325 Magazine | 2018 - 2019 by 325 Magazine

325 Magazine is a non-profit, annual publication produced and published by the students of the Department of Architectural Science at Ryerson University. At the conclusion of each academic year, our committee curates a range of work submitted by students - undergraduate and graduate - to be represented among the most innovative and intriguing projects. We believe that our publication is essential to the Ryerson architecture student community as it provides an opportunity for student involvement and serves as a vehicle for sharing our work with the AEC industry. With several hundred copies printed and distributed annually, this review not only promotes our exemplary academic work internally to the student body, but also showcases student work to within the local design community.

RYERSON UNIVERSITY Department of Architectural Science 325 Church Street, Toronto, Ontario, Canada M5B 2K3 (416) 979-5000 Say hello! arch325magazine@ryerson.ca

ÂŠ 325 Magazine 2018-2019 Ryerson Department of Architectural Science All rights reserved All photographs and drawings are courtesy of students and contributors unless otherwise noted. Every reasonable attempt has been made to identify owners of copyright. Reproduction without written permission of the publishers is forbidden. Errors or omissions will be corrected in subsequent volumes. The editors have made every effort to see that no inaccurate or misleading data, opinions or statements appear in this publication, and assume no liability for the accuracy or completeness of the text, or its fitness for any particular project. The opinions herein are the responsibility of the contributors concerned.

325 Team

Special Thanks

Editor-in-Chief Arash Ghafoori

Chair, Department of Architectural Science Dr. Mark Gorgolewski

Creative Directors Caitlin Chin Gladys Lee

Dean, Faculty of Engineering and Architectural Science Dr. Thomas Duever

Graphics Coordinator Kyle Do Couto

Vice-Provost, Academic Kelly MacKay

Manager, Student Engagement & Development, FEAS Rose Ghamari

Graphics Shahmir Adnan Muhammad Wamiq Alam Rui Batista Patricia Diaz Fan Fei Avem Gomez Wincy Kong Jialing Li Yiran Ma Sandra Nguyen Anna Oh Rita Wang Liane Werdina Sponsorship Sadberk Agma Natalie Chan Anna Halleran Anna Oh Ely JR Torrenueva Liane Werdina Copy Muhammad Wamiq Alam Mehvish Chandiwala Patricia Diaz Maya Higeli Anna Oh Tommy Gรณmez Ospina Ely JR Torrenueva

Manager, Special Projects, Office of the President Nina Elmazaj Director, Projects and Operations, Office of the Provost and Vice-President, Academic Rose Sandino Strategic Projects Liaison, Student Learning Centre at Ryerson University Christopher Visser Faculty Supervisor Vincent Hui Print Coordinator Alexandra Berceanu Financial Coordinators Kathleen Sojor Champlin Diane Chong Allyne Sareno

Message from the Chair of the Department I want to extend my sincere congratulations and gratitude to the 325 editorial team for all of your work to produce this year’s 325 Magazine. It is difficult to overstate the amount of time and effort that goes in to producing a high-quality magazine, on top of the rigorous academic curricula demanded from our students. Your dedication to the department and your peers is to be commended given the special challenges we are all facing this year. In the Department of Architectural Science we are interested in things that matter – improving the built environment and people’s lives. We have a unique interdisciplinary model that aims to combine design excellence with exemplary performance – environmental issues, health, comfort, etc, and with an effective process of delivery. This unique cross-disciplinary culture ensures that students are exposed to many aspects of creating a sustainable built environment. We are proud of the varied and impactful work that students produce and is shown here. As always, the 325 Magazine is a notable compendium of high-quality work completed in the department over the last year that speaks to the talent, skill and passion of our student body. Through your efforts, 325 Magazine continues to showcase the unique place Ryerson’s Department of Architectural Science holds in challenging students to produce high quality, cutting edge, inter-disciplinary, and socially relevant work. As Chair, this brings me immense pride and joy. On behalf of the faculty, staff and students, I thank the editorial board and all the students who have contributed their work. Dr. Mark Gorgolewski, Chair, Department of Architectural Science

325 Team

Special Thanks

Editor-in-Chief Arash Ghafoori

Chair, Department of Architectural Science Dr. Mark Gorgolewski

Creative Directors Caitlin Chin Gladys Lee

Dean, Faculty of Engineering and Architectural Science Dr. Thomas Duever

Graphics Coordinator Kyle Do Couto

Vice-Provost, Academic Kelly MacKay

Manager, Student Engagement & Development, FEAS Rose Ghamari

DIVERSE PERSPECTIVES A c o n v e r sa t i o n w i t h a c u r re n t Bl a c k st u d e n t : Ta pe n ga Pe a rt

Without the dedication of BIPOC, LGBTQ+, Womxn, and other marginalized students within the Department of Architectural Science (DAS), 325 Magazine would cease to exist. As the official annual studentled publication of DAS, we hold ourselves accountable and responsible in amplifying the voices of those often left unheard and enabling change in that process by establishing a new section dedicated to the aforementioned groups. We hope that this section in the current and upcoming editions of our publication leads to new conversations, sparks inspiration, and ultimately brings awareness to issues that matter most in our industry.

“Architecture has and continues to be used as a means of racial distinction, segregation and oppressive force. “

Tell us about your architectural journey. Why did you decide to pursue it? I was fortunate enough to have gone to an art school prior to coming to Ryerson, which gave me the resources to begin studying and appreciating the field. In doing so, and pursuing visual arts, a large part of the curriculum allowed us to delve into art history and architecture. I’ve always wanted to put something lasting into the world. Architecture was presented to me as a way to leave a lasting impression in our built environment. I’d like to believe a majority of an architect’s profession deals with adhering to client needs to create a welcoming and practical environment. I have an interest in studying the ways in which our built environment affects our livelihoods; how climate, economics, personal and spiritual beliefs modifies interactions with physical spaces. Architecture revolves around humans while also promoting science, technology and art. My interest lies in studying the ways in which differing groups of people most comfortably interact in spaces.

Do you feel that the current curriculum at DAS is inclusive of BIPOC cultures and histories? A disproportionate representation is not only present within our faculty and student body, it also becomes clear in Ryerson DAS curriculum. While looking into architectural history, it’s most evident European and Western concepts lay the standard to exceptional work. What’s often overlooked is the way in which we exclude these marginalized demographics when learning about design. Studio is often geared towards designing for the 1%, of which BIPOC culture is usually not included and therefore issues of gentrification, redlining and socioeconomic status fail to be addressed. We are disproportionately studying, testing and referring to white architects in our curriculum and spending limited time indulging in a rich history of BIPOC. For this reason I’ve found that any interest in the pioneering work from said groups have become my responsibility to analyze.

