RYERSON UNIVERSITY Department of Architectural Science 325 Church Street, Toronto, Ontario, Canada M5B 2K3 (416) 979-5000 Say hello! arch325magazine@ryerson.ca
© 325 Magazine 2019-2020 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 Gladys Lee
Chair of the Department of Architectural Science Dr. Mark Gorgolewski
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Creative Directors Caitlin Chin Maya Higeli Rita Ruotao Wang
Dean of the Faculty of Engineering and Architectural Science Dr. Thomas Duever
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Copy Ilsa Khan Vanessa Paningbatan-Cerezo Tapenga Peart -Marwa Al-Saqqar [Editorial Collaborator]
Vice Provost Academic Kelly Mackay
} Graphics Kristyan Calletor Cynthia Hua Wincy Kong Yiran Ma Priyanshi Sanghvi Oshin Shah Florencio IV Tameta } Marketing Emily Zheng } Sponsorship Annette Chan Mehvish Chandiwala Todd Collis Anna Halleran }
} Manager of Student Engagement+ Development, FEAS Rose Ghamari } Manager of Special Projects, Office of the President Nina Elmazaj } Director of Projects and Operations, Office of the Provost and Vice-president Rose Sandino } Faculty Supervisors Vincent Hui } Print Coordinator Alexandra Berceanu } Financial Coordinators Kathleen Sojor Champlin Allyne Sareno
{ Message from the Chair } _ A big congratulations to the 325 Magazine editorial team for this tremendous compilation of the very best of student work for this academic year. One of the most rewarding aspects of being Chair is seeing student work that pushes boundaries, inspires and answers the call to the challenges of our time. Whether these are immediate issues of living and working through a pandemic or innovations to tackle climate change within the AEC industry and beyond, the student projects on display in these pages are compelling and speak to the urgency of our time with skill, thoughtfulness and creativity. _ I am particularly pleased about the remarkable effort the team has made to highlight initiatives that address equity, diversity and inclusion within our student body to ensure under-represented voices and points of view are lifted up in meaningful ways. This complements the ongoing work the Department has undertaken to diversify our curriculum, student learning and experience as well as the positive strides the DAS community is making to represent diverse perspectives within our program. _ This collection would not be possible without the hard work and dedication of the editorial team at 325 Magazine. You provide an invaluable service to your peers in offering a platform to elevate and highlight student work. Even in this difficult year, this highlights the sense of community and collegiality we cultivate and treasure at DAS. On behalf of the Department, thank you and congratulations! Dr. Mark Gorgolewski Chair, Department of Architectural Science
{ Message from the Editor-in-Chief } The Covid-19 Pandemic serves as an opportunity for change, whether this change exists in societal or design philosophies, or in educational and practical methodologies, it is omnipresent. It was apparent to us this year that “change and evolution” is the most suitable theme for the edition. As such, after many discussions within the creative team, all the while adapting the collaborative process to a virtual setting, we present to you the 2019-2020 edition of 325 magazine. While the DAS community continues to evolve, we as a creative team evolves with it. Being the first edition to be completed fully virtually, many challenges were faced. Though through these challenges we too saw opportunities. One of such opportunities was to have enlightened conversations with students and professors with diverse perspectives, and to create a dedicated space to document their thoughts on the current state of life. These thoughts no longer exist only in the “cloud”, they in turn transform into initiatives over the past year, dedicated to making tangible change within the DAS community. We invite you to explore these perspectives within our featured editorials this year, along with the wonderfully innovative work by students of DAS. The 2019-2020 installment of 325 is a witness to the perseverance and adaptability of the DAS student body, to not only prevail, but to excel, during these uncertain times. This edition seeks not only to highlight the excellent work from students, but also the new theoretical solutions, inspired by the unfortunate disruption of the Covid-19 pandemic. The DAS community’s commitment to impactful change, to innovation, and to the evolution of creative thinking is truly commendable, and 325 as a platform is committed to document the excellence showcased at 325 Church Street. We once again invite you to join us and celebrate the work done at 325 Church Street. On behalf of the team, it has been an absolute pleasure to have the opportunity to compile and showcase student excellence at the forefront of the community. Come join the conversation, and as usual, Happy reading! Sincerely, Gladys Lee
For more information about the previous editions,visit https://issuu.com/mag325
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{ }{ } Sequence 1 { } { } { } spark of { } inspiration { } { } { } Present } solutions { 10 > Writer’s Cabin
12 > Writer’s Studio
> Nohemi Lopez Taylor
> Noah Spivak
> ASC 101
> ASC 101
14 > Extent > Ariel Weiss > ASC 201
16 > ROKR
> Arash Ghafoori > Kyle Do Couto > ASC 755
18 > Mini Bench > Jimmy Hung > Jessica Gu > ASC 755
20 > Mandalika Canopy Villas > Liam Fujita > Noah Spivak
> Prefab Glamping Villa Competition
22 > Shim-teo > Hyo Yeon Lee > ASC 856
24 > WINDSWEPT
> Christopher Cleland > Armando Macias
> CISC Architectural Student Design Competition
28 > The Farm Revival > Fan Fei > Jiajie Yuan > Yiran Ma > ACSA/AISC Steel Competition
30 > Hart Island Ossuary > Tatiana Estrina
> ACSA/AISC Steel Competition
establishing_connection... _launching micro design
Writer's Cabin Nohemi Lopez Taylor } Undergrad - Year 1 ASC 101 Communications Studio
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privacy }
modular }
connection
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10 }
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The writer’s cabin was a small dwelling project done at the end of the first semester of first year, this project was aimed to create a small space used primarily in the summer and spring for an international writer to spend their working days writing in the cabin located at the Casa Loma site. The site is nestled in the tree canopy on the south of the lot and is at an incline on the grade. The program includes the writing space, a place for relaxation, and a small bathroom. The design intent for this writer’s cabin was to create spaces that separated working and relaxing by means of subtle shifts in plan as well as in section. Each space would be a reflection of the other in plan but with a planar shift. Each of these two modular pieces reflected in plan are then connected via a trellis detail that
spans the length of the cabin. This integration of the trellis allows the cabin to envelope itself in the nature that already is flourishing in the surrounding site. This writer’s cabin combines the two separate yet necessary elements of writing, to think, and to produce, both of which coexist in the space yet have their own determinant areas within the cabin’s design.
