ART SITE URBANISM - Option Design Studio Fall 2016

ART SITE URBANISM

OPTION DESIGN STUDIO FALL 2016

STUDIO Suhanija Arullsothy Sébastien Beauregard Jianing Chee Xingchen Dong Richard Freeman Shahrzad Khatami Tom Kwok Daniel Lekic Yusong Li Lauren Marshall Noah McGillivray Alex Okuka Karima Peermohammad Julie Wong Shaine Wong

INSTRUCTOR Victoria Taylor | victoriataylor.ca

Tower Automotive Sterling Road, Toronto. c. 1920

Cover Image: Victoria Taylor Inside Cover: Toronto Archives

ART SITE URBANISM STUDIO Art Site Urbanism presents a new approach to site investigation and urban open space design. The Fall 2016 Option Design Studio at the John H. Daniels School of Architecture, Landscape + Design, University of Toronto explores and celebrates the cross disciplinary potential between public art, contemporary art, landscape architecture, architecture and urbanism.

Global interest in public art and its contribution to urban culture and urban form has grown significantly over the past decade. Since 2008 in Toronto in particular, the city-led policy initiative to mandate public art in the development process of public and private lands has meant that planners, architects and landscape architects are part of design teams that include artists at some stage of the site planning process.

As the architects of new urban sites we embrace this opportunity and the potential it presents for exploring deeper ways of reading and understanding site through a public art approach to site planning. The studio encourages students to develop an active and critical engagement with this rich collaborative process and to be exposed to new ways of seeing and experiencing the world around us as we gain new insights into the benefits of engaging with an integrated team of cross disciplinary creative thinkers.

“ One cannot avoid muddy thinking when it comes to earth projects. One’s mind and the earth are in a constant state of erosion, mental rivers wear away abstract banks, brain waves undermine cliffs of thought...conceptual crystallizations break apart into deposits of gritty reason.”

In “A Sedimentation of the Mind” ROBERT SMITHSON 1969

Incorporating these ideas of art and site, the studio seizes a timely opportunity to contribute to the open space design of the Sterling Perth Development and the revitalization of Toronto’s Lower Junction/ Ward 18 neighbourhood. The three hectare former industrial /brownfield site presents rich layers for design and program exploration via zoning, industrial heritage, dynamic ecologies, site contamination, challenges and opportunities related to land use adjacencies (an active adjacent rail corridor - Metrolinx /Go Transit, UP Express and the West Toronto Railpath) and the site’s location within an emerging contemporary art community and new home to the Museum of Contemporary Art (MOCA). With the site plan in the early stages of approval, the studio offers students the opportunity for their design work to contribute to the conversation.

Toronto archives c. 1920 View north on Sterling Road with Tower Automotive in the distance.

ART SITE URBANISM STUDIO In the first part of the studio students develop an understanding and ability to speak in an informed way about public art and to consider public art planning in Toronto as a means of reading, understanding and ultimately informing site design. Public art field trips, gallery visits, presentations and background readings provide an overview of the origins of contemporary public art and its integration with landscape. Studying the work of artists who work in the public realm reveals new ways to approach site investigations as we consider: ‘What should a city look like, taste like, smell like?’ The studio continues with Site Gestures, a series of site responsive, temporary and intuitive interventions constructed on the West Toronto Railpath, a 2.4 km car free corridor located adjacent to the Sterling Perth Development site. Deep explorations on this path present opportunities for early site studies of surrounding ecology, industrial character, community and the effect of multi modes of transit on the site design phase of studio.

2 1

Site Gestures installation images L-R: 1. To>From>To (A Ouka, S Khatami, Y Li); 2. Transcendence (S Arullsothy, J Chee, X Dong, J Wong); 3. Vicerory Contemporary (K Peermohammad, L Marshall, N McGillivray, R Freeman); 4. Through the Doorway (S Beauregard, T Kwok, D Lekic, S Wong).

3

4

STERLING PERTH TIMELINE

Data and images compiled by: Sebastien Beauregard, Richard Freeman, Tom Kwok, and Shaine Wong.