“Everyone would benefit from a curriculum that not only acknowledges these diversions, but also gives us projects that allow for students to delve into the issues first hand.” As a student at Ryerson DAS, have you found any opportunities to connect with BIPOC in the industry? I’ve recently had the opportunity to speak with David Campbell, a Ryerson Architectural Science Alumnus. Having spoken to him, it was most interesting to find that many of the racial issues and skepticism from when he studied at Ryerson are still most prevalent as I begin my architectural education. While the opportunity was most beneficial, it was one that was solely brought about in response to the recent political unrest in the Black community. Based on the fact that I haven’t seen any Black guest lecturers, unfortunately, I couldn’t confidently say that this conversation or an introduction with a Black architect would be as sought after under normal circumstances.

Tell us about a Black architect/ designer who inspires you. What about them or their work do you find intriguing? I’ve recently had the chance to learn about Francis Kere, an architect from Burkina Faso. His firm’s design philosophy encompasses a thrive to better the site and community. Kere’s drive to design around his native community is inspiring; with focus on local materials, workers, and technology. An active effort to go beyond the limits of building design, Kere works to better the economic, social and environmental status of the communities he partners with by keeping regional involvement as a constant priority.

In your opinion, what can be done to resolve the aforementioned lack of diverse perspectives of BIPOC at DAS? A large part of the problem stems from the fact that architecture is not widely presented as a feasible career option throughout many high schools that are majority BIPOC. If not given the opportunity in high school to study architecture and learn how to assemble a portfolio, I don’t know if I could have chosen the same career path. Improving diversity on the student end starts with making more active efforts to present an architectural career path in high school. University outreach in BIPOC majorities and portfolio building aid are a couple initiatives that could benefit students that are not normally presented with these resources. In terms of incorporating a more diverse curriculum into Ryerson DAS, I believe that a large part of the problem comes from the lack of black professionals that are presented before us in the form of professors and guest lecturers. Architecture has and continues to be used as a means of racial distinction, segregation and oppressive force. I believe everyone would benefit from a curriculum that not only acknowledges these diversions, but also gives us projects that allow for students to delve into the issues first hand.

SECT

Studio Away - Connecting With Nature

Silent Meditation Cabin

Outreach - A Studio Away

Museum Eric Klarenbeek

Anni Albers Museum

Star Gazing Observatory

Museum of Memories

The Motion of the Stars

Boundary

TION

interior render

sectional perspective

model - roof

N AT U R E PAV I L I O N at Camp Winston ARC 720: Design-Build Studio P at ricia Diaz B ern ad et t e R o s an o B at o ul A l- Waadh Rui Bat is t a A r as h G h af o o ri Ju lia K rulick i S ara L ee H aleig h McL eo d A nn a O h C urt is R eas o n Kean u Salimi P J San d b erg C h an t al Sh ah mo o radian Ele n a Teimo uri Fac ult y A dv is o r: P rof es s o r V in cen t Hui Photos by: P at ricia Diaz P rof es s o r V in cen t Hui

D E S I G N S P R E L I M I N A R Y

The camp creates an environment where children can develop life skills and experiences without being limited by the physical and socio-cultural barriers otherwise encountered. Under the guidance of Professor Vincent Hui, the research, design, and construction of the pavilion project was completed in the short period of nine weeks. The team has kept a detailed blog, a useful resource, especially for students undertaking similar projects in the future. The goal was to create a low impact, sustainable structure which at the same time serves as a peaceful, meditative space comprised of natural materials such as nontreated cedar wood. The pavilion allows for sunlight and green foliage to seep through, in order to maintain the camp experience, while also being able to facilitate various lessons and group activities. The angled gatorboard cladding provides privacy and shelter from the elements without eliminating the views to the exterior; a gravel pit situated in the pavilion creates the opportunity to feel more grounded.

pg 34

client presentations

site visit

Rui and Anna

des ign

Patricia and Bernadette

Chantal and Haleigh

Sara and PJ

Batoul and Curtis

build

Arash and Elena

Keanu and Julia

Exterior Rendering

N A T U R E P A V I L IMONEY O NSHOT

SECTION PERSPECTI

Patricia Diaz & Bernadette Rosano

The Nature Pavilion was designed and build for a non-profit org a n i z a t i o n n a m e d â&#x20AC;&#x153; C a m p W i n s t od nâ&#x20AC;? and is located on their camp e ground in Gravenhurst . The space is intended for educational, meditational and recreational activities. Nature completely surr o u n d s t h e s i t e a n d a s a r e s u l t t h e d e s i g n o f t h eP p i l iO o nS A a iLm s# t o RaOv P MERGE E l ecn iar c T eui m & of m a i n St AaRi A n LtEhE i +s PpAr ToR m inent connection. The form and l aotui roi n ICK JOHN SANDBERG Arash Ghafoori t h e s p a c e c r e a t e s a c o m f o r t a b l e , w e lOcu r om am va ti er o nt ti s bfoo i atr st o f a n d s e p a r a t e i n ign o ag l is e to n cre a sn p am ce e tha t h ra p from nature. a meditative space in a natural setting is one of the best t h er co h i lv d r ie d n te o ess c ap p er f ir ov ma t hc eiry e v ea r y dn a yd challenges.This design v i s i t Oou rr isn i.t i a Tt i vhe wea s a n g l e d g a t o r b o a r d c l a d dwi any s gf o r p to merge the exterior environment with mainly consists of a light wood structure with gator board panels used for the interior environment, blurring the lines between the forclading.Given the natural attributes of a material such as wood, we wanted s h e l et se hc ee. U se ma t e t est s , w t ohd uol eu t arn d ft hr eoi nm n e r st pa i n gl e Kom ex n she t h ei m s t e l i m i n a t i n g v i e w s t o t h e e x t e r i to create a subtle contrast with the bright yellow colour of the planters. e bent using kerfing to create individual modules that h er r te h i sad t i f fe u s is on t o fhme a t e ro i a lp s cp r e ao ter s t a u c an l m i atny d s otoo thing space for o r . Awc aonugl bd erb fa t l l ssi di ets .uT hae ta pee rd hd ef r o mp a v i l i oTt honeg ectac a sv t e ne e dl f rp o mi a t u r e is n c r e att e mpers. These planters are meant to be used to plant different types of the modules serve as openings to filter light in, wind and to it that can be found in the proximity of the site. The campers will be able f e e l c rm n. d e d . U n t r e a t e d c e d a rft rouw ood was used with the ine a to e drye n a mg i c rs ho a du ing plant different fruits over time and watch them grow so they are getting laxing and also educational experience. This space is highlighted from t e n t i o n o f m a i n t a i n i n g a n a t u r a l m a t eat hrer ie a r ne. T.h e f a c a d e o f o u tls i dp e aa s ilt e i s tth t ee o n l yff o u l l yr g lt a zh e dea r esa to rf u t h ecp t a vu ilio south elevation

the pavilion is composed of an ordered grid whereas the interior breaks free from the grid. This is achieved by the change in the depth of the boxes. The only unique part of the grid that is this large box that encases a dedicated space for the children to play in sand so they can keep a connection to the ground. This space is highlighted from the outside as it is the only fully glazed area of the pavilion. This allows for those outside the pavilion to be intrigued by the activities happening inside.