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exterior view
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site plan
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writer's studio Noah Spivak } Undergrad - Year 1 ASC 101 Communications Studio
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tranquil }
immersed }
uninterrupted
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The writer’s studio is a haven in the city of Toronto for a selected writer to come and disunite from the city in tranquility where it is located behind the Spadina house. The exterior of the structure is wrapped in trellises, these trellises harbor the growth of ivy and other plant life, camouflaging the building into its environment. This sense of isolation is important because it is placed in a public park and privacy is often a necessity to the writer. The studio is also hidden within the tree coverings on the steeper side of the hill, allowing it to keep it out of reach from pedestrians and opening it up to the views of the city. The trellises are also utilized inside of the building where they continuously flow through the
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exterior walls and transform into the desk, shelves, and tables. This creates a harmonious connection from the outside to the interior. The trellises also function as louvers, to disperse the morning sun from the southeast side, and create interesting shadows that change throughout the day. The roof overhangs the south-facing windows allowing for proper shade in the summer months while the winter sun is given full access. The step down follows the grade of the slope and separates the workspace from the other functions of the studio. This studio is meant to be a hideaway for writers to immerse themselves in nature and open the door to new ideas.
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exterior view
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EXTENT Ariel Weiss } Undergrad - Year 1 ASC 201 Communications Studio
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open space }
public }
intertwined }
extent } b
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flora
Confronting the rising population density of Toronto, Extent creates a unique public interaction in it’s downtown setting. With a hard exterior shell, the structure uses a ETFE core in order to create a comfortable public entry towards John Street. This is where the program is composed around it’s public core. Visitors at street level find a café and a performance space showcased through the use of light and flora as a material. Moving upstairs the café is then intertwined with an office through the use of both an enclosed bridge as well as an elevated courtyard. The courtyards as a result become an informal extension of the space around it, which are then able to
function as either a performance, a cafe, or a workspace. Extent is about transforming the grounded urban corner into a dynamic interaction between formal and informal spaces.
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cafe interior view
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massing diagram
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ground floor plan
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exterior view
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public & private diagram
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materials diagram
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longitudinal section
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ROKR Arash Ghafoori Kyle Do Couto } Undergrad - Year 4 ASC 755
Digital Tools
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sustainable }
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multipurpose }
transformable }
wood joinery
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ROKR is a CNC’d plywood multifunctional chair for children. It has been designed as such that two chairs can be cut from a single 4’ by 8’ sheet of plywood, thus streamlining its production process. Minimizing the
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environmental impact, its parts have been meticulously organized and arranged to decrease waste. The multi-purpose design also increases its longevity by doubling its use case in addition to accommodating different age groups. Furthermore, it’s simple 10 stage assemblage in seat form, as well as 6 stage assemblage in seesaw form, even allows for children to assemble it with little to no support from an adult. From a young age, children are often encouraged by their teachers to sit cross legged throughout their school story time sessions, free-time, school assemblies and more, without questioning why. Studies have actually shown that sitting in this position can not only dramatically improve your posture long term, but always
provides numerous other health benefits through the activation of core muscles. Therefore, this position is often encouraged for children. Utilizing this as a driver, the design was developed in order to accommodate the ability for children to either sit crossed legged or to even share their seat with a friend. ROKR has the ability to transform from a spacious chair into a playful seesaw within a matter of seconds. The aforementioned seesaw form can also be utilized with the following steps. Simply remove the chair legs and back, place the curved seat on the ground and insert its handles for instant playtime use!
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underside of base
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exploded isometric
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MINI BENCH Jimmy Hung Jessica Gu } Undergrad - Year 4 ASC 755
Digital Tools
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waffle connection } b
golden ratio }
CNC chair }
intersecting mass c
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The Mini Bench expresses the foundational shapes of a golden rectangle, square, and circle; which shapes are programmatically used as the legs, bench, and seat. The project called for two identical children’s chairs to be made with one sheet of 4’ x 8’ ½” plywood. This project utilizes different CNC kerf patterns to steer away from the typical details associated with a CNC product. Instead, those details are hidden away with dowels and waffle connections within the chair to create a sense of mystery of how it was made. The bench is cut into 16 not-quite-identical strips, which stack together to create the span of the chair. The different notches projections from the strips allow for connections for the square column, the rectangular shear structure, and circle topper. The
chair utilizes the facial and cut textures of the plywood to express hierarchy of shapes. Looking at the chair from each elevation, one shape is accentuated in the smooth face of the plywood, while the other elements of the chair will blend in the background in the plywood’s linear cut texture. This children’s chair is an expression of the basic shapes that surround us in the world, a reminder of joy in simplicity.
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assembled chair
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side view
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assembly
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assembly
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assembly
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exploded axonometrics
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Mandalika Canopy Villas Noah Spivak Liam Fujita } Undergrad - Year 1 Prefab Glamping Villa Competition
a Expand view outward
transparency }
light } Set back windows for privacy
Arrange to create a communal space, optimal views and privacy
b
20 }
view Located on Mandalika Beach, these modules provide temporary housing for the MotoGP in Lombok for visitors and fans alike. Taking into consideration the ease of construction, the modules can be quickly assembled and applied to various terrains. The helical piles allow for the building to be adjusted and leveled without extensive disturbance of the
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ground, whereas the SIP units allow for simple wall assemblies that can be replicated for multiple units with the use of joint connections. In addition to the ease of construction, materials for the modules are sustainable and found nearby the island. ETFE is used in place of glass to promote more sustainable design while allowing for reduced thermal transmittance. This recyclable material reduces the need for interior lighting while being more durable during construction and disassembly. Canvases are suspended from a steel truss system to diffuse the sun during the day and allow visitors to look out at the stars at night. Shou sugi ban cladding provides weather protection and durability to the wall components. These modules are arranged in communities of 4, allowing for equal views of
the landscape for each module. Furthermore, rainwater is collected on the roof of each module and filtered down into storage tanks. The water from these reserves is used for the module’s water supply, reducing the need for additional water consumption. Community areas on the backside of the modules allow for social interaction with other MotoGP fans or visitors to the island. Fans can socially distance while enjoying the company of others behind the modules or can move out toward the water for a more intimate space. These modules allow visitors to take in views of Mandalika Beach throughout the entirety of the villa when they return from their day at the track.