SITE RESEARCH

1,1,1TRICHLOROETHANE EXCAVATION

OIL PLUME EXCAVATION

GASOLINE PLUME EXCAVATION

1,1,1TRICHLOROETHANE

TRICHLOROETHELYENE

PERMEABLE REACTIVE BARRIER (ON-GOING MONITORING)

Above: Mapping of historical soil and groundwater contamination found on Sterling Perth site. c. 1980/90s.

Source: Rio Tinto Inc. Left: Site ecologies and plant ID for Sterling Perth Development and adjacent West Toronto Railpath.

Compiled by: Alex Okuka, Suhanjia Arullsothy and Jianing Chee.

FUTURE DEVELOPMENT

BLOCK 1 Perth Townhomes I residential condos + townhomes

Site Plan 2012 Source: City of Toronto

BLOCK 3B Museum Flats I residential condos | Architects Alliance

BLOCK 3C MOCA I cultural/commercial I Architects Alliance

BLOCK 3A Draft Building I industrial/commercial | SvN Architects

STUDIO PROJECTS Site Pulse Suhanija Arullsothy | MLA III

LILAC CRABAPPLE

BIRCH

SPRUCE

SUGAR + RED MAPLE

TREE CANOPY PINE

Site Pulse is inspired by the scale of the design site and the expectation for it to handle a future influx of residents, but also accommodate the diverse needs and preferences of the users as the proposed mix-use program would attract a diverse crowd. Site pulse explores a strategic design for an instantly growing site (rather than incremental) that optimizes the experience of a small-scale space through a series of transitions.

Transitions occur in the following forms: materiality, slope variation, the grid system (moving from a strict pattern to a more loose design), planting configuration (from a very strict layout to a more wild landscape), planting palette (high-maintenance to low-maintenance), micro-climate conditions, open space exposure, indoor to outdoor movement (both visually and physically), and active to passive activities. These transitions are meant to accommodate the different sensory and environmental preferences of all user types, given that this small-scale site will accommodate a diverse set of residents, workers, MOCA visitors, and Railpath users. Furthermore, the overall transition from an industrial environment to a perceived-natural environment speaks to a larger idea of incrementally reclaiming what was once a wild landscape, giving us a taste of what we lost and what we can rebuild.

PLANTER BENCH BENCH WITH PLANTER

PLANTER WITH SEATING

BALCONY SAFE GUARD

FURNISHING

STEPS/SEATING/ RAMP

BIKE STATION EQUIPMENT

PLAYSCAPE FURNITURE

PERGOLA

PLANTER WITH SEATING

SOFTSCAPE

ASPHALT INTERLOCK CONCRETEPAVERS

IPE

HARDSCAPE

YELLOW CEDAR RUBBER PERVIOUS PAVERS

INFILTRATION

DRAINAGE

WATER FEATURES INFILTRATION PANELS

COLLECTION BY IMPERVIOUS DEPRESSIONS

TRENCH DRAINS

3.5%

INFRASTRUCTURE

INFILTRATION

4%

COLLECTION FOR IRRIGATION OF FOREST GROVE

CIRCULATION

VEHICLE CYCLIST PEDESTRIAN

CONTEXT

Play(ed)ground SĂŠbastien Beauregard | MArch III During the past 100 years the site hosted industrial facilities of the former Northern Aluminum Co. As a by-product, the site became heavily contaminated. To remediate to an appropriate condition, most of the original buildings on site were demolished, allowing for 4 to 8 meter deep excavations meant to clean or replace the soil. The traumatic process that left the site in the state of tabula rasa still shows in the various mounds and heavy machinery tracks spread all over the ground where yet nothing grows. Regarding its past and present, the site is nothing friendly, typical and verdant; it should remain this way and rather re-enact its historical hardscape.

Gentrification and the substantial arrival of new residential users (or at least its pressure) on the site is a threat to its existing and traditional productive uses. The newcomers should be the one adapting themselves to the site’s historical roughness, especially with the Northern Aluminum Co building landmark condition. This will generate frictions and compromises on the altered grounds and playgrounds first meant to address the needs of the surrounding workers. We expect the site to wisely tune programmatic overlaps and tensions where that unwanted or avoided encounter will unveil a new urbanity.

Seasons Die One After Another Jianing Chee | MLA III Seasons Die One After Another represents the constant rotating nature of an art gallery. Using the MOCA as a focal point, the design is meant to be enjoyed from both above and at the ground level. From the top level, the park becomes one of the collections of the gallery, framed by the windows of the MOCA. The rotation of the seasons means the view from the MOCA is constantly changing.

FALL

WINTER

SPRING

SUMMER

Using subtle changes on the ground level, users are invited to walk through the park, almost like walking into the painting. Small shifts in topography allow the viewer to see subtleties that are only observable from the ground level. From the 2D top view to the 3D walk through, each way of experiencing the park provides a new perspective.

My design concept is using simple geometric lines and geometries, plus the appropriate terrain altitude diff space suitable for different groups of people to conduct diversified activities. As a symbol of modern minimalis express abstraction and order to the maximum degree only with simple crosses and overlapping in architectu As this site is adjacent to the Museum of Contemporary Canadian Art, simple but powerful lines and geome the modern art style, and also help improve the function organization and accessibility of the site. Therefore, b ometries and urban landscape functions, this design will create the nested and overlapping square space with n

Fluctuation Remix Xingchen Dong | MLA III

FLUCTUATION REMIX

Fluctuation Remix uses simple geometric lines and geometries, plus the appropriate terrain altitude difference to create spaces suitable for different groups of people to conduct diversified activities. As a symbol of modern minimalism, geometry can express abstraction and order to the maximum degree only with simple crosses and overlapping in architectural composition. Given the site’s location adjacent to the Museum of Contemporary Canadian Art, simple but powerful lines and geometries match the modern art style and also help improve the functional organization and accessibility of the site. By integrating geometries and urban landscape functions, this design creates a nested and overlapping square space with numerous levels.

Split Seam Richard Freeman | MArch III

LAN3016 Option Design Studio ART SITE URBANISM

Xingchen Dong Program/ year MLA3

As pre-historic glaciation sculpted the Great Lakes region, so too does the city of Toronto shape and scar the land. Split Seam exposes the seams of that history, the rich landscape that exists within the urban fabric. These urban seams, deposits of history, cross the city, leaving traces of their presence; patterns of train tracks and manufacturing lines inscribed in the land. From this canvas we carve public space; a space of performance, a grand urban theatre, animated by the performance of life. This singular landscape demonstrates that ideas of “private” and “public” space are conceptions that can be blurred and interrupted, all space in Toronto exists for all citizens of Toronto. This urban scheme offers the opportunity to link communities together through bold connections that break down barriers between private and public space. In a generous civic gesture we put art on stage, and throw wide the gallery walls, integrating urban itineraries and exploration into a connected landscape of art. Rail corridors act like seams, defining boundaries of broad city patches, for the first time in over 130 years Torontonians are offered the chance to split those seams and reconnect the lower Junction Triangle to its long lost neighbours.

Art in Four Seasons, Landscape in Four Elements Shahrzad Khatami | MArch III The aim of this project is to create timeless and elegant private and public spaces that rely on the visitors from MOCA and garden users to animate the space. The main concept of Art in Four Seasons, Landscape in Four Elements is to be a place for people of all kind; including different cultures and languages to celebrate, nourish, and grow art in this area of Toronto.

This design consists of four major rows with paths in between where every other one is assigned as Spring, Summer, Autumn, and Winter. A phenomenon like season is considered and is understandable from every walk of life in the hope of increasing the number of visitors around a year to keep the site alive. The garden offers four seasons for four seasons, so all other seasons exist and function for users along with interesting seasonal programs and outdoor art exhibitions. The continuity and linearity of the design is applied in respect to the adjacent rail road on the west side of the site.

The art yard of MOCA offers an open space with potentials of multipurpose programs and its openings into the underground parking also, provides the opportunity to use the underground parking for exhibitions or events in all seasons.

N fire

sp

su

rin

4+1 classical elements

+

l

er

g

wi nte r

fal

mm

4 seasons

+

void

symbol of space, aether

WINTER

void

su

mm

sp

rin

er

wi nte r

fal

l

g

earth h

rin

sp

wi nte r

fal

l

mm

1

er

3

g

water

wi nte r

mm

rin

er

fal

l

g

wind nd d

3

gravel

fire

dry

SPRING earth

4 cardinal directions SUMMER

S

su

10 m

FALL

water

sp

5

air

wet

su

0

hot

W

cold

realm. Artists, performers, sculptors, and hobbyists from Toronto can also utilize this site as a platform to showcase their artistic talents to the general public.

Through the use of land manipulation, a land-art based approach is utilized to create the foundation, or the “canvas” of the park. From there, multiple forms of public art ranging from stationary art, interactive art, projection art, and performance spaces are strategically placed in the site to enhance one’s experience as it traverses through the park.

‘Scape Canvas Tom Kwok | MLA III

A gateway into the site has been created on the west end of the park that is evident in the rail path and commuters utilizing the GO Transit/ UP Express system. Overall, the series of design moves applied to the park respond to the adjacent development within the site, but more importantly, it is a space that compliments MOCA as it transitions into an important cultural hub within Toronto.

STERLING ROAD

MOCA BUILDING

WE AIL H PAT PRIVATE ROAD

A gateway into the site is located on the west end of the park that is evident in the railpath and commuters utilizing the GO Transit and Union Pearson Express System. Overall, the series of design moves applied to the park respond to the adjacent development within the site, but more importantly, it is a space that complements MOCA as it transitions into an important cultural hub within Toronto.

R NTO

RO

O ST T

Through the use of land manipulation, a land-art based approach is utilized to create the foundation, or the “canvas” of the park. From there, multiple forms of public art ranging from stationary art, interactive art, projection art, and performance spaces are strategically placed in the site to enhance one’s experience as it traverses through the park.

.

AVE TH PER

The idea that drives this project is the notion of bringing contemporary art form MOCA’s interior exhibit into the outdoor realm. Artists, performers, sculptors, and hobbyists from Toronto can also utilize this site as a platform to showcase their artistic talents to the general public.

0

Name: Tom Kwok Program/ year: MLA 3 LAN3016 Option Design Studio ART SITE URBANISM

10m

Fun Palace 2.0

Symphonies of an Aluminum Chair Daniel Lekic | MArch III This project actively seeks to reposition and redefine the traditional role of landscape architecture by recognizing its critical capacity to serve as an active agency involved in a process of reshaping of our increasingly fragmented reality in the wake of the present and future political, social, and ecological global challenges. The site design constitutes an interactive platform capable of rising human awareness and consciousness in order to productively respond to our increasingly problematic existence on this planet marked by an unprecedented deterioration of our environment and a steady decline of a political and cultural dialogue. The strategy brings together three layers of activity and knowledge: ecology, history, and technology. These three seemingly disparate operations are juxtaposed and layered together making an interactive, event-based, and user-defined space fully capable of invoking a sense of surprise, discovery, and learning.

grams on the west of the railway are connected to the site by a new pedestrian bridge such as TTC stops on Dundas West, boutiques, art studios and cafe & restaurants. Also, the railpath is connected to the site tightly, which is fufilled by the design of open space along the railpath: the new open space along the railpath provides various activities to visitors like bicycle parking, Transition Node beverage and snacks and skateboard play and outdoor dining. In the east of Yusong Li | MLA III the site, the connection is finished by the same pattern and the pattern conThere are two meanings of the title: the transition of time and the transition nects new buildings in the east and MOCA to the central node. In addition, an of circulation. In 2015, the Tower Automotive building finished its own artwork transition can bringand people Road to the site.

MOCAon willSterling move into the building.

In terms of circulation, several programs on the west of the railway are connected to the site by a new pedestrian such as TTC Dundas West, art Above all, the contextbridge surrounding thestops site isonconnected toboutiques, the transition studios and cafe & restaurants. Also, the railpath is connected to the site node in tightly, the centre of the site by design methods mentioned above. which is fulfilled by the design of open space along the railpath: the new open space along the railpath provides various activities to visitors like bicycle parking, beverage and snacks, skateboard play and outdoor dining.

In the east of the site, the connection is finished by the same pattern and the pattern connects new buildings in the east and MOCA to the central node. In addition, an artwork can bring people on Sterling Road to the site.

Above all, the context surrounding the site is connected to the transition node in the centre of the site by design methods mentioned above.

Exploitation of the Canadian landscape is a process and practice that defines Canada. Half of all global mining companies are Canadian operated, and Rio Tinto is the third largest mining company in the world. This project examines both the historic and contemporary culture of extraction, with an emphasis on the processesInsertion, affiliated withRevitalization the 100-year Rio Tinto occupation of Extraction, the Tower Lauren Automotive site. | MArch III Marshall Extraction redefines our understanding of contemporary urbanism. If Exploitation of the Canadian landscape is a process and practice that defines all development emerges from the ground, then extraction is the practice that Canada. Half of all global mining companies are Canadian operated, and reshapes our of urban Geological resources support Rioassumptions Tinto is the third largesteconomies. mining company in the world.

This project each aspectexamines of human the and geological materiality contemporary bothlife theand historic contemporary culture of of extraction, with an emphasis on the processes affiliated with the 100-year Rio Tinto occupation urbanism becomes inescapable.

Industrialized landscapes are recreated on the of the Tower Automotive site.

Tower Automotive site and offer spaces for contemplation on the landscapes of industrialization.

Extraction redefines our understanding of contemporary urbanism. If all development emerges from the then extraction is the practice Often perceived as remote, theground, sites and systems of resource mining that reshapes our assumptions of urban economies. Geological resources not only expose the states of industrial extraction but they reconfigure the support each aspect of human life and the geological materiality of limits of urban economies and patterns consumption.

This project will serve contemporary urbanism becomesof inescapable.

Industrialized landscapes as a reminder visitors on thatthe despite remote locations environmental are to recreated Towerthe Automotive site and of offer spaces for contemplation on the landscapes of industrialization. destruction, the ecological impact threatens our necessities of life: soil and water.

Often perceived as remote, the sites and systems of resource mining not only expose the states of industrial extraction but they reconfigure the limits of urban economies and patterns of consumption. This project will serve as a reminder to visitors that despite the remote locations of environmental destruction, the ecological impact threatens our necessities of life: soil and water.

Chainlink Noah McGillivray | MArch III This proposal takes as its title a term that typically describes the fences that have historically cut the Sterling/Perth district off from the city, repurposing it to describe a new connective landscape tissue that will weave together several isolated urban conditions into a continuous art & creative landscape corridor. A scheme that provides programmed bridges over two sets of tracks to connect the new MOCA precinct to both the St. Helens gallery district to the east, and the Morrow / Golden gallery district to the west, Chain Link is anchored by a grand mall leading from the Tower Automotive building to the West Toronto Rail Path, which employs extended berms (interrupted by oblique cuts) to delineate a secluded inner park setting, a vibrant outer market plaza, and a playground environment.

Punctuated by a bermed amphitheater overlooking the forecourt of the gallery itself, Chain Link (despite its apparent scale) is in fact a tactical intervention: a string that ties disparate pearls into a necklace.

Colonnade Park Alex Okuka | MArch III The linear public space that connects the Lower Jct. development in front of the new MOCA building presents an interesting opportunity for a new community space with both an homage to the past and sight to the future.

The decay of the iconic Tower Automotive building resulted in a beautiful, layered visual of the history of the neighbourhood. The state of the interior of the building inspired a series of graffitied columns/raised planters lifted onto a podium that overlooks the green space/sculpture garden. The rhythm of the columns continues into a colonnade of poplar trees within the garden. The ground plane undergoes a series of changes in grading, material and colour with the vertical colonnade elements offering the only spatial consistency. This vertical rhythm creates a series of framed views emphasizing the central axis pulling out an architectural spatial consciousness from the interior to the exterior. The pilgrimage from the rail path to the new MOCA building begins in a forest of trees, over the hills, around a wetland and to the false ruin of columns.

Perth Collective

Mixing of ecology, residential, employment and museum spaces.

Karima Peermohammad | MArch III The Sterling Perth site will soon be home to an assortment of land uses.

Within the near future, residences will coexist in close proximity to light industrial and employment use buildings. While this is already common to the neighborhood, uses are typically separated by circulation spaces or parking lots to prevent what is avoided by big businesses in the area: “[T]he inappropriate or thoughtless juxtaposition of industrial and residential uses inevitably leads to complaints by the residential occupants,� a letter from Nestle (industry adjacent to the site) states.

The open space offers an unique opportunity for a mediation space between users of three realms: the residential spaces, the museum users and the employees working in the new buildings and these disctinct land uses come with users and typologies and the open spaces that surround these should reflect the characteristics of the uses that are more often than not hidden behind walls.

This park, brings the scale, materials and activities of the semi-private residential and employment land uses to a public space to provide opportunities for social interaction amongst a diverse group of users.

What’s left shapes and informs the experience of the public: a tension or unison between a collection of scales, enclosures, textures and resulting activities.

D is for Doodle Julie Wong | MLA III D is for Doodle is a gesture of art making and landscape by exploring the spatial qualities of a doodle. A doodle embodies the rigour of exploration through experimentation. It does not create monotony or saturation, and such spirit is translated into this landscape. The design aims to bring together community interaction through art and can be felt in the energy of forms that weaves interconnected between transition; where two dimensional drawings extrudes into three dimensional space. The sense of movement provides a broad range of scales that caters to comfort levels of each individual, within it is a rich material palette that inspires the making process, as well as, a stimulating platform for cultivating a knowledge of vegetation for their uses, ecologies, and sustainable practices of harvesting.

Pot lights

Storage bench

Winter warming huts

Temporary installation

Arboretum

Plant education

Sustainable harvesting

Art making spaces

Installation infrastructure

Small gatherings

Workshops

Movable seating

Stage maker

Art competition

Performance

Artistic Influx Shaine Wong | MLA III The Junction Triangle, one of the most historical neighborhoods in Toronto, has recently experienced an influx of new energy and artistic character with much of its former industrial core transformed into art studios and residential lofts. This ongoing influx of art and revitalization has happened rapidly, in just less than a decade.

Inspired by the story of ‘the introduction of new’ while preserving the original old characters, the design is a convergence of contemporary art into a post-industrial landscape that retains the former industrial language of the site while introducing a new artistic experience,centered around Canada’s new Museum of Contemporary Art (MOCA).

The main design gesture – the park extension from MOCA as an earth work - is a metaphor for the introduction of contemporary art into the industrial site; like water flowing, splashing and infiltrating into the site, the gesture also represents this recent intrusion of energy into the historical neighbourhood. The artistic experience extends from the museum, across the site towards the railpath, and infiltrates partly into the rest of the site.

The groundplane retains the ‘linearity’ of the former industrial building footprints, recreating the site’s history and ‘what was there’ through a strong conceptual geometry.

Thank You Thank you Castlepoint Numa, City of Toronto, Councillor Ana Bailao (Ward 18), Dean Richard Sommer and the staff and faculty at the John H. Daniels School of Architecture, Landscape + Design, University of Toronto.

Thank you for studio support from Ilana Altman, Alex Bozikovic, Rebecca Carbin, Liliana Custodio, Emily Hogg, Justine Holtzman, Andrew Jones, LandStudio - Tiffany Graham, Erin Guido and Gregory Peckham, Janna Levitt, Michela MacLeod, Michael Piper, Public Studio - Elle Flanders and Tamira Sawatzky, Paul Raff, Justin Ridgeway, James Roche, Gelareh Saadatpajouh (and ====\\DeRAIL Platform for Art + Architecture), Ferruccio Sardella, Alex Schevchuk, Drew Sinclair, Ilana Shamoon, Brendan Stewart, Netami Stuart, Robert Wright and Jane Wolff.

Special thanks to Alissa North, Associate Professor, Director Landscape Architecture Program, University of Toronto; David Liss, Artistic Director and Curator, Museum of Contemporary Art; Aviva Pelt, Planner, City of Toronto; Alejandra Perdomo, Planner/Development Coordinator, Castlepoint Numa and the graduate students of Art Site Urbanism Studio.

Printing sponsor: Victoria Taylor Landscape Architect. victoriataylor.ca Graphic design: Michela Sutter.