north elevation

east elevation 0m

LIGHT BOX Rui Batista Corderio & Anna Oh

For the camp Winston pavilion, we focused on 3 main goals we wanted to accomplish. The first goal was to create a modular space, the second was to elevate the pavilion off the ground, and the third was to have a translucent cladding that would create a visual connection both internally and externally. To achieve our first goal of modularity, we used an egg-crate system that follows an organic form in the interior which would accommodate for the needs of seating, storage, and an aviary in one single shape. This allows for more room within the pavilion since there is no direct allocation of spaces. To achieve our second goal, we lifted the pavilion 350mm off the ground allows for people inside to see the ground outside while keeping the soil undisturbed as possible. This raise also generates an area where ventilation can occur. Lastly, we wanted to emphasize the organic interior form through the cladding, thus we chose to use translucent coroplast sheets so that at night it would produce a glowing effect.

south elevation.

1:1 M

west elevation

ELEVATION

north elevation.

section A-A

BLUR.

Keanu Salimi and Julia Krulicki BLUR. is a small pavilion that enhances the experience and interaction with natural light.

ELEVATION

P R O C E S S pg 36 des ign build

A s m a l l te a m w a s d e l e g a t e d w i t h t h e ta s k o f co m pl e ti n g t h e ph y s i ca l m o d e l o v e r th e co urs e o f 3 d a y s . T h e m o d e l co m pri s e d o f l a s e r- cut MD F f o r th e ri b s , l a d d e rf ra m e d e ck , a n d co m pre s si o n ri n g , l a se rcut t ra n s l uce n t a cry l i c f o r th e f i n s , t h i n b a s sw o o d f o r t h e d e ck i n g , a n d a pl y w o o d b a s e cut w i th th e C N C ro ute r. E v e ry pa rt o f th e m o d e l w a s ca re f ul l y pl a ce d a n d l a i d o ut , a l l o w i n g f o r t h e e n ti re a rra n g e m e n t to c o m e to g e t h e r ha rm o n i o us l y . T h e e s s e n ce o f th e m o d e l w a s to ca pture th e l i v e l y s pi ri t o f t h e pa v i l i o n t h a t a i m s to f o s te r pl a y f ul re l a ti o n s h i ps b e tw e e n ch i l d re n a n d n a t ure .

a b

design iterations

b model-1 c

model-2

B U I L D F I N A L pg 38 des ign build

Staying on schedule was crucial as the pavilion rested on eleven concrete piles that had to be poured in advance to allow for the material to cure. This task was executed by a group of students as soon as the selected design was finalized. Several weeks later, the entire class returned to the site to begin construction. The deck was built right away as it served as a base for the remainder of the structure. A compression ring with a polycarbonate skylight was then attached to four main ribs and placed onto the deck to provide structural support and allow for easy positioning of the remaining ribs. Once the primary structure was completed, students split up into teams, working on different tasks concurrently to speed the construction timeline. The translucent gatorboard fins were inserted alongside the erection of the ribs for maximum efficiency, with the interior mesh capping as the finishing touch on the pavilion.

a isometric b

team photo

final built form

SECT 02

TION 11

In Between

OCADU

Interlocked Gateway

Anthropique

The Void

Gateway

OCAD Satellite School of Design

B E T W E E N I N Ye a r 2 + 3 CCA A n n u a l Ch a re tt e Ju st in Ar b es man N ic ol e B urd yn ew icz S h eng n an Gao A lvi n H uang Eliz ab et h You n g pg

Sec tion 02

With the re-urbanization of cities and the pressing need for housing all over Canada, affordable housing in urban centres, such as Montreal can be very difficult to find due to high demand and rapid growth. Unused spaces within these cities can be put to work by populating them with affordable housing units that are functional and customizable. Spaces between buildings are especially common with laneways or parking lots, spaces that would otherwise go unused. Taking advantage of the existing structural walls, utilities, and fire stairs, a simple structure can be easily put up with minimal materials and time. An initial 3D scan of the site would provide accurate and easy unit dimensioning for the number of modules to fit within the site. Residents can assemble their 1 meter wide modules virtually and walk through their units beforehand using augmented reality software. The hexagonal shape, derived from the honeycomb of bees, allows for interlocking of modules which can be arranged to fit the space and capacity needs of the site. A basic dwelling unit can be constructed using the five base modules together while larger homes can add or interchange modules based in their needs. Base units come fully equipped with integrated electrical and plumbing that runs through the floor and ceiling plates. Modular units and functional pieces can easily be recycled, reused, and even traded between residents which creates a healthy social environment.

interior render

exterior render

plans

conceptual section

exploded axo

U D A

The aim of this project was to design a new building for OCADU in the junction triangle. Inspired by the universityâ&#x20AC;&#x2122;s dedication towards art, design, and research as well as a desire to act as catalysts for the next advances in culture, technology and quality of life for all Canadians. It was important to create a building that would reflect the aspirations of the school and inspire its occupants. The site located within the junction triangle was a major influence in creating the form. The undulating form accommodates for both the north and south circulation while maintaining a central point of entrance for the school. Through creating this undulating form, the building also addresses two significant buildings on site. One being the MOCA building and the other, a to be determined site that would later influence the circulation around the site. Although the horizontal undulation accommodated for the north and the south circulation, the vertical undulation allowed for indirect light to fill the building without harming any of the art work being kept inside. Moreover, the vertical undulation also allowed for natural ventilation to occur within the building. Furthermore, located on site was a pre-existing building that was to be integrated into the design. The proportions of the existing building were used as a parameter for designing the new building. This way both existing and new could read as one building.