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exterior view
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Shim-teo Hyo Yeon (Tiana) Lee } Undergrad - Year 4 ASC 856 The Small Building
b
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funeral home }
serenity }
warmth }
remembrance }
shelter
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“Shim-teo” is the Korean word for a rest area and shelter. It re-imagines a typical Korean funeral house that is overcrowded, chaotic, and often commercialized – by providing a comforting and contemplative space where the deceased can be commemorated in a peaceful setting. As a gateway connecting death and life, main inspiration for this funeral house comes from the pattern and making of a door in a traditional Korean house. Shim-teo rests on a low sloped part of the mountain that houses the cemetery. The building is divided into different levels and spaces to maximize the user experience. Visitors are invited to begin their journey of remembrance descending through a narrow concrete walkway. With no other visual distractions
other than sunlight from the skylights, this passage becomes a safe place to mourn and grieve. The main funeral hall opens wide as light filters through the perforated wooden alter; fabricated in the form of Korea’s traditional wooden doors. As part of the Korean funeral, families invite the soul of the deceased for their last meal. Doors are opened to let souls inside, therefore two large doors exist next to the table. Thus, condolences are presented in warmth and serenity with rays of natural sunlight. Finally, visitors move forward into a semi-enclosed outdoor courtyard guarded by tall gabion walls– an intimate gathering space to pause and reminisce about the past moments with others before continuing on, leaving the funeral home carrying only memories to be cherished.
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elevation
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WINDSWEPT Christopher Cleland Armando Macias } Undergrad - Year 3 CISC Architectural Student Design Competition Award of merit
a
eastern white pine }
multipurpose }
transformable
b
24 }
This tower is located in Killarney Provincial Park, along the Chikanishing Trail, where the wellknown eastern white pine tree is abundant. The image of the eastern white pine, found in many Group of Seven paintings, is a symbol of the conditions it endures as a result of the wind frequently produced over large bodies of water. The steel tower pays homage to this
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tradition and Canada’s beauty by capturing the movements within the windswept tower and allowing platforms to rotate on large-scale bearings, as a result of the wind. This can also be observed through the use of slightly perforated sheet steel that holsters the wind’s energy, similar to that of a sail. The weight of the platform and natural friction will then prevent the platforms from shifting too quickly, while ensuring variance over time. The location sees consistent calmer winds from the south and less consistent stronger winds from the east and west, making this a prime location to inhibit the shifting of the platforms. The tower utilizes the advantages of steel and the strength of the Canadian Shield below to
uphold its strength. The main core support is an outer steel diagrid cylinder that works in both tension and compression and becomes the main bearer of lateral forces. This system also harnesses prefabrication to allow easy transporting to site and assembly. The platforms take advantage of the kinetic possibilities of steel with an a-frame expressive structure that sits on top of large-scale bearings below it, allowing for a unique and exciting experience from each of the platforms.
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exposed structure view
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night render
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platform section
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The Farm Revival Fan Fei Yiran Ma Jiajie Yuan } Undergrad - Year 2 ACSA 2020 Steel Competition
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steel structure }
urban farming }
sustainability }
community
Located right under the downtown core within the City of Toronto, The Farm Revival Food Hub is a project focusing on bringing back the losing agriculture around the
b
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city and creating an architectural response to the living communities around the neighborhood. The design of The Farm Revival takes precedents from the traditional warehouse structure, utilizing trusses to create a large span for large open interior space. Four volumes constitute the main body, which differ in scales and function as administration, food market, food court, and greenhouse farming. Various types of urban farming techniques are realized throughout the complex, including outdoor farms, vertical gardens, and indoor farms. To bring visitors closer to the process of food production beyond commerce, multiple levels of suspended platforms are arranged above the market. The produced food in the complex turns into products that can be consumed and enjoyed right away.
The building uses natural rainfall, light and wind to achieve sustainability. The glass box-like planting area receives natural light and rainwater and can be used as a greenhouse to cultivate plants. The vertical planting areas in the retail area are suitable for shade-tolerant plants, where the shading filtered sunlight is sufficient for them. The indoor viewing area is interspersed with the shopping and dining areas, providing customers with interesting spaces to explore with an outdoor experimental planting area that also provides opportunities for children to learn and practice botany. In addition, the spacious outdoor space makes it possible to have a seasonal outdoor market.
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exterior view
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form development
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interior-food retailing
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interior-urban farm
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structure assembly
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Hart Island Ossuary Tatiana Estrina } Undergrad - Year 3 ACSA/AISC Steel Competition: Open (2nd Place)
a
memory }
winding }
journey
b
30 }
Although living in New York City is expensive, dying is even more so. Being a large city, New York not only has a large impoverished population, but also frequently experiences waves of disease. In order to deal with the growing body count, the city began to bury on Hart Island, a small isle in Long Island Sound.
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This island does not resemble a typical cemetery, there are no gravestones or flowers in sight. Instead, the island sports a collection of dilapidated buildings and fields of enumerated posts, each representing 150 bodies. Up until recently, the island was under the jurisdiction of Rikers Correctional Center, with inmates working to bury the dead. This made the island virtually inaccessible to those wanting to visit their buried relatives and friends. In 2019, the island was passed over to the parks department, in hopes to eventually create a public and pleasant cemetery space for visitors and tourists alike. Due to the unmarked graves and the few accessible roads on the island, grave visitors may not be able to reach their loved one’s resting
place. Hart Island Ossuary offers a proposal for an open-air visitors center, memorial and observation tower allowing guests to get panoramic views of the massive grave site while also taking the million of dead out of anonymity. Taking advantage of the ruins of the former Phoenix house, the ramping structure weaves below, through and above the crumbling brick facade, commemorating not only the dead but also the history of the island. The capability of structural steel is instrumental in the success of this proposal. Not only does the tower’s main structural framework consist of an undulating truss system, but also the scaffolding and underpinning of the existing condition could only be accomplished by exploiting the material’s strength and modularity.
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existing brick facade
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scaffolding supports for facade
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undulating truss system
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memorial medallions
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ramping plates and truss supports
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In conversation with: Andrea Bickley _Masters 2 Vivian Kinuthia _Undergrad 4 Mathieu De Pompa _Co-op Hajara Nida Hameed _Undergrad 3 Nohemi Lopez Taylor _Undergrad 2 Jayna Gandhi _Undergrad 1 } Moderated by: Ilsa Khan Vanessa Paningbatan-Cerezo } Edited by: Gladys Lee }
On Covid: New Perspectives i Students Edition (Featuring work from the dis-connected drawing campaign 2020)
Work from left to right
//1: Kayla Veloso, Caitlin Chin //2: Maya Higeli, Cynthia Hua //3: Kathleen Crisol, Amanda Lang //4: Kristyan Calletor, Raya Allataifei //5: Ely JR Torrenueva, Lena Ma
325: In general, how is everyone feeling? Andrea Bickley: Zoom fatigue! Hajara Nida Hameed: Very unmotivated. Nohemi Lopez Taylor: I think
burnt out is a good term probably...
A bit intense, but probably true. Jayna Gandhi: I’d say kind of “reaching the bare minimum” when it comes to my work.
It just is what it is,
just submitting what I have. Nohemi Lopez Taylor: Hopeful as well? That’s a positive word, hopeful for spring, hopeful for finishing off the term...
staying optimistic!
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{ 35
\\On School Life: The Student’s Perspective -325: It’s our second semester online, and for some
325: Speaking a little bit more about studio
of us it’s our third! So to our first year, Jayna,
culture, for everybody who’s already been in
We are all curious about how your year is adapting
architecture school, can you describe what studio
to architecture school, and online nonetheless! Can
culture is like now, in comparison to what it was
you describe your projects and your desk crits?
like before in person?
Jayna Gandhi: Yeah, honestly I am really liking it
Nohemi Lopez Taylor:
in terms of content and the wide range of courses
like one of the best things about architecture
that we have. Obviously it’s a full six course load
school, it was a huge motivator, a really easy way
so it’s a lot, but it’s such a wide range of courses
to lean on people, and it was also just a really
that I am enjoying the content. In terms of the
great way to time manage because I didn’t have to
experience, obviously I have nothing to compare it
make most of that initiative on my own. It was
to, but it’s definitely been difficult because of
kind of like as a cohort everyone can time manage
the course load, the more challenging courses, and
properly since we’re all the same course load and
figuring everything out on your own, not being able
work together. So I guess that’s why I feel little
to just have those immediate conversations.
down... I love studio culture, I miss it a lot.
I think studio culture is
*chuckle* And so it’s definitely different now. a
Work by Ilsa Khan
Hajara Nida Hameed: I think all the stuff that I’ve learned, all the little quirks you gather over
From Dis-connected
the years, comes from studio culture. In studio
drawing campaign
you could just go up to someone who is in your section and be like hey how are you doing with this project, and this doesn’t have to be about the studio, you know, it could be about a different project, it can be about a different course, it could be about life, anything! a
It was just a little bit lighter. I think b
everything’s very heavy handed now.
Work by Vanessa Paningbatan-Cerezo Vivian Kinuthia: I found that some people have From Dis-connected
been more creative about trying to breach that
drawing campaign
distance from being remote. Someone in my studio over reading week initiated setting up two calls, so having that call with other students was just interesting to see where everyone else is at. I think it was just like a great way to bond with our studio, But it’s definitely not the same. I b
was someone who was always in the studio, so I definitely am experiencing withdrawal.
c
Andrea Bickley: yeah one of my classmates set up
Work by Monica Calnan
a zoom call that people could go on basically From Dis-connected
anytime. So that was pretty nice that she started
drawing campaign
it. Sadly I haven’t really talked to my classmates about my thesis at all, so yeah that was a lot of fun.
36 }
Editorial Code: On Covid
c
d
Nohemi Lopez Taylor: I think there’s something to be said about the tangibility of being in studio. I think there’s just a different sense of your studio and your work when it’s in front of you, whereas now all of my ideas kind of live in the cloud, and it’s kind of strange, so I guess that’s another point that I kind of miss is just like the physical atmosphere, even models too, all of that. ----325: Following up on that, Jayna, is studio what you expected it to be? Has it met your expectations? And after hearing everybody else’s experience, what do you think? Jayna Gandhi: I definitely had a different idea of studio, but from what I gathered from my mentors, I think I would be the type to be in the studio all the time. In terms of online, I think Miro works
Is this The new studio culture? Hajara Nida Hameed: I don’t feel the impact [of
d
school] as much. Back when submissions were in
Work by Bei Zhou
person, physically submitting always feels like a boulder lifting off my chest. But now I don’t feel
From Dis-connected
the impact when I submit anymore,
drawing campaign
well. We’re just going with the flow and it’s not bad for the position we’re in, I think it’s still
everything just feels so monotonous.
nice to be able to see everybody’s work clearly and it’s a good way of posting things up. So yeah, I guess for the online version of studio,
So I’ve lost feeling, you know? *chuckle* Vivian Kinuthia: I feel that. I think because of
I think this is the best way that it can go.
that I’ve appreciated professors who have been a bit creative with their deadlines. Last semester in my
325: A very positive note, thank you for that. ----325: So let’s talk about our project submissions. Do you find that online learning has affected your project submissions in a positive or a negative way, and if you could explain further. This is open for everybody. Andrea Bickley: I’ve only actually had two deadlines, so far, so the joys of masters. I don’t know if it’s positive or negative, but before covid, submissions are all formatted to be 24 x 36 posters. But now
criminology elective, one of the professors allowed unconventional formats for our course essays. So people did newspaper articles or podcasts scripts. I believe assessments doesn’t have to happen in the “standard way”. I can see in the future professors might diversify the formatting of our submissions, which is very exciting. Nohemi Lopez Taylor: Yeah! I think diversifying the way things are submitted would be a good benefit! I’ve had such a hard time compartmentalizing my deadlines and organizing my thoughts because of zoom fatigue, so it kind of affected my submissions this year. I think it would be nice to have a bit
whatever drawings I do, the professors might only
more flexibility
see it at the size of my screen, so I think that’s
that might help differentiate courses, or even the
definitely changed things.
way courses could be structured.
in the format of submissions,
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{ 37
\\On Mental Health: The Student’s Perspective -325: Screen time on average has increased about 8 to 10 hours weekly for students, and learning remotely has isolated us from our colleagues. To touch on the conversation on the importance of mental health, how has learning remotely affected your well being? Nohemi Lopez Taylor: Virtual schooling not only isolates you from your friends, but you’re also
f
working in the same space all the time. You don’t really get breaks and all your classes or assignments are done on a screen. It’s all these little things that add up until you reach the realization that your education has become something really different than what it was.
325: For those involved in student organizations and mentorship, how has it been organizing online student events or collaborating with other people, what are some difficulties that you faced, changes that your group had to make for the pandemic?
Hajara Nida Hameed: I agree with that statement 100%. I live with my family, so every room in my house is occupied with a human. You have no sense of privacy whatsoever, no where to breath. It is definitely taking a toll on myself, and all of us in similar situations.
Nohemi Lopez Taylor: I’m an ACU representative this year, and I’m also on the AIAS team as a graphics coordinator. Surprisingly, coordinating a group has actually gotten a lot smoother. I think students have adapted well to working online collaboratively, but it’s obviously different when
Vivian Kinuthia: Personally I haven’t been taking it well, and I would definitely go back to school physically. I think in terms of mental health, I’ve tried dedicating Friday nights off and just step away from the computer. I do feel like it will have long term effects on most of us.
be more self aware, and to reserve more time for myself to meditate, and be present with myself.
Burdynewicz From Dis-connected drawing campaign
it comes to how events are being run. The events don’t have the same escapism as it has before, so they no longer serve as a “break” from studio work. As much as you can deliver, as exciting as it can be it’s still just a zoom event, and it has become almost like another assignment or class you have to
Hajara Nida Hameed: I’m also a part of AIAS as
f
the Vice President, and I would say, nobody really
Work by Jeannette
wants to come to events anymore. But I do think
Wehbeh
it’s easier to communicate. I have two mentees currently, and every week I’ll reach out to check in.
From Dis-connected
It’s convenient as we don’t have to pick a meeting
drawing campaign
spot anymore, or match up in person schedules, so
-----
reaching out isn’t as much a difficulty. Vivian Kinuthia: I think that my biggest lesson in fourth year [and with virtual schooling], in regards to extracurriculars, is how to just sit some things out.
I often overestimated my ability, because of the illusion of ease of being online and lack of physicality of these events. e
Editorial Code: On Covid
Work by Nicole
get through until you can turn off the computer.
So I think it’s been very much a wake up to
38 }
e
Are you taking care of yourself?
\\On the Industry: The Student’s Perspective -325: How is it going from working online to schooling online, or vice versa? Vivian Kinuthia: It was a pretty significant switch from working in the office, to working from home. I feel like with work there was a lot more structure. You would have scheduled meetings at 8:30, and everyone’s catching up on what you’ve been working on. And then at five or six you log out, and that’s it. It’s very different with school, when your class ends you’re like “Okay, what assignments do I need to have to do now?”, and your day just seems never ending. With work, you will have supervisors that would check in and make sure that we were Okay, whereas I feel like not everyone would get that in school, it’s a completely different type of dynamic. Mathieu De Pompa: Yeah I’d say especially with
g
Covid. I started my job in May, and it dawned on me
Work by Rita Wang
that even a few months in I had never met anybody from the firm in real life before. So I only have
From Dis-connected
this image of these people from this Zoom, “one
drawing campaign
square” perspective. It’s definitely difficult because when you’re in school, normally you’re talking to people, you’re in studio, you have that tight knit studio culture. But in a virtual setting you just can’t help but feel disconnected, as I’m sure everyone’s been experiencing, working, in g
school, or otherwise. -----
So yes, I thought I can “take this research, I can
325: Continuing the topic, I’m curious about the
help with this committee”. But it’s still effort
incoming co-op students, how has the job search
and it’s still time so I think that’s been kind
been during Covid? How’s that working out?
of the difficulty of doing stuff outside of class during this time.
Hajara Nida Hameed: In all honesty it’s insanely difficult. If you call a firm they won’t reply,
Jayna Gandhi: I feel that across all the first
if you email them, they won’t reply, because no
year students, because we’ve never really met each
one is in the office! The interview process is
other before, events actually cause awkwardness.
also vastly different. With online interviews,
As a first year ACU rep, me and the other two reps
yes you can dress nicely and be well prepared,
from first year would send out the event details
but with unpredictable interruptions like family
with lots of emojis and hype it up in the chat, and
and internet and such, theres nothing we can do
then nobody replies. We feel bad because it’s like
about that. A lot of students are also falling
we’re not doing our responsibility and getting our
back to falling back to the “I’m just going to
year to come to these events, but I think it’s just
take what I can get” sort of mentality, instead of
because our peers don’t have that accountability,
being selective and choosing jobs that are the best
the thought that “oh they’re saying something to
match for them. So it is definitely an unfortunate
us, I should reply”. We’ve never met before, so you
situation, but we are coping with it!
can’t really blame them. It just kind of makes it a bit of an awkward scene, I will say.
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{ 39
h
Nohemi Lopez Taylor: I think the concept of the pandemic in design has sort of just, been pushed aside, as if it’s something that doesn’t exist in the world of imaginative design! I also think a lot of other “structural issues” that have been exacerbated or really shown because of the pandemic, such as the housing crisis, has been filtered out in design conversations. We should be attempting to tackle these issues in our studio or in the industry, especially now. i
325: With Covid and the industry itself, how has Covid and its effects on the AEC industry changed how you foresee your career in architecture, if any at all, and if so, how? Mathieu De Pompa: Most of the work that I’m doing at the firm right now is residential, and so it’s h
interesting to design these kinds of residential
Work by Stephanie Vo
buildings in a pandemic. It kind of makes you reconsider what you know, like layouts for units,
From Dis-connected
for example. So I find that I’ve almost been
drawing campaign
frustrated with the pace of change in the industry, the conversation isn’t there as much to deal with these kinds of problems in the future when another pandemic happens, which you know inevitably will.
Mathieu De Pompa: I think this problem goes beyond just architecture, and even the AEC industry. It is evident that the industry is very driven by capital. Everything is about maximizing floor area and getting the most out of your building.
As a collective society we need to set our priorities straight, saying yes, is it the dollar that’s the most valuable thing, or is it, you know, human decency.
Vivian Kinuthia: I think as designers or architects there’s so much we want to talk about, like addressing these things with design. But in reality it’s all structural and policy, so to some degree, we have to become advocates. I think it’s been
There should be more conversation surrounding how to design better spaces for living,
interesting to see more of those conversations happen because there’s ways I think architecture significantly upholds existing systems. So there is I think a reckoning that has to be there in terms
but it’s almost like the industry is ignoring the i
Work by Ted Bulaclac From Dis-connected drawing campaign
problem and then continuing doing what we’ve been doing. Andrea Bickley: To me, I think especially with Covid, what’s almost become a priority is having
of our value systems. Our thinking needs to evolve to consider the overall well being of not just the environment , but like society as a whole beyond capital, and Covid is the perfect catalyst for that.
a work life balance, which is something of a lacking aspect in the architecture industry. So as I move forward, I think that’s going to sit at the forefront of my decision making in terms of what firms I would want to work at...
To be honest, it’s been kind of hard to continue imagining myself becoming an architect, because it’s almost seeming like the profession in itself is changing, and I am also seeing other areas that I might have skills that I might be able to engage in better. Covid’s definitely muddled all my feelings and thoughts up.
40 }
Editorial Code: On Covid
\\On the Post Pandemic World: The Student’s Perspective -Nohemi Lopez Taylor: I very optimistically started
325: How do you think institutions can better serve
off my first year thinking I’d always wanted to be
us in a post endemic world? So whether that’s
involved in the ideas of social housing, and I’m
university, at the master level, undergrad level,
really interested in low income housing… It’s part
even high schools, if you have siblings.
of my background, it’s something I’m familiar with. But just the idea, especially during Covid, that
Andrea Bickley: I’m just gonna jump in real quick
architecture is just another “structural piece”
with something that I feel like other people are
in something that’s a lot grander than being an
also going to bring up, which is mental health.
architect, is disappointing.
I feel like this is a topic that gets left to the students and student organizations so much to disseminate that information, and the students
It puts pressure on me to think about what the
aren’t mental health experts, so I think that’s
career is and what it might be, and what the
something that definitely needs to be addressed [by
repercussions of being an architect ultimately
the institutions].
are in relation to my core objectives. Nohemi Lopez Taylor: Yeah! I know for a lot of people on the student groups experience a lot of Mathieu De Pompa: I think like what Vivian was saying
frustration,
before about being an advocate, even if you don’t necessarily want to consider being an architect in the future,the training that we’ve received and the
they feel like a lot of the responsibility of
knowledge that we’ve acquire forces us to become
things like mental health, even issues like
almost a humanist, where architecture is no longer
equity and diversity, are put back on the
just about the buildings. It’s about making spaces
students when, they’re the ones that don’t
for the people.
necessarily hold the power and the structure that is like upholding the things that aren’t
Hajara Nida Hameed: I think there’s a lot of ways
working.
that you can use architecture to benefit people, and I don’t know if we’re taught that? I think we’re really taught a different perspective of it
And it’s tough, because I think a lot of students
[in studio]. I also think there’s many scoops of
feel that pressure, especially for their peers
architecture that we are missing in our curriculum.
when they know what everyone’s going through to
It seems we’re only taught this one thing, where we
start initiatives, but when really it’s more about
build an art center, or a high rise, an apartment
access to resources and a lot of other structural,
complex etc... And they don’t expose you to any of
systematic issues that are not going to be tackled
those other types of architecture that you might be
by the students initiative themselves.
able to go into. So in the end you’re just like what Vivian Kinuthia: I feel like the financial aspect
is architecture, and what can architects really do?
of the program is also tied to mental health. Our program, in my opinion, has this expectation that, in addition to paying tuition that you’re going to, there’s a need to drop $500 on a model that you have to make. There’s definitely avenues for support university wide, but I would like to see this avenue emphasized more post Covid. It’s been clear
j
j
that there are ways that they can support us. Like
Work by Hajara Nida
they were able to help with software, and then also
Hameed
like setting up remote work desktops for students.
From Dis-connected
should extend beyond circumstances such as the
But this mindset of “Okay, what do students need”
drawing campaign
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{ 41
pandemic. It’ll be great if there’s just that
Mathieu De Pompa: Exactly! With everything the
consideration, because maybe not everyone’s able to
pandemic has taught us, not only with technology
drop that kind of money on the significant things,
and zoom, but with the movements happening in
so let’s maybe change the way those expectations
the US and everywhere, these things that people
are set up.
are
considering
“changing”,
it’s
almost
like
revolutionary, there’s upheaval. Mathieu De Pompa: I think technology is a huge player in the post - pandemic world for sure. Whether it be access to technology or software itself,
Society is seeking change, and Covid is just a
it’s almost becoming like an actual necessity, and
catalyst for these changes in multiple areas
not just for us architects. Everybody needs to
of life, and hopefully, for the better.
be on a zoom call, everyone needs to communicate with people, it’s almost becoming a basic right? I think we also need to consider how we can make
-----
[technology] less expensive so that it’s more
325: Considering the other side of technology,
accessible to everybody, and that everyone has the
do you guys think it’s creating a further divide
same opportunity [to succeed].
between relationships over views of everything that’s happening? Like politics, school or any
-----
other ideas that come up?
325: With everything, like technology advancements and how you guys see the post pandemic world, do
Mathieu
you think we are creating a new pedagogical normal,
polarization,
De
Pompa:
I
with
the
think
or is the goal to go back to the way it was?
increasing polarization, misinformation, Fake news
media
there’s
a
especially.
huge The
on both ends of the spectrum, not just the right Mathieu De Pompa: Hopefully [the pandemic] has
or the left... The further you dive in, the more
taught us to be adaptable and flexible. I think
divided and extreme the opinions, [especially when
these virtual interactions will still remain, but
we are became so technologically reliant]. But I
I think even when things get better with vaccines,
think we as a collective society have to kind of
ultimately a lot of things will go back to “normal”.
pull ourselves back from it and have these kinds of
But when another pandemic hits, it’s going to be
conversations we are having now, to learn from each
a lot easier to do this now that we’ve developed
other and share our experiences.
a system. Nohemi Lopez Taylor: On a more positive side, I Hajara Nida Hameed: I want to agree with what Mathieu
think,
said, it’s like you know you have the accessibility now, it’s not something that would be like a daily [going forward], but I think it’s there as a good
access to certain forms of technology and
backup. It’s a good accessibility to have, and I
communication have, at least for me over a
also think that, in terms of technology,
pandemic, given me a lot of time to reflect and be educated.
it doesn’t make sense to stay and go back to the way that we were, I think it only makes
And as “ridiculous” as this sounds, Tik Tok has been
sense to move forward.
a great educational platform. And it’s interesting how in times where a lot of people don’t have access to physical daily communication, turning
You want to learn from the things that were brought
to social media has helped in finding interesting
up and not just shove them under the rug now that
resources, or just having interesting discourse
they’re surfaced and be like “Okay, let me just
about things with technology.
dust it away again”.
42 }
Editorial Code: On Covid
Hajara Nida Hameed: I think that one thing that could be more accessible, though, in like terms of technology and schooling, is the access to digital programs and the educational resources themselves. [Our curriculum] only teaches us the bare minimum and there is the expectation that students will figure out the rest. But I think k
Work by Gladys Lee there should be a push to experiment, and to have these alternative resources readily
From Dis-connected
available.
I really wish that they would expose us to more programs early on versus just saying “just use this, like this is your only option”. Andrea Bickley: Oh yeah I was just gonna say the same thing! I was introduced to Enscape during my co-op, so this is like a few years back. I hated doing renderings all of the first, second, third year, but it was like the moment I was introduced to Enscape my whole attitude towards [rendering] changed. So it’s just kind of one of those things where, you know you just branch out, and you get to find something that can get you really excited. I definitely think it’s problematic that some of the faculty [and our earlier curriculum] is kind of stifling that excitement for students in the younger years. -----
k
drawing campaign
325: To wrap it up our conversation. Would you guys want this “virtual format” of living and learning to be permanently integrated within your lifestyle? Mathieu de Pompa: No. 325: *laughs* I can see a lot of shaking heads. Andrea Bickley: I feel like I’m going to be the odd one out and say like yes. I think for me personally, I would love to have an almost 50/50 work week, where I can choose [to work in person] a few days. I believe [currently] there is a whole other barrier [that one has to overcome] in the architecture industry if you don’t want to work the typical nine to five in the Office. I’m hoping there’s some integration [hybrid situation], not 100% something. Mathieu de Pompa: Yeah I think it will be normal in the future to have that kind of hybrid experience. I do think there’s something to say for in person interactions, obviously. You can actually pull the
Where do we go from here?
sketch paper and then doodle in front of everybody, and everyone can draw physically... If you get to choose to work from home, then you can balance [other living elements] a little bit better, so I totally agree with that. Hajara Nida Hameed: This is just a prediction, but I honestly think it’s going to be a thing where people reject it [virtual workspaces] completely because they’re so sick of it, and then they’ll come back to it and realize like “Oh, you know, it’s not so bad”. We should definitely try to integrate [virtual workspaces] to the best of our abilities, and find a good melody between the two [in person and virtual].
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{ 43
{
} Sequence 2 { } { } { } { } { } Collaboration: { } Present } solutions { { } { } 46 > An Infinite Extension > Yiran Ma > ASC 301
48 > A Canoe Museum > Kristyan Calletor > ASC 401
50 > Canadian Canoe Museum > Hajara Hameed > ASC 401
52 > Playground - Parkdale Idea Exchange > Zengcong Lai > ASC 520
54 > Idea Exchange Library > Kelly Bang > ASC 520
56 > Parkdale Idea Exchange > Florencio IV Tameta > Patryk Banel > ASC 620
58 > Idea Exchange Toronto > Alvin Huang > Carolina Ramirez > ASC 620
62 > Net Zero Architecture Building > Julianne Guevara > ASC 720
64 > Church of the Transfiguration > Jeannette Wehbeh > Rutuja Atre > ASC 720
66 > Active Urban Dwelling > Bianca Verwaayen
> Thesis Milestone 4
establishing_connection... _launching macro design
An Infinite Extension Yiran Ma } Undergrad - Year 2 ASC 301 Design Studio II
a
immersion }
food culture }
fludity
b
46 }
To bring a new identity to the traditional image of a rural winery, the essence of An Infinite Extension is to immerse the participants with a higher unity to wine, nature, and people. Situated among the luxurious vineyards located in the Niagara-on-the-Lake area, Martin Road Estate Winery is a mid-size hospitality center that embodies the philosophy of wine
sequence 02_collaboration_establishing_connection_present solutions
production, traditional, organic and gravity-fed, as well as the interest in Slow Food methodology that promotes the spread of local food culture. While the traditional wineries tend to separate the hospitality and the production functions, this project instead focuses on the organism brought by twining all the activities together in a controlled, defined, and united way, defined by the manipulation of light and shadow, exaggerated space, and the sensitive selection of materials intending to create a certain atmosphere for difference spaces. Inspired by the lathy and extensive surrounding vineyards, the inertia of this elongated form is used to transcend the boundaries between nature and the built form, arouse the intimacy to the earth, and delight the participants with the liveliness of growth.
Stretching into the extensive landscape, on the ground floor the rooms flow into each other without a clear definition of their boundaries or their separation from the exterior. The vertical planes give the building greater energy and suggest an endless extension to nature, which creates a denser and more defined internal involvement.
c
e
d
a
ground floor plan
b
concept sketch
c
fermentation room
d
wine retailing
e
program integration
f
ground floor plan
f
_launching macro design
{ 47
A canoe museum Kristyan Calletor } Undergrad - Year 2 ASC 401 Design Studio III
a
tactile }
warmth }
personification
b
48 }
sequence 02_collaboration_establishing_connection_present solutions
Inspired by the craftsmanship and fabrication that goes into building a canoe, the approach of my design was derived from the process of creating. To many, a canoe is only acknowledged for its finished product, however, this is a glorified feature measured from my experience. Through the process of creating one, I have learned to appreciate the process of making. The museum is designed with the idea of the intimate relationship of canoe making. The structure proposed is primarily steel construction where each floor is held together with a grid of open web steel joists with supporting HSS perimeter beams. With respect to the material expression, the interior is cladded with wood grills to provide acoustical treatment and to emulate the tectonic application of a traditional canoe. The stairs
within the interior play an integral role in the design. Similar to the compartmentalization of the canoe, the stairs mimic the fragmented nature of wood strips, overall creating a sense of integration within the atrium space. The exterior elevation of the building consists of two systems: a curtain wall system with a louver system. The louver system negates direct light but also borrows inspiration from the process of canoe making. This is done where each segment consists of plywood modules, which stack together to create a “strip.” These strips are then attached to the main facade to load-bearing columns. The canoe museum aims to tell the story of canoe making through materiality, tectonic integration and circulation.
c
d
e
f
a
exterior view
b
stair diagrams
c
exploded axonemetirc
d
wall section
e
longitudinal section
f
interior view 1
g
interior view 2
g
_launching macro design
{ 49
CANADIAN CANOE MUSEUM Hajara Hameed } Undergrad - Year 2 ASC 401 Design Studio III
a
experience }
flow }
transparency
b
50 }
The given site is positioned along the intersection of Church Street and Lombard Street, where it is programmed to allow for the construction of a commercial Museum design. The feature of this Museum was to highlight canoes and kayaks. Whereas the intention of the Museum was to enhance the visitor’s knowledge in the craft of canoes. This is shown through aspects of
sequence 02_collaboration_establishing_connection_present solutions
the Museum, including the façade and the interior spaces. The façade of this building was created from the centerpiece of a typical canoe frame, which was then used as a structure to support a curtain wall made of wood panels and clear glazing. The clear glazing is used to expose public areas that do not need UV protection and the wood panels are used for exhibits in areas with artifacts. The contrast between the glazing gives the impression of the strips of the canoe. The glazed curtain wall is held together using a cable system with spider connection. The spider connection gives the idea of tension and compression in joints, while the ceiling assembly gives the impression of a canoe by highlighting the large and small ribbed components.
The main feature of the Museum is the central atrium, the canoes and framework are hung at various heights showcasing their level of completion. Looking up at the atrium showcases the canoes hung from frames on the first floor to completely built on the fourth floor. As one makes their journey up the atrium, the expression of flotation is perceived through the hung-up canoes and glass stairs. Upon arrival on the fourth floor there is also a feature water wall, and as one looks down the atrium, they see the restoration shop in which the canoes are fixed, rebuilt, or touched up. The overall experience of the Museum is to engage visitors to understand and enjoy the crafts of canoes and kayaks.
d
c
f
e
a
exterior perspective
b
exploded axonometric
c
fourth floor plan
d
sectional perspective
e
sectional perspective
f
atrium view
g
interior perspective
g
_launching macro design
{ 51
Playground Zengcong Lai } Undergrad - Year 3 ASC 520 Integration Studio I
a
curvilinear }
landscape }
sculptural
b
52 }
The proposal for Parkdale Idea Exchange is a design that experiments with the idea of libraries as a community hub. As we enter the digital age, the idea of the library being purely for book stacks and resources has become more obsolete than ever. As a result, flexible spaces need to be created in responses to the constantly changing needs of
sequence 02_collaboration_establishing_connection_present solutions
new library programs and growing communities. The formal design explores the fluidity and endless possibilities that emerge from the landscape. A curvilinear facade originating as the ground surface rises up to create an inviting and fun public realm that constantly attracts pedestrians’ attention into the building. As a unique piece of urban fabric, the curved surface would form a dynamic space in the sub-grade level, which becomes the “living room” of the building. It blurs the boundary between building structure and landscape, incorporating the outdoor space into a unified design. The Idea Exchange is intended to be more than a place for books and studying, but a community hub
for social interactions, communal programs and collaborations. The “living room” is a flexible space that accommodates a variety of diverse programming opportunities, such as pop-up shops, group yoga, and community events. The undulating building surface is continuous to ensure a smooth transition from the “playground” to the envelope system. As the surface rises, it splits into four independent sections, creating openings that welcome natural ambient light into the interior spaces. The geometry also allows for interesting light and shadow to take place during times of the day.
c
e
d
a
exterior view
b
conceptual massing diagram
c
interior render
d
sectional perspective
e
physical model
f
exploded axonometric
f
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{ 53
Idea exchange library Kelly Bang } Undergrad - Year 3 ASC 520 Integration Studio I
a
interconnection }
form }
pathways }
erratic b
}
boulders
54 }
sequence 02_collaboration_establishing_connection_present solutions
In this vibrant community of Queen West, the Idea Exchange library becomes a place where people cross paths, linger, and socialize. Guided by pathways running through the site, forms resembling erratic boulders emerge onto the site. The library becomes a location where people from different backgrounds and locations come together, like erratics that have been moved by forces from one location to another. Each mass holds the main programs such as stacks, auditorium, and hobby zones while the glazed atrium that molds all the masses together acts as a meeting spot for all the programs. With double and triple height spaces that let an abundance of sunlight shine in, users can grab a book from the stacks and choose any place to sit in the atrium. The atrium composes itself of stairs that act as seating as
well as bridges that create moments of crossing paths and socializing between users. The atrium becomes an opportunity for people to look into the building, while users look out onto the streets, creating a conversation between the library and the street realm. From the lower floors to the upper floors, the spaces become quieter and more secluded from the street realm, allowing users to find peace and quiet away from the urban environment. Like the rocks that link to a history that precedes human existence, the library will create a way for the community to write their history.
f
c
g
d
a
exterior view
b
paths and masses diagrams
c
interior atrium view
d
exterior night view
e
ground floor plan
f
model
g
program diagram
e
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{ 55
parkdale idea exchange Patryk Banel Florencio IV Gamboa Tameta } Undergrad - Year 3 ASC 620 Integration Studio II
a
parallel bars }
layers }
native tectonics
b
56 }
The library is situated at the intersection of two contrasting Toronto neighbourhoods in Parkdale and the Queen Street West strip in Little Portugal, while being adjacent to the historic Canadian National Railway. The design features a series of angled bars that deviate from the established rhythm of storefronts and buildings along Queen Street; orienting
sequence 02_collaboration_establishing_connection_present solutions
themselves to be parallel to the Canadian National Railway, recognizing the historic piece of infrastructure and optimizing exposure to natural light. Each bar holds a different form of program that follows a gradient of active to private spaces. The active bar holds the most public and open study spaces. The semi active bar acts as the main circulation space which culminates at an enclosed reading room with a view towards the railway and lake. Next is the semi private bar which accommodates programs such as the arts and media, rare book museums and quiet study spaces. Lastly the private bar offers booked private study rooms. