et.al,

vigorous physical activity were broken down into these following categories; home, school, commuting, athletic facility, entertainment, green space, military, a parking lot, religious, residential, retail, service and transportation. In urban and suburban environments, boys and girls tend to stay in location such as commuting, school and home. Whereas youths living in a rural area tend to participate in these physical activities at school as opposed to home or commuting. Within these results a discussion of linking green spaces to the facility

“Sedentary behaviors such as TV viewing and computer use present a challenge to meeting recommended physical activity guidelines, occupying a large proportion of time—up to 6 hours per day—among children and youth.6 Increases in screen time, the scheduling of organized activities, as well as the proclivity of youth and their parents to over-report physical activity, provide strong justifıcation to employ objective activity measurement strategies, and a basis from which to develop successful intervention efforts.” (pg. e87- e96) 69

Locations of where students would spend time conducting in moderate- to –

help to understand the relationship. According to Rainham et.al, “Green spaces, including parks, wooded areas, and vacant land are also locations where youth attained MVPA. Evidence about the relationship between access to green space and physical activity, derived from studies using objective physical activity measures, appears to be mixed.

Regardless of how physical activity is measured, studies are consistent in that the linkage of green space to the individual is derived from measures of proximity. Green space exposure is measured as distance from residential origin, or as a contextual feature of an individual’s

neighborhood within a predetermined buffer size. However, the relative proximity of green space to residential location will vary considerably within any one sample, and the cost of distance will vary with stage in the life course.” (pg. e87- e96) As green space is local to the existing building, the moderate to vigorous physical activity happening within the youth facility emphasizes the level of involvement as well as the how green space is impactful for the youth and stimulates participation.

Another study focuses on the active participation within the youth center located in Hong Kong, China. In Hong Kong, promoting youth center involvement has been known to be a repetitive issue. Although youth centers specifically in Hong Kong serve a certain purpose within a youths’ life. As explained by Cheung et al (1997), “In Hong Kong, youth centers serve a developmental function by inviting youths to join a variety of formal programs, including friendship, training, tutorial, and volunteer groups, and informal activities, including counseling and information sharing. Through these activities, they develop participants' sense of citizenship (Yogev & Shapira, 1990) and preference for democracy (Kahane & Rapoport, 1990). They also function to prevent juvenile delinquency (Denno & Clelland, 1986; Schinke et al., 1992) and to promote social integration (Larson, 1994; Tannehill, 1987).”

To help a population to grow, these factors needed to be implemented and provided for the youth as a means to further develop themselves. Factors that these youth centers were built to prevent we juvenile delinquency which is very interesting as this information tends to be

censored in more local studies. This is one of the man factors as this space is to help youth to “stay out of trouble in a sense” Cheung et al (1997) states, “Participation, especially long-term enrollment in a youth center, contributes to a youth's personal development (Larson, 1994; Schinke et al., 1992). Therefore, it is important to identify factors that promote a youth's continuing participation… Such a focus is inadequate because it (a) ignores attitudinal constraints (Iso-Ahola & Mannell, 1985), (b) downplays the importance of self- determination in behavior (Deci & Ryan, 1985), and (c) neglects the fact that demographic characteristics are only proxy variables for attitudes (Smith, 1980).”

Throughout this study, three main focus groups as Cheng et al. (1997) outlines are “(a) nonparticipant-non goers, who have never gone to a youth center, (b) Non- participant goers, who have gone to a youth center but have not participated in an activity there, and (c) participants, who have participated in some activity.” The research focused on a questionnaire distributed to 1736 secondary school students within the Hong Kong region.

Research outcomes have shown that the level of knowledge and acknowledgement towards youth centres played a significant role in participating in the programs offered. As Cheng et al. (1997) elaborates on the findings and states that, “For participants, more detailed information on services and activities would facilitate their selection and further participation. These implications may lead social workers to apply differential strategies to involve different types of youths.”

From this research study, it can be shown that the promotion of users relies on the attitude and knowledge of youth centers and can play an important role when designing and promoting this facility. As many youth do not understand or are aware that these types of 70

facilities are available. From these several articles and research, conducting and applying methodologies to create findings with the Toronto region.

The level of participation of performance spaces vary between from individual to individual but a focus of being within a controlled group. Individuals tend work amongst other peers to help develop confidence and trust when performing, Mike suggested being in

Research Methodologies

open-office space where creative collaboration is more evident within facility. Acoustics, a

Client Interview with Mike Prosserman

sense of privacy and also being in a warm and welcoming environment as opposed to cold,

When conducting this phone interview with Mike Prosserman. Mike Prosserman helped to shed some light to understand what types of spaces that are currently being used

concrete and industrial feeling that many office spaces carry.

From this interview many key aspects were incorporated in the findings not only

with and elaborated on hip-hop programs that are run by their facility. UNITY Charity’s

about what the client has observed throughout the years with students but as well as

current facility focuses solely on office space and sources out all programming to other

developing an understanding of the factors when focusing on spaces for youth which

facilities. UNITY Charity conducts several workshops on a weekly basis in different locations

include, how the user react to the space. The key categories emphasized within this

such Art Gallery of Ontario and other community centers or schools to host these facilities.

interview are public vs private, natural lighting, views, trust, self-expression, participation

Prosserman has indicated that these spaces needed to be easily accessible. When growing

and transportation.

up and actively taking transportation, many are found to be attracted to the downtown area as opposed to being in suburban areas of the Toronto region. It is important on how

Amenities Chart

teaching methods are conducted and can easily affect participation levels due to location.

Through the level of participation, the youth tend to express themselves, depending on the content to be more public or private amongst the group. Level of participation shows interests and often emphasizes what hip-hop actually is. A challenge varies between public and private spaces for a student who is expressing their heart out may be very hard for a stranger to tune into. As Prosserman elaborates is that “spaces where people walk through the space is harder to gain trust�. Finding the balance between private and public is a key focal point throughout this interview. Prosserman elaborates that a too open space or too closed can be negative but, to incorporate natural lighting into studio spaces are key.

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Private spaces Natural Lighting Large community spaces Views Transportation/ Commuting Location Studio Classroom Office/ Meeting Space Dance Studio Performance Area

Important Yes (Very) Yes Yes (open spaces) Yes (into studio) Yes (To and from facility/ workshops) Yes (Preferably in the Heart of Downtown) Yes No Yes (For Admin) Yes Yes

environment. From the list of amenities that should be added help to understand the

Survey This survey online questionnaire was designed to target users of the youth

potential users and the resources required to make this facility better. Many participants

community center proposed space and has shown very interesting results. Some of which

rejected the classroom, study room and café environments within the space which was

are repetitive and some new and innovating ideas for the proposed space. Unfortunately, I

surprising. Many of the art facilities that were researched had cafés and classroom/ study

was not able to contact many youth ages 10-18, due to ethics and regulations. The focus

environments. Surveys conducted performed as ample and key guides to the success of the

was mainly on users who have participated in hip-hop sectors through volunteering or

proposed youth community center space that focuses on a hip-hop-based program.

career options. With ±93% of individuals being over the age of 18. The majority of these participants have participated in hip-hop activities such as Breakdancing and Graffiti Arts

Amenities Chart

(43.33%) whereas in sectors such as emceeing (26.67%) and disc jockeying (23.33%) showed less interest. Many of these individuals did not continue to participate any more in the selected sectors. 30 % of participants have low confidence levels when participating in these strands of hip-hop. Many participants had found interest in participation of the reason for being involved in hip-hop culture to be associated with the other category. The majority stated that they “grew up listening to hip-hop” or that it helped them to express themselves. 40% of participants stated that they would prefer that workshops are offered outside of school. The majority preferred private space when participating in performing or expressing themselves (50%). Key categories that were found important to be offered when attending these spaces were the location, flexible fast service, access to transit, large/community space, ability to book flex studios, studios, private studio spaces, parking/biking, event spaces and access to technology.

From these findings, many of these individuals had provided additional ideas for spaces which include showers, sleeping areas, indoor/outdoor space, clean, acoustics, sound proofing, water fountain, art room, lounges and incorporate safety measures within the

Location Flexible fast service Access to Transit Lockers Large Community/ lounge space Ability to book flex studio spaces Studio Classrooms 24/7 café Snack Machines Private studio spaces Study spaces Parking/ Biking Event Spaces Access to Technology Showers Sleeping areas Indoor/ outdoor space Cleanliness Acoustics Safe Environment

Important Yes (Very) Yes (Very) Yes (Very) Somewhat important Yes (Very) Yes (Very) Yes (Very) Not Important Somewhat important Somewhat important Yes (Very) Not Important Yes (Very) Yes (Very) Yes (Very) Yes Yes Yes Yes Yes (Very) Yes (Very)

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observational studies, it is evident that the space requirements and characteristics as Observational Studies Throughout the results between the comparisons between observational studies and the amenities chart, it was very interesting to see reoccurring characteristics between these youth and community centers. These institutional spaces focused on connecting with the environment and an abundance of public and private spaces for expression. A majority of the spaces carried a similar simplistic form of materials and finishes used throughout the interior of the facilities such as white walls and concrete or grey linoleum flooring with pops of colour either found in furniture or painted walls. Many of the spaces carried private and public studio spaces with minimal seating where local artists can host workshops or have personal time to create. A majority of the spaces had a café and kitchen so that the community can be involved as well. General lighting methods used such as pendant, natural, artificial and task lighting were shared throughout all facilities. The idea that was very intriguing were spaces found in the “New Generation Youth and Community Center”, by creating flexible impromptu performance space as well as a seating area for socializing amongst other young people. As well as the use of connecting with nature through the use of many fenestrations. In all facilities windows lead to ample views of nature but, also, the interior of the space (i.e., New Generation Youth and Community Center). I found that the “New Generation Youth and Community Center” space carried a sense of calm and warmth with the use of materials. Unlike QingPu Youth Center, which had a very cold ambiance but, gave a sense of exploration with the size of the facility as well as the various building connections which include enclosed walkways, terraces and bridges. From these four 73

established within this study are required to make a successful design Comparison Chart Precedent Study 1 Name Youth Center of QingPu

Location QingPu, China Major Community Occupancy Center

(Institutional) Minor Classrooms, Occupancy offices, dance studios, a library, a gallery, a theatre auditorium, roof garden, meeting rooms and courtyard.

Lighting Task, Natural,

Pendant and artificial lighting

Precedent Study 2 New Generation Youth and Community Center London, United Kingdom Community Center (Institutional) Climbing wall, a training kitchen, café, vocal booth, recording studio, meeting spaces, sexual health center, informal performance areas, “break-out” areas, large central hall, and outdoor space.

Task, Natural (Skylights and Fenestrations), Pendant and artificial Fluorescent lighting

Observational Study 1 Artscape YoungPlace Toronto, Canada Art Community Center (Institutional) YoungPlace Café, Residence for Artists, flex studio spaces, Urban Lounge, and gallery space

Task, Natural lighting, artificial fluorescent (T5 Bulb) fighting

Observational Study 2 Parkdale Arts and Cultural Center Toronto, Canada Art Community Center (Institutional) Residence for Artists, galleries, private and public studio spaces

Task, Natural lighting, artificial fluorescent (T5 Bulb) fighting

Finishes/ White walls with Exterior use corrugated Materials pops of green and yellow to liven space.

Wood flooring used for interior space and exterior space carried concrete flooring and painted wood flooring. Wood details located in library accentuated vertical space and provide a sense of calm.

Exterior used perforated aluminum to encase building painted yellow and green. Main building was painted white.

Furniture Minimal Furniture.

Classroom settings use typical furniture (none pictured)

concrete and polycarbonate panels were placed to be symmetrical to each material.

Interior space used structural timber panels with a subtle white-wash stains and grey chequerboard pattern linoleum flooring as well as in key places a rustic oak flooring and have pops of vibrant colours (yellow) throughout the facility Larger windows both interior and exterior.

Classroom furniture. Seating configuration range from 4 (round tables) to 6 (bench seating).

Colourful comfy seating (couches

White walls and concrete flooring. Some walls carried murals located in some hallways and stairwells.

Furniture carried vibrant pops of colour

Urban lounge carries intimate seating and large bench areas which include pops of colour. Movable cube seating

White walls and concrete flooring

and bean bag chairs) Movable single chairs located throughout facility

provided pops of colour.

Seating used in flex studio spaces are wood to bring warmth to space

wood to bring warmth to space

Amenities Chart

Limited seating but in gallery spaces have large white bench areas.

Seating used in flex studio spaces are

2 Floors or More Green/ Outdoor Facility Gallery Lounge Space Residential Space CafĂŠ Studio Classroom Office/ Meeting Space Kitchen Dance Studio Recording Studio Performance Area

Precedent Study 1

Precedent Study 2

Observational Study 1

Observational Study 2

Yes

No

No

Yes Yes No

Yes (Outdoor Facility) No Yes No

Yes Yes Yes

Yes Yes Yes

No Yes Yes Yes

Yes Yes Yes Yes

Yes Yes No Yes

No Yes No Yes

Yes Yes No

Yes No Yes

No No No

No No No

Yes

Yes

No

No

Yes (4 levels)

Yes (3 levels)

Yes

Yes

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CONCLUSION

76

Conclusion

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Throughout this summary of evidence, it can be shown that through research methods such as books, articles, precedent spatial observations, observational studies, surveys and interviews being conducted help to understand how the art forms based on hip-hop culture can be implemented to design a communitive program space.

Through several examples which include, Sao Paolo, Hong Kong, and even I the United States of America, of how hip-hop based programs have benefited the community and provided ample opportunities for growth.

When designing for primary use of self-expression, focuses especially when applied to the youth center can vary differently from research methodologies conducted by other researchers through other studies as well as myself. Many had included the key factors and spaces that needed to be applied were private vs public studio spaces, performance areas, large community/ lounge spaces, transportation, green spaces as well as natural lighting. By discussing a space and how the materiality affects users provided insight to the challenges between the public vs private studio

spaces. Many of these spaces carried an ambience of concrete and industrial when conducting observational studies within the Toronto region.

Numerous of these spaces found throughout the methodologies used had implemented various bright colours and types of materials which included wood. Through the exterior use of concrete, the architects and throughout the article studies, used a combination of non-threatening material such as perforated steel and aluminum to lighten up solid concrete materials. Furniture uses tended to be comfortable and colourful, to brighten up the space creating a more stress-free environment.

As a conceptual approach that implies the hierarchy of style and how this vertical spatial expansion can be developed through public art known as “street art�. This evidence is implemented into the proposed new design through sustainable approaches such as natural lighting and translucent divisions of space. These main design focuses can be elaborated as light has no boundaries unless altered or moved in accordance. The space will also provide ample opportunities for a stimulating spaces which include bright colours

as well as flexible furniture to encourage youth to collaborate. The space will focus on two major occupancies such as institutional and corporate.

Institutional spaces will include programming such as rentable studio spaces to the community, private and public studios, collaborative area, reception area, open office space, reception/ waiting area and counselling office for the youth. The spaces focus on key criteria such as acoustics, indoor air quality, proper ventilation and distinction of semi-private and public studio spaces. This facility will provide youth with a secure and safe space to reside to besides home with a great organization (UNITY Charity). This space will achieve goals which include providing a large open space for collaborative uses, access to flex studio spaces for youth and community, secure spaces for youth to express themselves and an open office space for UNITY Charity to continue the non- profit organization. This summary of evidence provided an insight on hip-hop culture and the connection to youth centers, which deserves acknowledgement and implementation when designing a youth community center.

Figure 135: Unity Charity Festival , 2013

APPENDCIES

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A: Survey B: Precedent Studies C:Observational Studies D: Interview with Mike Prosserman E: Free & Informed Consent Form F: Work Cited List & Image Sources G: WriteCheck

Appendix a: Survey All surveys were conducted through surveymonkey.com Question 1

Question 4

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Question 3

Question 2

Question 6

Question 7

Question 8

Question 5: Name 2 ways has the hip-hop culture impacted your current lifestyle? Please explain. fashion and grow as a person 11/8/2015 9:26 PM View respondent’s answers I was raised in a neighbourhood with a lot of hip hop culture, which was openly shared with me. I really appreciate the styles and performances.

11/6/2015 10:48 PM View respondent’s answers The way I speak, some of the fashion choices I make.

11/6/2015 1:13 AM View respondent’s answers cultural awareness 11/5/2015 11:10 PM View respondent’s answers It’s what I live by now in a sense, it what my squad and I are carrying ourselves on, trying to leas mentorship through the hip hop dance platform and to spark individuality and social awareness through our dance to the youth of the city 11/5/2015 10:54 PM View respondent’s answers yo this is vague af ur killin me uhhh 1. local neighbourhood/ city pride 2. music 11/5/2015 1:16 PM View respondent’s answers I’ve admired poetry, and feeling free to admire freelancing art. Learned to show more respect to street performers. It’s not just a hobby, It’s a lifestyle and career 11/3/2015 10:24 PM View respondent’s answers Its the current trend and i enjoy the culture and music.

11/3/2015 5:52 PM View respondent’s answers Excitement Confidence 11/1/2015 11:12 PM View respondent’s answers The way I speak, and the way I look at certain issues (The latter is due to conscious hip hop not the pop kind) 10/31/2015 9:52 PM View respondent’s answers

As a form of popular culture it has been a method for me to engage with my peers, without feeling pressured by the “proper” social structures or rules provided by work or school 10/30/2015 4:26 PM View respondent’s answers mentality and creativity. within the sub cultures of hip hop is an approach that can be applied to many aspects of your life 10/30/2015 11:37 AM View respondent’s answers

It’s mostly the lives the rappers incorporate their story into their music and I believe that to be motivational, inspirational and uplifting. And how it’s impacted my life is the way I can relate to the artist with similar stories.

10/29/2015 7:47 PM View respondent’s answers Hip-hop has impacted my current lifestyle be heavily influencing my mentality in ways of developing a conscious passion for words and cadence.

10/29/2015 1:17 PM View respondent’s answers Hip hop culture has impacted my form of lifestyle as it gave me a sense of confidence, integrity, and a relative increase in being able to obtain communication with others through various ideas. Hip hop culture has also influenced my lifestyle as certain songs, relate to many aspects of my life and give me a sense of confidence that things do become positive if you do embark on a hard mission.

10/28/2015 11:32 PM View respondent’s answers Fashion and language (slang) 10/28/2015 5:36 PM View respondent’s answers not really.

10/28/2015 2:52 PM View respondent’s answers Keeps me connected with the community Enjoyable hobby 10/28/2015 2:39 PM View respondent’s answers 1.Confidence when listening to inspiring lyrics 2.Heavy beats make working out easy and exciting 10/28/2015 2:33 PM View respondent’s answers It was changed the way i think. It has open my eyes to perspectives i wouldn’t have seen.

10/28/2015 2:13 PM View respondent’s answers It has influenced me to embrace my roots. It also has helped me to express myself through artwork and to not be so private about it 10/26/2015 11:17 PM View respondent’s answers Became more confident and outgoing by means of expression and dance with Hip-hop culture. Therefore keeping myself more productively occupied, refraining from other bad influences 10/26/2015 11:16 PM View respondent’s answers - Helped find new friends who shared the same interest in the culture - Acquired me a teaching job at a urban dance studio 10/26/2015 11:14 PM View respondent’s answers

Hip hop culture has impacted my fashion sense at times and currently impacts the way I speak to my friends. For example instead of saying “don’t worry” I would say “relax fam” 10/26/2015 11:09 PM View respondent’s answers Allows me to express myself, and be more open with people. It has helped me to be less shy.

10/26/2015 9:21 PM View respondent’s answers I listen to it on the radio every morning. It influenced my body image in that curves are now acceptable 10/26/2015 8:09 PM View respondent’s answers It might influences my fashion choices.

10/26/2015 7:17 PM View respondent’s answers 1. I now more than before enjoy listening to hip hop music on a daily basis. 2. When i listen to hip-hop music it gives you a feeling of being free to dance or just to let loose.

10/26/2015 6:57 PM View respondent’s answers Style (the way I dress and slang I use (the way I talk) 10/26/2015 6:53 PM View respondent’s answers The way I dress and the manner in which i speak 10/26/2015 6:53 PM View respondent’s answers

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Question 9

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Question 9 continued

Please list anything else that will help me to develop studio spaces to be more enjoyable. Thanks Just be inclusive and foster and open and safe environment.

Good luck!

11/6/2015 10:48 PM View respondent’s answers Make more group spaces like hip hop lounges where djs can practise and people and dance.

11/3/2015 5:52 PM View respondent’s answers Large and clean and spacious, MIRRORS, GOOD FLOORING FOR DANCE, sound proof, sound system, water fountain, art room 11/1/2015 11:12 PM View respondent’s answers Places to sleep/shower Couches 10/30/2015 4:26 PM View respondent’s answers creative and well designed space to make coming and being at the studio more desirable 10/30/2015 11:37 AM View respondent’s answers ....... Positive people..

10/29/2015 1:17 PM View respondent’s answers - Always have speakers - Make sure there is a set time and date for space to be available - Make sure floor is clean 10/26/2015 11:14 PM View respondent’s answers Put mirrors everywhere so I can watch myself twerk 10/26/2015 11:09 PM View respondent’s answers an indoor our door space perhaps..Makes a space more interesting to work in!!....Classrooms are boring 10/26/2015 7:17 PM View respondent’s answers

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Appendix b: Precedent Studies Precedent Study 1 Project Name: Youth Center of QingPu Location: Shanghai, Republic Popular China Architects: Atelier Deshaus Design Team: Liu Yichun, Chen Yifeng, Gao Lin, Liu Qian, Wang Longhai Site Area: 10906 m2 Area: 14360.0 sq.m Project Year: 2012 Summary: Located in the city of QingPu, this youth center is series of large rectilinear buildings (14) that are connected through various enclosed walkways, terraces and bridges. The exterior of the space has perforated aluminum that encases the building bright yellow and green faรงade.

The aluminum is cut away at large fenestrations to reveal these colours. The largest of the fourteen buildings is completely painted white and houses an open-air courtyard. While other buildings have spaces that include classrooms, offices, dance studios, a library, a gallery and a theatre auditorium. The exterior flooring material varies between concrete and painted wood flooring. The courtyard encompasses the idea of exploration throughout the space by providing outdoor pond area and planters to encourage the youth to engage with social interaction amongst peers and other locals.

The series of buildings was to emphasize 85

a city-like atmosphere.

The interior of the buildings use white walls and some pops of colours which include green and yellow that were used on the exterior. With choice organic materials such as a light hardwood flooring to incorporate warmth into the space. These space were used in library and auditorium facility. This facility uses a mixture between artificial, natural, pendant and task lighting. This multi-level building offers several facilities. On the basement level, there are spaces such as courtyard, theatre, dancing, music, classrooms, library, reception, and offices and gallery space.

On the ground level there are spaces such as open-air theatre, terrace, dancing, music, and classrooms, library, meeting rooms, offices and even void spaces.

On the third level there are area such as classrooms, roof garden, office, meeting room and access to level 1 roof space.

Precedent Study 2 Project Name: New Generation Youth and Community Center Location: Wells Park Road, London, United Kingdom Architects: RCKa Project Year: 2013 Summary: Located in the UK, the RCKa wanted to create a “world class” space that incorporate sustainable features to high quality design. The exterior façade of the space uses a combination of materials such as Ductal corrugated concrete panels and polycarbonate panels to create a rough texture with translucency. The polycarbonate panels use a foil-faced insulation to reflect natural daylight on the upper levels of the facility. From the street level, the façade shows large fenestrations that show that the space is active with many who attend and light up during evening hours as artificial lighting is incorporated into the facility.

connected to all levels of the facility.

The architects worked closely with the local youth and decided that there are several different spaces that were required to make the space successful. On the lower levels areas such as a climbing wall, a training kitchen, and a café were implemented into the design. On the main levels, a vocal booth and recording studio spaces and on top level meeting spaces and sexual health center are all spaces being easily accessible to the local young people interests. Large community spaces such as informal performance areas, “break-out” areas and a large central hall.

These performance spaces also can be found at the bottom of the stairs which can double as seating or DJ-decks.

The interior of the facility carries materials which include structural timber panels with a subtle white-wash stains, grey chequerboard pattern linoleum flooring as well as in key places a rustic oak flooring and have pops of vibrant colours throughout the facility. These materials were chosen to create a sense of warm intended for the age group attending. The space carries many glass panels to ensure ample nature views as well as to being 86

Appendix C: Observational Studies Observational Study 1 Project Name: Artscape YoungPlace Location: 180 Shaw Street, Toronto, Ontario Architects: Teeple Architects Site Area: 6967.7 sq. m Project Year: 2013 Background: Previously this building was known as the Shaw Street School. This school was the central hub for the community until due to demographic shifts, the Toronto School Board closed down the school. This space was considered a central hub since the school was in the Trinity Bellwoods Park. This neighbourhood is renowned for their artists and lifestyle business throughout the community. From this, the development of Artscape YoungPlace after a $17 Million transformation. Artscape YoungPlace was designed to be a community central hub devoting the space to artist growth, inspiration, learning and development.

Summary: Artscape YoungPlace provides mixeduse occupancy which include institutional and corporate space. Teeple Architects had taken into considered the amount of users. The exterior includes flexibility accessibility points which include an exterior ramp, interior chair lift, hydraulic elevator. In addition there are loading spaces to the west of the building.

Since this adaptive-reuse building designed to have a unique community space available to the public, the main level known as the “Urban Living Lounge� with main level of seating which can include fixture intimate seating for 2 or group seating with different heights such as mobile 87

block type seating which vary by materials such as wood and colourful spectrum. The main level features the YoungPlace Coffee Pub which also drives a community ambience to the space. This area has very intimate seating with just tables for 2 and maximum 4 and a coffee shop ambiance for quiet study area with access to natural lighting via large fenestrations with views to the neighbouring residential area. Another flexible space that Artscape YoungPlace offers is a Hallway Gallery which spans about 9000 square feet on all three levels which is comprised of public art displayed from the local artists.

Artscape YoungPlace provides not only social community spaces but as well as flex workspaces, flex meeting spaces, Flex Studio (Gold & Silver).

Flex Workspaces both provide individual and semi-private studio spaces that designed with an open concept. Flex Meeting Rooms are private rooms that provide space up to 4 people. These rooms provide White boards and technology to conduct a meeting. Flex Studios are 1000 square foot classroom studios that can be used for multiple of events, workshops, fundraisers and many more. These open concept work spaces are offered to the public and can be rents out 24 hours a day, 7 days a week. Hence the flexible work spaces.

The facility is generally concrete flooring with white walls. This encourages murals (i.e., stairwell) and art to be more evident to bring out the space. The materials used for the furniture bring a lively ambiance to the space (i.e., furniture in the urban lounge)

Observational Study 2 Project Name: Parkdale Arts and Cultural Center Location: 1313 Queen Street West, Toronto, Ontario Architects: DTAH (Du Toit Architects Ltd.) Site Area: 1207.7 sq.m Project Year: 1998 Background: Prior to being the Parkdale Arts and Cultural Center, this building was known as Parkdale Police Station (Division 6). Shortly after this space has experience a fire where what use to be the horse stables were located.

This brought attention to the community, which the Metro Councillor at the time, David Miller, passionate about the space had decided to hire DTAH to create an adaptive re-use space. With limit funds, this space provided a mixed-use occupancy of residential, institutional and corporate. Essentially combination the arts, community and economic development by helping artists with not only their business but as well as selected few become tenants. This was Artscape’s first time delving into mixed-used occupancies.

being by artists on the main level and on the upper levels are nine artist live/ work studios. These are all rented for affordable rates that are below the market.

Gallery 1313 carries concrete flooring with white walls which ensures that artists who present their work are not distracted. The program that the gallery carries compiles several types of spaces which include a resource center, main gallery, cell gallery, and office space and process gallery. In private studio spaces as well carries white walls and concrete floors with simple furniture carrying wood like materials.

Summary: Parkdale Arts and Cultural Center’s existing building exterior was designed with an historic Art Deco Style with limited fenestration. The current space offers corporate spaces for community based on non-profit organizations/ companies. Gallery 1313 is run 88

Appendix D: Interview with Mike Prosserman What first inspired you to the hip-hop culture? What impact has hip-hop had for you over the years?

oppose to… it’s not something that you would learn in a class setting but I just happened to stumble upon it. Like luckily”

“Yea so um, I have be B-boying and dancing since I was 12, and I guess just you know, when I started it was pretty competitive but also you know I was also practicing with a lot of my crew. They were my friends as well and you know just having that core group of friends to hang out with was something that helped me to be around a good group of people. And eventually I grew up I wanted to share hip-hop with other young people. That’s why I started UNITY but for me it was about a community that I am a part of. Uh also, using hip-hop as an outlet and a positive self-expression. So just having that in my life was a tool for when I was younger.”

In the future, is the company focusing on having a larger community space for students to attend off campus?

Why do you believe it is important for students to have an available outlet to express themselves?

“Um, I mean teenager time is very awkward and uh there’s just lots going on but also with your community, your high school, the transition from middle school to high school. There is so much going on. There was a lot going on in my house, the home. And just having that in the background is just something the kept me just enjoying one thing at least. To say it was kind of like my escape I guess from all that craziness happening during that time.”

How did you delve into Hip-hop culture? (Example through friends etc.)

“So I saw these guys performing and I was pretty intrigued because I had never seen it before. So I just went home and started trying to do it on my own at home for a couple of months. Essentially I was terrible at it and I was sort of looking for a way to find it so I can learn more. So I found out about a class that existed at Yonge Street and Leslie Street. That studio doesn’t even exist anymore but it was this b-boying class that was run by this group called “N-back n tricks”. That is only of the legendary crew with Toronto and even Canada, so I was lucky to find that class because now a days, there aren’t very many classes offered like that. That exist who are taught by the real historians of the culture. So anyways, I was in that class for about a month and eventually I found my crew through that class. All because we were hanging out there. Once I met them, I was able to practice with them, you know, all the time. So that introduced me to the real culture which was the community of hip-hop as 89

“Yeah totally. It would be really cool to have something more central because there are a lot of different spaces these days. Where they are located deep in different communities but I feel like, you know, as you start to develop you confidence and you start to travel to get to different things. You know, downtown is where you want to be. You know there aren’t a lot of space because it is too expensive for community organizations to work generally. Like right in the heart. So I imagine that we are located in the heart of downtown and we run programming every day of the week and just um different art forms. You know it is all free and we will be using top artists to teach that. Just because you know, we have one program that is run at the AGO and it’s just packed. Always packed. I don’t know why but I guess it is because it is centeral. Maybe that is not correct but anything that we found downtown you get more dedicated people from all different corners of the world. Versus going from Scarborough to Etobicoke. It’s one of the challenges that we face. You know a physical space is limited by its geography.”

In your opinion, what specific strands of hip-hop (i.e., breakdancing, graffiti, music and rap) are students more interested in?

“Um, I find that more popular art forms are spoken word and breakdancing but art is pretty popular but people are not as vocal about it. Usually like spoken word are more personal and practice on your own type things. Whereas beatboxing and break dancing are more shared in a group environment. But I find that dance and spoken word are generally more outgoing art form. Whereas beatboxing is more an internal thing so you get shy and quieter people doing spoken word. But that is kind of like a stereotype doing any of those things. You know were see very performative type of people doing dance and spoken word.”

What types of teaching methods do you find are the most effective in workshops?

Studios? Do you find these methods to vary between strands offered within your facility?

“There a lot of teaching methods that our facilitators undertake. Really depends on the style, that particular facilitator but generally we are back on the same principles, you know trying to involve everyone. And doing this in a way that everyone can be involved. It’s not just about the skill level. It’s about the contribution and what does that look like. So we focus on integrating everyone’s voice um and including discussions and it is something that we recognize but we realize that not everyone is going to be good at the art form so by not getting too technical. It’s more about the connection on a personal level whatever you are learning. It sort of stems and spreads out from there. A generally that will spread to the interests of the group and the stories of our facilitators and sort of integrate that into their work. We use the art for as an outlet to express stress. As part of some of the activities and very informal methods. Also they have a plan but they can freestyle it depending on the class but you definitely want to keep them (youth) coming back. That is another key element is to have goal or ambition. If you don’t then it doesn’t matter if you miss 2 weeks but you want to encourage them to come back and interact as a community. So if you are missing week 3, then you are letting down the group. These workshops are run every single week. If you miss 3 in a row, you are going to fall behind.”

What kind spaces do you find the majority of students to be more comfortable and easier to express themselves? Describe them. In your opinion, do you find that artists and students are more engaged in larger, open spaces or more confined spaces?

“Yeah so we are in a different spaces, sometimes class room spaces area bigger and open space. I find that the better spaces are the spaces with a sense of privacy. Like people walking through the space because that makes it harder to create that trust. Um, I believe that our facilitators are good at creating that trust so you know why our programs are so successful because the essentially the artist is responsible for creating that relationship with the little person. Like, they want to talk about something and to build that relationship to help make it more comfortable. So I think that making a space that is more private but our facilitators are naturally continuing to make youth more comfortable. You know a group get stronger at it and when a facilitator is not use to something that they had in their previous workshop. Maybe two feel safe but one doesn’t because of what the other one says so it is with experience and practices. And seeing others doing it well and connecting that with your

style. So although it has to do with space, I feel that it also has to do with the person as well.”

In what types of spaces do you currently have within your facility? (I.e., admin office, open workshops, studios etc.)

“Yea we have an essentially we just do office work but it is not where were do our programming in. It is mostly us going to spaces. That is why accessibility has been a big deal.

Even though we don’t have our own space, people can show up at any point. So not spending our money on a building is a strategy that we use to our advantage because we go to the spaces that they (youth) are at or close to. Certain community centers, city community centers. We work with other organizations such as ArtStart and we are going to start working with Sketch soon. Going into their space. We also work with the AGO. They have a big space that we run our programming out of. So we either work directly in partnership with the school or out of the school or in one of the community spaces as I had described.

And the good news is that we develop partnerships with these organizations. Which a not necessarily free because we are working out of a partnership model as oppose to the free options.”

In your opinion, what makes you more comfortable when performing? What qualities are required for spaces dedicated for performances? Do these vary between the different strands (i.e., poetry, breakdancing, graffiti and music) offered?

“I tend to notice that people tend to get nervous when performing but everyone gets a little nervous. I think that having a space with a controlled group. I think those are the worse spaces because we go through a very tough judging panel when looking for performances.

Because it can be your worse experience as well. When you are up there people say things and if you are not ready if can be a horrible experience for you. That is why we have such a heavy audition process when deciding for performers to go up. We don’t want this to be there first experience. So as a method during these classes, we get them to battle with each other to give them a sense of confidence and comfort to prepare them for the big stage. Um it is one of the session or after the 2 session so that you can imagine doing this in a larger 90

setting. So the good thing about the group is a testing so that you can go out there.

Essentially all sessions are based on this concept. Space for taking risks, you cannot just throw them out there so that they can build the confidence needed to go back up there. Not feeling unsafe.”

In your opinion, what kinds of office space do you find more productive for you and your team? (Such as open or more structure office spaces) Describe.

“Yeah I mean that there is a lot to do. Just noise levels, the ideal spaces feel very warm and welcoming um they don’t feel so concrete and limited. Open space with a sense of privacy.

An open space where there is a lot of lighting but it is also private where you don’t feel that anyone is watching you or listening to you. You want to feel like you are in a space that is private when you are in these workshops. You also want to be in a bright space with a painting or sun light, where it feels alive compared to white and concrete walls. Or if it is too open, when someone walks by and listens to you pour your heart out it can feel awkward and intrusive. There is a balance to being too open and too closed you need to find that happy median.”

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Appendix E: Free and informed consent form: Mike Prosserman

Informed Consent Form Before agreeing to participate in this research study, it is important that you read and understand the following explanation of the proposed procedures. It describes the procedures, benefits, risks and discomforts of the study.

It also describes your right to withdraw from the study at any time.

Purpose of study: Youth Centre for Extra-Curricular Activities

Bachelor of Interior Design Program School of Applied Technology, Humber College Institute of Technology and Advanced Learning, 205 Humber College Boulevard Toronto, ON, M9W 5L7 Re: Free and Informed Consent to participate in a design thesis research activity October 21, 2015 Dear Respondent, I am a fourth year student at Humber College Institute of Technology and Advanced Learning, (ITAL) and I am conducting a study examining youth centers focusing on extra-curricular activities and hip-hop facilities which currently exist in the Greater Toronto Area provided an opportunity for an investigation about the relationship between an interior space and the well-being of its occupants.

The results of this study will substantiate design decisions which will guide the development of my thesis project during the academic year. It is my understanding that you are currently, or have participated in this specific type of facility.

I am interested in your experiences within this field. The items in the questionnaire focus on your experience in the facility related to the design and amenities only.

Please note that your participation in this study is voluntary and all efforts to protect your identity and keep the information confidential will be taken. I have enclosed a consent form for your review. Please read the form and feel free to contact me if you have any questions about the study. If you choose to participate, please sign, initial and date the consent information form and return it to me at the time of my interview with you. I look forward to learning about your experiences. Your participation will be greatly appreciated.

Sincerely, Ashley Desa Number: 6473004806 Email: ashley.b.desa@gmail.com This study was reviewed and approved by the Research Ethics Board (REB) of Humber College ITAL. Questions concerning your rights as a Participant in this research may be addressed to Kelly.gluck@humber.ca

Procedures involved in the study: Interview Confidentiality of Research Records: • Only the researcher has access to contact information and responses • Your personal identifying information will only be used to contact you. Your responses will be recorded on a form that contains a code number created by the researcher.

• After interviewing you or if you decline to participate, the researcher will take a black marker and cross through your name and information. At the end of the study, the contact sheet will be shredded, leaving no possible way to match code numbers/responses with your name.

• Your personal/individual responses will not be given to the judge or court personnel • During the study, all data will be kept in a locked, secure, filing cabinet or equivalent container.

• By using code numbers, in the event that the results were subpoenaed, your individual responses could not be singled out Potential Risks and Discomforts: • No physical, social or economic risks are posed to participants.

• Participating in the study will not affect your current legal status, services provided or status in the related program.

• Breaking confidentiality and mandatory reporting. If a participant provides detailed information about crimes committed that are unknown to the court (a crime that you were not caught, charged or convicted of) the researcher will be legally obligated to report the crime to the court or appropriate authorities. Similarly, if participants discuss plans to harm themselves or others during an interview, and the interviewer perceives the threat to be real and imminent (going to happen soon), the researcher is obligated to report the threats to the appropriate authorities. To reduce the likelihood of this risk, the researcher will instruct the participant to refrain from providing information about specific criminal behaviors and to only respond using the response options for questions provided in the phone interview.

Potential Benefits: By participating in this study, you will get an opportunity to provide information about how the interior space and amenities impact your well-being and productivity; identify positive and negative aspects of the related facility and potentially improve the services provided. This is a participant’s chance to give the design research community feedback on the operations of _______unity charity_____________.

Voluntariness & Withdrawal from Study: Your participation in this study is strictly voluntary. If you choose to participate in the interview, you may end the interview at any time.

I have read the material above, and any questions I asked have been answered to my satisfaction. I understand a copy of this form will be made available to me for the relevant information and phone numbers. I realize that I may withdraw without prejudice at any time.”

Nov 7, 2015 ________________________________________________________________________________ Respondent’s Signature and Date

92

Appendix F: Bibliography and image Sources Works Cited LIst

Artscape Youngplace. (n.d.). Retrieved November 10, 2015, from http://www.artscapediy.org/Case-Studies/Artscape-Youngplace.aspx Bannon, B. (2012). YOUmedia Chicago: connecting youth through public libraries. National Civic Review, 101(4), 33+. Retrieved from http://go.galegroup.com.eztest.ocls. ca/ps/i.do?id=GALE%7CA318106162&v=2.1&u=humber&it=r&p=GRGM&asid=2a0f351fb7b34619ba9c61aa1dd3d377 Beaulac, J., Olavarria, M., & Kristjansson, E. (2010).

A community-based hip-hop dance program for youth in a disadvantaged community in ottawa: Implementation findings. Health Promotion Practice, 11(3), 61S-69S. doi:10.1177/1524839909353738 Chang, J. (2005). Can’t stop, won’t stop: A history of the hiphop generation. New York: St. Martin’s Press.

Charnas, D. (2011). The Big Payback: The History of the Business of Hip-Hop (1. pbk. print. ed.). London: New American Library.

Cheung, C.-K., & Ngai, N.-P. (1997, December). Participation in youth center activities: a sequential specificity approach. Youth & Society, 29(2), 238+. Retrieved from http://go.galegroup.com.eztest.ocls.ca/ps/i.do?id=GALE%7CA20344163&v=2.1&u=humber&it=r&p=AONE&asid=27076e3fc74e253355972e1acde5f91a Chiara, J. (1991). Time-saver Standards for Interior Design and Space Planning (2nd ed.). New York: McGraw-Hill.

City of Toronto Zoning Bylaw 569-2013. (2014, August 19).

Retrieved November 30, 2015, from http://www.toronto.ca/ zoning/bylaw_amendments/pdf/19_August_2014_Part1.pdf

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Daniel G. Rainham, Christopher J. Bates, Chris M. Blanchard, Trevor J. Dummer, Sara F. Kirk, Cindy L. Shearer, Spatial Classification of Youth Physical Activity Patterns, American Journal of Preventive Medicine, Volume 42, Issue 5, May 2012, Pages e87-e96, ISSN 0749-3797, http://dx.doi. org/10.1016/j.amepre.2012.02.011. (http://www.sciencedirect.com/science/article/pii/ S074937971200133X)

Petchauer, E. (2009). Framing and reviewing hip-hop educational research. Review of Educational Research,79(2), 946978. doi:10.3102/0034654308330967 Pryor, B. N. K., & Outley, C. W. (2014). Just spaces: Urban recreation centers as sites for social justice youth development.Journal of Leisure Research, 46(3), 272-290. Retrieved from http://search.proquest.com/docview/1550823702?accountid=11530

Dimitriadis, G. (2015). Framing hip hop: New methodologies for new times. Urban Education, 50(1), 31-51. doi:10.1177/0042085914563185

Rizarry, J. G. (2009). Representin: Drawing from hip-hop and urban youth culture to inform teacher education.Education and Urban Society, 41(4), 489-515.

Emdin, C. (2010). Affiliation and alienation: Hip-hop, rap, and urban science education. Journal of Curriculum Studies, 42(1), 1-25. doi:10.1080/00220270903161118

SWINEHART, K. F. (2010). Global linguistic flows: Hip hop cultures, youth identities, and the politics of language - edited

by H. samy alim, awad ibrahim and alastair pennycook: Book reviews. Journal of Linguistic Anthropology, 20(1), 250-252. doi:10.1111/j.1548-1395.2010.01065.x

Eriksson, J. (2010). Self-expression, Expressiveness, and Sincerity. Acta Analytica, 25(1), 71-79. Doi: 10.1007/s12136009-0076-y Garvin, A., & Brands, R. (2011). Public parks. New York: W.W. Norton & Co. Love, B. L. (2015). What is hip-hop-based education doing in nice fields such as early childhood and elementary education? Urban Education, 50(1), 106-131. doi:10.1177/0042085914563182 Panero, J., & Zelnik, M. (1979). Human dimension & interior space. New York: Whitney Library of Design.

Parkdale Arts and Cultural Centre. (n.d.). Retrieved November 10, 2015, from http://www.artscapediy.org/Case-Studies/Parkdale-Arts-and-Cultural-Centre.aspx

“The New Generation Youth and Community Centre / RCKa” 15 Oct 2013. ArchDaily. Accessed 10 Nov 2015. http://www. archdaily.com/437112/the-new-generation-youth-and-community-centre-rcka/ UNITY Charity | Peace, Love, and UNITY. (n.d.). Retrieved November 10, 2015, from http://unitycharity.com/ “Youth Center of Qingpu / Atelier Deshaus” 26 May 2012.

ArchDaily. Accessed 10 Nov 2015. http://www.archdaily. com/238004/youth-center-of-qingpu-atelier-deshaus/ Youth Centers. (2010, May 25). Retrieved November 10, 2015, from https://www.wbdg.org/design/youth_centers.php

Image Sources Figure 1: Image taken by Ashley Desa Figure 2: Unity Festival 2013 From July 18-21, 2013 With The Hottest Hip-Hop Artists !! (2013, June 23). Retrieved November 30, 2015, from http://www.anokhimedia.com/blog/unityfestival-2013-from-july-18-21-2013-with-the-hottest-hip-hopartists Figure 3: UNITY Charity Awareness Spot. (2014, October 1).

Retrieved November 30, 2015, from https://www.behance.net/ gallery/20594353/UNITY-Charity-Awareness-Spot Figure 4: UNITY | Charity Partner - Cityfest. (2015, August 3). Retrieved November 30, 2015, from http://www.cityfest.ca/ unity/ Figure 5: CIBC. (n.d.). Retrieved November 30, 2015, from http://metropolisatmetrotown.com/stores/cibc Figure 6: HOME. (n.d.). Retrieved November 30, 2015, from http://www.dauphinemagazine.com Figure 7: Trillium- Andrea Cohen Barrack, CEO, Ontario Trillium Foundation | Canada | Colliers International. (n.d.).

Retrieved November 30, 2015, from http://www.collierscanada.com/en/services/not-for-profit advisory group/news/volume 2 - june 2014/5 minutes with andrea cohen barrack#.VkGoTLerRD8 Figure 8: Home. (n.d.). Retrieved November 30, 2015, from http://www.arts.on.ca/site4.aspx Figure 9: ImeImage. (n.d.). Retrieved November 30, 2015, from http://www.imeimage.com/stubhub-logo

Figure 10: What is the Penalty if I Break My Mortgage with Tangerine? - RateHub Mortgage Blog. (2014, July 9). Retrieved November 30, 2015, from http://www.ratehub.ca/ blog/2014/07/whats-the-penalty-if-i-break-my-mortgage-withtangerine/ Figure 11-14: All images were produced by Ashley Desa Figure 15-17: City of Toronto Ward Profiles- 2011 National Household Survey - Ward 19. (2014). Retrieved November 30, 2015, from http://www1.toronto.ca/City Of Toronto/City Planning/Wards/Files/pdf/W/Ward 19 NHS Profile 2011.pdf Figure 18-75: All images were produced by Ashley Desa unless otherwise noted Figure 76: UNITY Charity Awareness Spot. (2014, October 1).

Retrieved November 30, 2015, from https://www.behance.net/ gallery/20594353/UNITY-Charity-Awareness-Spot Figure 77: This Street Artist Has Spent The Last 25 Years Spreading Positive Propaganda Around The World. (2014, August 12). Retrieved November 30, 2015, from http://www. buzzfeed.com/danieldalton/obey#.mlGbVV29m

unless otherwise noted Figure 135: Zhou, S. (2014, April 18). Night It Up! Retrieved November 30, 2015, from http://nightitup.com/blog/ about-the-beneficiary/ Appendix A: All graphs were produced by Ashley Desa Appendix B: Precedent Study 1: All Images are from “Youth Center of Qingpu / Atelier Deshaus” 26 May 2012. ArchDaily.

Accessed 10 Nov 2015. http://www.archdaily.com/238004/ youth-center-of-qingpu-atelier-deshaus/ Precedent Study 2: All Images are from “The New Generation Youth and Community Centre / RCKa” 15 Oct 2013. ArchDaily. Accessed 10 Nov 2015. http://www.archdaily.com/437112/ the-new-generation-youth-and-community-centre-rcka/ Appendix B: Observational Study 3: All Images are from http://www.artscapediy.org/Case-Studies/Artscape-Youngplace.aspx Observational Study 4: All Images are from http://www.artscapediy.org/Case-Studies/Parkdale-Arts-and-Cultural-Centre. aspx

Figure 78-97: All images were produced by Ashley Desa unless otherwise noted Figure 98: Gallard, D. (2014, February 10). Battle Opsession #10 | David Gallard - Photographe Nantes. Retrieved November 30, 2015, from http://davidgallard.fr/lens_portfolio/battleopsession-10/ Figure 99- 134: All images were produced by Ashley Desa 94

Appendix G: WriteCheck

Methodologies edited.docx

SUMMARY OF EVIDENCE.docx

Thesis Submission 4 Entire Document

ORIGINALITY REPORT

ORIGINALITY REPORT

ORIGINALITY REPORT

0

4

2

SIMILARIT Y INDEX

SIMILARIT Y INDEX

95

%

%

%

SIMILARIT Y INDEX

EXCLUDE QUOT ES

ON

EXCLUDE QUOT ES

ON

EXCLUDE BIBLIOGRAPHY

ON

EXCLUDE BIBLIOGRAPHY

ON

EXCLUDE QUOT ES

OFF

EXCLUDE BIBLIOGRAPHY

OFF

Methodologies edited.docx

by ASHLEY DESA

WORD COUNT

1716

CHARACT ER COUNT

9530

T IME SUBMIT T ED

29-NOV-2015 10:30PM

96

SUMMARY OF EVIDENCE.docx

by ASHLEY DESA

97

WORD COUNT

4902

CHARACT ER COUNT

27418

T IME SUBMIT T ED

29-NOV-2015 10:29PM

98

Thesis Submission 4 Entire Document

by ASHLEY DESA

99

WORD COUNT

4950

CHARACT ER COUNT

26155

T IME SUBMIT T ED

29-NOV-2015 10:35PM

100