KEEP PORTION OF CURRENT BUILDING

ALLOCATING NEW SPACE FOR BUILDING

BUILDINGBUILDING OF CURRENT OF CURRENT KEEP PORTION KEEP PORTION

HORIZONTAL SUFFLE TO ADDRESS NORTH AND SOUTH

VERTICAL SUFFLE TO ALLOW VENTILATION

B e njamin Bo mbe n

Ye a r 3 ASC 520

HORIZONTAL HORIZONTAL SUFFLE TOSUFFLE ADDRESS TO ADDRESS NORTH AND NORTH SOUTH AND SOUTH

Sec tion 02

BUILDING BUILDING OF CURRENT OF CURRENT KEEP PORTION KEEP PORTION

SUBDIVIDE SUBDIVIDE MASS

ALLOCATING ALLOCATING NEW SPACE NEW SPACE FOR BUILDING FOR BUILDING

KEEP PORTION OF CURRENT BUILDING

HORIZONTAL HORIZONTAL SUFFLESUFFLE TO ADDRESS TO ADDRESS NORTHNORTH AND SOUTH AND SOUTH SUBDIVIDE MASS TO ADDRESS PROGRAM ALLOCATING ALLOCATING NEW SPACE NEW FORSPACE BUILDING FOR BUILDING

VERTICAL VERTICAL SUFFLESUFFLE TO ALLOW TO ALLOW VENTILATION VENTILATION

VERTICAL VERTICAL SUFFLESUF AL

HORIZONTAL SUFFLE TO ADDRESS NORTH AND SOUTH

VERTIC

SUBDIVIDE SUBDIVIDE MASS TO ADDRESS MASS TO ADDRESS PROGRAMPROGRAM

VERTICAL SUFFLE ALLOWS FOR DYNAMIC LIGHTING VERTICAL VERTICAL SUFFLE TOSUFFLE ALLOWTO VENTILATION ALLOW VENTILATION

VERTICAL VERTICAL SUFFLE ALLOWS SUFFLEFOR ALLOWS DYNAMIC FOR DYNAMIC LIGHTINGLIGHTING

2 WOOD/ PLASTICS SHOP

GAS KILN ROOM

GLAZING LAB

3 METAL SHOP

CERAMINCS ASSEMBLY AREA STORAGE

EYE WASH STATION

PROTOTYPING LAB

WASTE MANAGEMENT

MATERIAL SUPPLY STORAGE MECH.

FACULTY OFFICE W/C

ROBOTICS LAB

LIBRARY W/C

FACULTY OFFICE JAN.

STORAGE

W/C

W/C DN

UP IT/COMMS

OFFICE

8 BOOKSTORE RECEPTION

PUBLIC EXHIBITION

CAFE

9 OFFICE

OFFICE

form diagrams

exterior render

site plan sketch

elevation sketch

ground floor plan

perspective section

site render

SITE AXONOMETRIC LOCATION: 225 Sterling Rd, Toronto BLACK BUILDING = Important Buildings = Major Points of Circulation

E len a Teimo ur i P at r ic ia Di az

Ye a r 3 ASC 620

I N T E R L O CKED GAT EWAY pg

Sec tion 02

The OCAD U Satellite School of Design is located on the western side of Lansdowne Avenue in the Junction Triangle. The design of the school aims to encourage interaction amongst people within the site, acting as both an institution and cultural hub for the Junction. The structure is split into two masses that respond to context in terms of height and orientation, creating an atrium for interactions to take place. The masses stepback from the residential developments and cantilever towards the southern side, shading the south facade during hot summer months. The atrium is the nucleus of the building, containing all social, interactive programming. The further away one gets from the atrium, the more private the programs become. This set of organization magnitizes movement and interactions to the core of the structure, encouraging socialization. The staircases and pathways connecting the two masses are strategically placed to force exploration of different parts of the building. The faรงade is composed of perforated corten steel panels that relate to the industrial nature of the site. Large window openings are specifically placed to highlight interesting, key spaces from the exterior. A concrete structure was used to showcase the timelessness and simplicity of the material.

20mm CORTEN STEEL PANEL 10mm STEEL PANEL

12.7mm SHEATHING 25mm AIR SPACE

AIR / VAPOUR BARRIER 100mm RIGID INSULATION

12.7mm SHEATHING

ANCHOR BOLT

25mm AIR SPACE 10mm STEEL PANEL

100mm RIGID INSULATION

20mm CORTEN STEEL PANEL

12.7mm SHEATHING

25mm DRYWALL 150mm STEEL STUD STEEL TRACK

AIR / VAPOUR BARRIER

MASONRY ANCHOR 50mm CONCRETE FINISH

150mm STEEL STUD

PEDESTAL

STEEL TRACK FLEXIBLE SEALANT

STEEL BOTTOM SHEET 50mm CONCRETE FINISH PEDESTAL ANCHOR BOLT 300mm CONCRETE SLAB 100mm Z-GIRT MASONRY ANCHOR

300mm CONCRETE SLAB

section n-s

DROPPED CEILING

CONCRETE BEAM BEYOND

section e-w

interior rendering

elevations

detail section

detail axo

100mm Z-GIRT

ANCHOR BOLT

ANTHROPIQUE Ye a r 3 CI S C S tu de n t D e s i gn Co m pe t i ti o n R u ot ao Wang Sh e ng yu Cai pg

Sec tion 02

This year, Montreal is one of the biggest victims of the inevitably increasing global warming problem, which has caused some substantial consequences, such as flood. Wetlands play an essential role in maintaining biodiversity and water quality, mediating the effect of climate change. Thus, the team came up with the idea of creating a structure that raises public awareness of wetland conservation in the city of Montreal. The pavilion is located in Technoparc, an area which is known for its existence as one of the few urban wetlands in the city of Montreal, as well as a unique bird-watching spot in an urban context. The Technoparc Wetlands and surrounding areas are home to a vast array of biodiversity including large numbers of nesting and migrating birds. The wetlands consist of three ponds, and the proposed pavilion is located along the largest pond.

- A rigid, human-made structure in natural environment.

- Smooth, continous surfaces for human activities.

The pavilion is expected to be used extensively for educational purposes. The widely-spread walkway and the observation platforms on the top could be used as gathering places for guided school field trips and informal public lectures, to address the beauty of nature, and the importance of wetland conservation. Situation by the pond, the pavilion is an experiential structure that encourages visitors to travel freely within its organic form, exploring the wildlife in nature. The lower surface is intimate with the pond, allowing researchers to study the water ecosystem. The upper surface offers a panoramic view of Technoparc, creating a spectacular platform for bird watching.

- Staggered, dynamic surfaces for birds!

Observation Platform

Walkway

a parti

exterior perspective

section

elevation

e exterior f

exterior perspective

pg 50 Sec tion 02

a perspective-1 b perspective-2 c

module structure

staircase detail

V O I D T H E Ye a r 3 A S C6 2 0 S ar a Lee Taylo r M ur ray pg

Sec tion 02

The master plan, located in the Lower Junction Triangle, seeks to unite the community and the student population through the creation of a diverse, artistic neighborhood. The master plan features many artist amenities, such as maker spaces and a central pedestrian pathway that extends throughout the core of the site. The VOID, the new OCAD Satellite School of Design, is to showcase the design process as a theatrical performance. It is intended to be displayed to others in a non-linear fashion, as it is known that the design process itself does not occur in a specific order. The proposed building is narrower in form and runs alongside the pedestrian pathway to define the audience. The audience would be those interacting with the pedestrian pathway and the performance would occur within the interior studio spaces. Due to this, building relationships between the interior, exterior and between the shared studio spaces became essential in reinforcing the concept of the building. In order to achieve this, a variety of voids are cut between the floors that are used to visually connect the studio spaces. In some instances the void spaces are large enough to be programmed, such as critique rooms or presentation areas. Some of these voids are cut through the facade and establish the pattern used to regulate the glazing on the elevation. The facade is composed of fiber cement panels, translucent, and transparent glazing. The fiber cement panels are utilized to block specific views into spaces that are not intended to showcase the performance, while the translucent glazing can either allude to or create a segue between events within the performance. By pulling common themes of both the master plan and the VOID together, a holistic artist neighbourhood is created.

3 2

MERCHANT LANE

1 A 8600

9 1952

8500

attracting the public

ENVELOPE

creating more exterior views

ATTRACTING THE PUBLIC

LECT

multipurpose exterior space

CREATING MORE EXTERIOR VIEWS

MULTIPURPOSE EXTERIOR SPACE

HALL URE 100

8500

envelope

8500

FORM DEVELOPMENT DN

FIRE EXIT

EGRE

SS ST

2 3950

AIR

101 8500

3 3435

W /C 103

W /C 102

2 A111

8500

elevation views

LIGHT WELLS

multipurpose space

ELEVATION VIEWS

MULTIPURPOSE SPACE

E OFFIC 104

N ADMI

defining shapes and punching windows

FORMING A GRID

DEFINING SHAPES AND PUNCHING WINDOWS

PEDESTRIAN PATHWAY

UNGE

F 8500 1 120

CAFE

LOAD

113

107

LOADING DOCK

ING

8500

2838 7

pockets of performance POCKETS OF PERFORMANCE

BOOK

STOR E

GALL

112

3932 8

forming a grid

F LO

106

ERY

108

H 8500

e UP

FACADE DEVELOPMENT

EGRE SS ST AIR 109

exterior perspective

form development diagram

void diagram

facade diagram

ground floor plan

LE IBU 111

5671

parti diagram

AB GATH ORIGIN ERING AL SPAC E 110

4735

SECONDARY ENTRANCE

FIRE EXIT

8500

TYPICAL VOID SPACE

E OFFIC 105 4399

STAF VERTICAL CONNECTIONS

typical void space

A110

LANEWAY

light wells

VISUAL CONNECTIONS

2946

visual connection

1474 7 1948 2

1 A112

Level 1

ABORIGINAL GATHERING SPACE 6 ENTRANCE

1 : 100

g section

B 8500

C 8500

D 8500

E 8500

F 8500

G 8500

H 8500

I 8500

J 8500

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A Y W E A T G Ye a r 3 A S C6 2 0 I n te gr a ti o n s tu di o I I S h eng n an Gao Liane We rd in a pg

Sec tion 02

As one of the urban development focuses in Toronto, Junction Triangle has a unique background with unlimited potential. Based on the master plan, the location of the OCAD U functions as a transitional point linking the pedestrian-friendly neighbourhood and the gentrifying district. The site condition was the main design inspiration, and how to serve the site while linking the visitors with OCAD campus was the question we carried on throughout the design process. Circulation was the key to solve our question, and it was a driving force in the decision-making of the design. The proposed design has three forms. The bridge in the middle connects the west and east portion of the building, forms as a gateway where allows pedestrians to pass through underneath. The linear staircase along the south facade connects the ground floor lobby to the west building entry, which significantly represents our idea of displaying movement and circulation. This design allows a visual connection between the visitors and the students. Meanwhile, on the side of the staircase, the building highlights a second-skin facade using innovative technologies to describe the buildingâ&#x20AC;&#x2122;s institutional designoriented program. The facade uses a glass-fibre membrane to passively distribute sunlight and air circulation. The buildings form tapers as it reaches its fifth floor, utilizing heavy timber post and beam construction in combination with steel connection to curve the structure with the facade. The integration of the material creates a warmth to the interior atmosphere while translucency of glass invites light and attracts visibility.

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section model-1

sectional perspective

concept diagrams

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pg 56 Sec tion 02

c a

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ground floor plan

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O C A D S AT E L L I T E SCHOOL OF DESIGN

The concept behind this OCAD school of design sheds light on the idea of art emerging from the artistic and creative process rather than the end product. To mediate the current OCAD building, where social and student study spaces are hidden, it is proposed that this new design will have large open tiered areas for students to express themselves through their work. The design’s core structure and systems are entirely exposed and exhibited in the atrium and around the building’s main spaces to create an architectural language revolving around the idea of honesty and process in the school’s construction. STU

STU

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Tat ian a E s t r in a Le n a M a

Ye a r 3 A S C6 2 0 I n te rgra t i o n S t u di o I I

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Sec tion 02

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TY P IC A L S TU D IO C O N FIG U R AT IO N

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DIO It is important for the expression of the new OCAD school that these principles were carried throughout the technical details of the building. It is intended that to inspire and excite the students of the school, the materials and technologies TY P I CAL STUDIO used for construction are innovative and CONFI GURATION crafted Sto TUD express its components. Most of IO the exploration of details are of the building’s STU D IO fragment, which includes a sunken café with STU DIO exterior seating, staggered studio levels, curtain STU wall with a second louvered screen and a portion DIO of the sawtooth roof. The exercises conducted to understand how these parts work together to create the face of the building required heavy research into complex precedents and iterations STA GGE RE D S TUDIOS FOR of materiality PROCE S S E X P RESSION and connections to make sense of how these areas would realize. STU

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S TA G G E R E D S TU D IO S F O R P R O C E S S E X P R E S S IO N

V IE W S O F S TU D IO S L E A D TO S O U T H E R N PA R K

A - SAWTOOTH ROOF ASSEMBLY

1. INSULATED SPANDREL PANEL

•RHEINZINK STANDING SEAM PANEL

2. TENSION ROD SYSTEM

Roof 17000 A

•AIR BARRIER

3. OPERABLE WINDOW

•320MM MINERAL WOOD INSULATION

4. 300X300 MM HSS COLUMN

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5. INSULATED SPANDREL PANEL

•12.5MM PLYWOOD SHEATHING

6. STEEL RAILING

•VAPOR BARRIER •AIR- Z, MAT MADE OF NYLON FILAMENT

•UNDERLAYMENT •RHEINZINK STARTER FLASHING

•12.5MM PLYWOOD SHEATHING

7. 200 MM REINFORCED CONCRETE WALL

•STEEL DECKING •OPEN WEB STEEL JOIST •STEEL JOIST HOLDER

8. CONCRETE RAMP

•HVAC ATTACHMENT

9. ACOUSTIC CEILING PANEL 10. 160X560 MM CONCRETE FOOTING

B - SAWTOOTH CLERESTORY ASSEMBLY

11. 200 MM ACOUSTICALLY INSULATED PARTITION WALL

•RHEINZINK STANDING SEAM PANEL •FASTENER •RHEINZINK HEAD FLASHING

12. 290X900 MM CONCRETE FOOTING

•ALUMINUM MULLION ASSEMBLY •TRIPLE-E GLAZING

13. ACER SACCHARUM

E - EXTERIOR SCREEN AND CURTAIN WALL ASSEMBLY •RHEINZINK ZINC FINS •150MM X 300MM HSS MEMBER •STEEL PLATE ATTACHMENT •GRATE •TENSION ROD •TENSION ROD ATTACHMENT PLATE •ALUMINUM MULLION ASSEMBLY •TRIPLE - E CURTAIN WALL PANEL •STEEL ANGLE •STEEL DECKING EDGE TRIM •150MM CONCRETE SLAB •HSS TRUSS 1333MM DEEP •STEEL JOIST HOLDER •OPEN WEB STEEL JOIST •HSS VERTICAL TRUSS •PERIMETER HEATING UNIT

F - STUDIO SLAB ASSEMBLY •12.5MM GYPSUM BOARD •STEEL STUD ASSEMBLY •12.5MM GYPSUM BOARD •HSS TRUSS 1333MM DEEP

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Level 3 - Digital Studio

F - C Height: 7200 MM

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•WOOD FLOORING •200MM CONCRETE SLAB •VAPOUR BARRIER

F - C Height: 7300 MM

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E 14 5

Level 3 9000 Level 3 - Printmaking Studio F - C Height: 3800 MM

Level 3 - Circulation

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F - C Height: 3800 MM

Level 2 5000

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Level 1 - Foundation Studio

F - C Height: 5000 MM

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7 8 H C

Basement - Auditorium (seating 300 people) F - C Height: 4500 MM

Basement - Ceramics Lockers

F - C Height: 3000 MM

parti diagram

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•CONCRETE FINISH •200MM CONCRETE SLAB •STEEL DECK •300MM OSWJ

H - CURTAIN WALL FRAME TO FOUNDATION •ALUMINUM CAP •PRESSURE PLATE •FLASHING •THERMAL BREAK •DOUBLE PANE GLAZING •ALUMINUM CURTAIN WALL FRAME •DRILLED BOLT TO FOUNDATION SLAB •WOOD BLOCK •ALUMINUM BENT PLATE

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S TA GGE R E D S T U D I O S F OR P R OC E S S E X P R E S S I ON

V I E W S OF S T U D I OS L E A D TO S OU T H E R N PA R K

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V I E W S O F S T U D I OS L E A D TO S OU T H E R N PA R K WINTER SUN PROJECTION WITH SOLAR SHADING

RE CE S S S TUDI OS BE LOW TO S HADE

S U MME R S U N P R OJ EC TION W I T H S OL A R S H A D IN G

STU

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S TA G GE R ED ST UD IO S F O R P R O CE S S EXPR ESSI O N

NCAKE ION

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V I E WS OF S TUDI OS LE AD TO S OUTHE RN PARK WI NTE R S UN P ROJE C T I O N WI TH S OLAR S HAD I N G

R E C E S S S T U D I O S B ELOW TO S H A D E

20o

Studio

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S U MME R S U N P R OJ E C T I O N W I T H S OL A R S H A D I N G

Studio

VIEW S OF S T U D I O S L E A D TO SO U T H E R N PA R K WI N T E R S U N P R O JE C TI ON W I T H S O L A R S H A D ING

ELOW

S UM M E R S UN P RO J E C T I O N WI TH S OLAR S H A D I N G

70o

Studio

a perspective

Studio Studio

SU M M E R S U N P R O JE C T I ON WI T H S O L A R S H A D I N G

longitudinal section

sun analysis diagrams

section model-1

section model-2

RCCC I N F O R M AT I O N CART Design -B uild fo r t h e R y ers o n Career&C o -o p C en t re Marwa A l- Saqqar S h en g n an G ao S an g - K y u Jo o Kris t en Sarmien t o Ruo t ao Wan g

Photos by: Marwa A l- Saqqar Ruo t ao Wan g

D E S I G N

This design is for a functional booth that can be transported and used for various events that the Centre hosts, such as Job Fairs, Resume checks, etc. The objective is to build the designed cart to fit the clientâ&#x20AC;&#x2122;s needs - replacing the old, generic one that they currently use. The cart offers many qualities and functions through its sliding, perforated panels - enlarging the space used within it and creating a 360 engagement for visitors and those working behind it. The project provides the students involved in design and fabrication with design-build experience. It continues their education through real-life applications and strengthens the understanding of the process behind a construction project such as budgeting, outsourcing, and communicating with the client and fabricator. and to paying attention to detail through metal and woodworking.

T H E

pg 64 des ign build

Section (open) 1:20

Section (closed) 1:20

open form

open plan

closed plan

side elevations

sections

exploded isometric

B U I L D T H E pg 66 des ign build

closed form

final built form-1

final built form-2

CNC process

SECT 03

TION 19

Live | Work

At Home

Google Life Advertisement

GOD 1S IN TH3 NUM53RS

The One

Re-Recreation Centre

Disruption

A Forest of Infinite Stories

Rotating Room

The Urban Gold Mine

OCAD U Satellite Campus

Heritage-Based Design Methodology and The Parameters Necessary for Appropriate Intervention

P r iy an sh i San g hvi

Life en h archite ancing c should ture u simula se senses tneous ly.

Ye a r 2 D e s i gn S t u di o I I I

AT H O M E

From the multisensory and social experience of unwinding in the warmth of the communal hearth, to cooling off under the shade of a roof, the perception of architecture is an experience that affects all our senses. This conceptual composition portrays a dialogue between architecture, nature and the senses through the visual elements of color, texture and movement. By using natural elements, the project aims to create a sense of home, a space that nourishes oneâ&#x20AC;&#x2122;s mind, body and soul. The contrasting material palette of the rough stone and smooth wood, the taste of home-grown fruits and vegetables, the fragrance of flowers and the therapeutic sound of water, all play to the conceptual exploration of designing for the senses.

pg 73 Sec tion 03

Shu mae l Amir Geo rg ios Ch at ziad am M at hie u d e P o mpa Ye a r 2 O u t e r S pa c e 2 0 1 9

GOD 1S IN TH3 NUM53RS

A vision of the next 100-200 years, the project encompasses the prediction of Space Exploration and man’s development in technology, architecture, and infrastructure. The proposal provides an in-depth idea of space exploration in the Earth’s solar system and further narrates the process of advancement. “Science only goes so far, then comes God” Providing a reincarnation of the story of Babel, the project defines space exploration to be the modern-day tower and the key to the advancement. As the whole world was once divided and lived in constant chaos and war, the one factor that united them was mathematics. The true common denominator was advancement through math, and thus were the doors open to space exploration. This concept is divided with the five panels, outlining each site and developing the infrastructure through the overlay of mathematical sequences, each one developed into its own industry, architecture, and time lapse of exploration. Thus, as the project presents the inhabitants of Mars as step one, each planet or moon defines mankind’s expansion into space centered with these mathematical implementations. All of them concluding with Planet 9, which has not only been discovered in the solar system however also has reached stages of colonization. This is the vision of mankind’s future in space. “God only goes so far, then comes science”

pg 75 Sec tion 03

A b his h ek Wag le

Winner of Newad A r tH e re I l l u s tr a ti o n Co m pe t i ti o n

GOOGLE LIFE

The Google Life Advertisement encourages humans to focus on the importance of a comfortable Google assisted life. While it is only available to a select few, everyone has the opportunity to apply for a Google Life membership. The cost of the membership is the small fee of your creative labour and any future IP you make, but in return you are provided with a lifetime suite of the Google nest and affiliated facilities. Upon joining the company Google will offer you the comforts and benefits you need to live a happy and healthy life. Images and inspiration for the Google Life AD were taken from the Mid-Century Modern Motorola House and Levittown Ads that were responsible for the “white flight” movements that developed the systemic racial and ecological problems that plague the continent today. Further imagery was inspired by the Robert Calder images for the future, which portrayed a brighter future 50 years ago! This image won the Newad ArtHere competition and then proceeded to be showcased in university campuses, restaurants and other Newad marketing billboards around the country without the explanation of its perverse message. How many people witnessed the ad and thought “I want to be the person in the Google car,” without realizing that the only way to become that person, was if you force everyone else to take the train.

pg 77 Sec tion 03

Protesting is a form of expression that looks towards disturbance of routine to communicate a message. Impact of disruption through our physical bodies, like marching and picketing, is proportional to the people present. Although covering a limited range, it can be hard to ignore. When protesting in person is not allowed, the virtual steps in. A disruption through virtual methods like hashtagging, and memes, allows for wider coverage. However, posts may be unfollowed, and others missed. Automating the protest by merging the physical and virtual means of expression through a mobile device, allows one to protest by means of physical disruption with the use of a remote controlled device. This proposed intervention is a protesting drone that intends to disrupt, triggering the senses and identity of its surroundings. This intervention attempts to achieve a state of â&#x20AC;&#x2DC;almost violenceâ&#x20AC;&#x2122;, one that causes pain by no injury and one that pleases but does not strengthen. Use of social media and focus on the visuals have resulted in the emergence of phobias or satisfactions like Trypophobia, Anti-OCD, Kawaii and Oddly-Satisfying. When this device is closed, a smooth pink sphere plays melodies and sprays lavendersmelling glitter onto its victims, while a swarm of them may perform and entertain. When it is open, a dirt collecting cloth which surrounds a structure that mimics the appearance of a disease has the ability to spill slime and project scary filters of its victims. It also has the ability to follow a politician until they initiate change.

pg 83 Sec tion 03

Mar ie-Hé lèn e Le s ièg e

Ma s te rs S t u di o i n Co l l a bo r a ti v e Pra c ti c e

A FOREST OF INFINITE STORIES

It is estimated that there are currently between 6,000 and 7,000 living spoken languages on the planet. Most of them are spoken by very few people while a handful is spoken by an overwhelming majority. It is projected that 90% of all languages will disappear within the next 100 years. Global economic patterns often force small communities to assimilate to predominant and intrusive cultures. One language is not simply a different set of words for the same things. Every language is the means of expression of the intangible cultural heritage of people, reflecting a unique take on the world. The death of any language results in the loss of irreplaceable knowledge and understanding of human thoughts. Just as we depend on biological complexity for our physical survival, we depend on linguistic complexity for our cultural survival. This institution offers access to audiovisual content, sound documents, and video recordings, material considered as a cultural testimony. Through technology and architecture, intangible cultural heritage is archived and constructed in both digital and physical spaces. It exploits and amplifies social rituals and ritualized framework associated with the traditional models of cultural institutions such as the movie theatre, the library, and the archives centre. The Architecture is articulated through unconventional practices of immersion, interfaces, and agencies. Establishing a platform for creating, distributing, and viewing content. It is precisely located on a site of perpetual consumption, Yonge-Dundas Square, a symbol of our visual culture and the proliferation of advertising. This institution defines itself as an essential actor in the promotion of cultural dialogue and diversity and enables the transmission of culture across generations. pg 85 Sec tion 03

Architects consider all sorts of limitations when designing. One of those limitations is nature’s gift – gravity. It’s an element/ force that most designers often take for granted. The sphere questions gravity as it rotates, leading to designs where humans can walk on walls and ceilings. This leads to extreme functionalist designs allowing forms to carry various uses as their orientation changes relative to the human. A typical 16m2 room underutilized its ceiling; whereas, all six surfaces of a rotating room can be seen as a floor resulting in a 96m2 room. Here, floors and walls are now viewed as planes; windows and skylights are now seen as voids or openings. The spherical Maquette consists of 3D printed modules of different voids that attach interchangeably with the use of magnets. The interior has nonsymmetrical laser cut MDF forms. The flexibility was intended to allow for experimentation resulting in various interpretations of the space as the modules rotate or change location.

pg 87 Sec tion 03

The human cycle of production, consumption, and disposal has increased at an exponential rate throughout the birth and growth of the industrial revolution, culminating at a tipping point, such that it is now economically feasible and even considered environmentally responsible to extract materials of value embedded in our own waste. Specific metal ores can be found in our electronic waste equal to or greater than that of deposits of virgin metal stored in the earth. Our own constructs of monetary value create this demand, currently listing gold as having the highest embedded value in our waste. The act of urban mining fundamentally changes our understanding of the Anthropocene; where our need to consume the earthâ&#x20AC;&#x2122;s resources has come full circle through material extraction of our own waste. This inevitable future is explored through the proposal of the Urban Gold Mine. Located just off the shores of Toronto on the Leslie Spit, a large monumental processing plant amalgamates the GreatLakes-Regionâ&#x20AC;&#x2122;s e-waste, taking in waste at one end, and through contemporary methods of extraction, processing out the tiny flakes of gold, coagulating it into beautiful pristine gold bars at the other. The institution of The Urban Gold Mine and its monumental processing plant presents a false sense of positivity and innovation, glorifying its own efforts and chasing the purity of gold, all the while concealing sins behind a palace-like faĂ§ade of capitalistic and industrialized values that further toxify our city. This turning point we face should not be heralded as human achievement, but rather be recognized as a by-product of our failure as stewards of this earth.

pg 89 Sec tion 03

Located in the Lower Junction Triangle, the OCADU satellite campus building is a composition of five curved glulam masses that contain its programmed spaces. They are all arranged around the circulation spaces which includes the atrium,and the structure is designed to catch the direct light of the sun and diffuse it into it by using the convex curvature of the masses. Light is also bounced into the core of the building using the glass railings, taking in light both from the skylight and through the curtain walls. The column-less design is achieved using a glulam ring around the edge of the atrium that is pulled back to the supporting structural masses in a zigzag pattern. This structure radiates out from the atrium, which is visible under the CLT slabs. The colour in this image is used to conceptually illustrate the versatility and public nature of the space. As the space serves the art school, it can be used as an informal gallery space for artwork or installations, bridging the more private studios with the public realm.

pg 91 Sec tion 03

FRAKTUR Co m e U p T o My R o o m 2 0 19 Mimi Cep ic A d rian Sài- k î t Ch î u A r n el E s p an o l C as ey L i H en ry Mai Mo n ik a Mit ić Nan X iao

Photos by: H en ry Mai

1220

2125

Section 1:50

2130

5180

Plan 1:50

SECT 04

TION 32

Ryerson Arc-Sci Extension

Green Hub

BENGA Secondary School

Arbor

Interconnector

Net Zero Forest Retreat

YamĂŠ Chair

Flaneur

Ostend // Pier F

development diagrams

exterior render

n-s section

program diagram

core extension diagram

program diagram

physical model

process sketch

exterior render

exploded axonometric

lower level floor plan

upper level floor plan

section perspective

REPLACE WITH PROJECT LOGO IN TITLEBLOCK FAMILY

6000

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12000 39' - 4 1/2"

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14x

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6862200

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1700

Teeple Architects Inc.

19' - 8"

6000

Address Address Address DESIGN ARCHITECT

5' - 7"

6900

7' - 2 1/2" 22' - 7 1/2"

CLIENT

5 Camden Street Toronto, Ontario, Canada, M5V 1V2 T +1.416.598.0554 F +1.416.598.1705 CONSULTANT DISCIPLINE

Consultant Name C

6000

19' - 8"

Address Address Address CONSULTANT DISCIPLINE

Consultant Name

6000

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4255

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KEY PLAN

THESE DRAWINGS ARE INSTRUMENTS OF SERVICE AND AS SUCH MAY NOT BE USED FOR OTHER PROJECTS, FOR ADDITIONS TO

6543 3166

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ROOF TO WALL DETAIL

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HRV

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STACKED WOOD LOGS

No.

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WN1 F1

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W1 WATER TANK 254 W x 1016 L x 1600 H

Consu Addres Addres Phone Fax e-mail

7078

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HRV

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1111 1114

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SOLAR PANELS

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www.autodesk.com/revit

789

1873

I-BOLT CONNECTS NET TO CEILING

3000 3020

Project number

FLOOR TO WALL DETAIL

0001

Date

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Drawn by

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1 Section 2 1 : 25

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Unnamed

Project nu 4/26/2019 1:40:18 PM

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620 600

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C H A I R Y A M E Ye a r 4 D i gi ta l To o l s Ys ab e l Ar b ole da E mma van de r St aaij pg

Sec tion 04

116

Using customary wood joinery techniques and focusing on construction and craft, Yamè chair has no metal screws, bolts or nails to reinforce it. Solely based on friction fit joints and notches with kerfed surfaces and pencil crayons, Yamè chair captures the playfulness and ease that children seek in a leisure chair. Inspired by Gerrit Reitveld’s theories of relaxation, this chair manifests rest and motion into an ergonomic profile, that in itself becomes a contour for children to claim their own space while allowing them to interact with the space around them. The combination of a rigid seat and an organic back piece represents the contrast between work and leisure, and the ideas of what it means to be both open and enclosed. Especially pronounced in the wrap-around back piece, in which the geometry slopes down from the back and curves towards the front thus allowing users space to use their hands, and the arm cutouts and kerfs create windows that allow users to view space around them. Multiple prototypes each differing in kerf dimension, shape, spacing, and layout were made through means of laser cutting MDF sheets and CNCing plywood. Each iteration was made to test the structural integrity of the kerf pattern against the irregularly shaped seat backing. However, through experimentation we discovered that in order to maintain the structural integrity, we needed to stagger the kerfs along the curve, space kerfs farther out to avoid weak points, and increase length in areas that must bend.

RAW

FINAL 1

90°

15°

VERNON BLVD

ED KOCH QUEENSBORO BRIDGE

OSTEND//PIER F Ye a r 4 F ra n k f u rt S t u di o Gar b o Z h u pg

Sec tion 04

120

Swinging towards the macro scale of the pendulum, the design process is guided by a historical evaluation of the site, the waterfront of Frankfurt, Germany. Being in an industrial environment, where three major bridges meet, the location is at the intersection of a rapidly developing area and a sleepy neighbourhood with rundown factories and warehouses. Looking back in the past, the undertone of industrialization is one of the critical values and focuses of this multi-programming complex. With the aim of manufacturing in the most efficient manner, industrialization has become the basic principle of modern construction. Represented by words like “modularity” and “mass-produced”, spatial encounters become expected where inherent aesthetic fatigues. To break away, a counter-argument was introduced: personalization. It departs from the expected and is specifically created to a defined individual. Personalization can be shown through different unit typologies for lofts, shops, and housing units, while the construction details utilize notes of industrialization. As a means to resolve loss of direction often exhibited in a massive location, way-finding was utilized as guidance. Rather than creating one single large complex, this approach treats the proposal as a social hub that brings liveliness back to the site while accommodating the unique characteristics of the community.

5 4 3 2 1

3 2

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Thank You There are not enough words to express our gratitude to the following university groups, offices, and departments for their dedication to supporting student education and initiatives. Their encouragement and assistance make a successful 325 Magazine publication possible every year. Thank you for supporting Ryersonâ&#x20AC;&#x2122;s Department of Architectural Science students in their path towards the avenue of design and problem solving. We would like to acknowledge the yearly support from the following: Department of Architectural Science arc.soc Faculty of Engineering and Architectural Science (FEAS) Ryerson Provost and Presidentâ&#x20AC;&#x2122;s Offices Student Initiatives Fund (SIF)

Thank You This publication would not have been possible without the benevolence and generosity of our sponsors. We thank them for supporting our students and their education in architectural studies. Their contributions make it possible for 325 Magazine to continue to provide a platform for students in Ryerson Universityâ&#x20AC;&#x2122;s Department of Architectural Science to feature their work. The outstanding projects showcased in this issue are only a glimpse of what can be expected to arrive for the future of the industry. Thank you for supporting our studentsâ&#x20AC;&#x2122; innovation and creativity.

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Committed to collaborating with Canadian Universities and Colleges to create visionary buildings for the future of learning. We are proud to be the Architect for The McLean Centre for Collaborative Discovery, an addition to the DeGroote School of Business at McMaster University

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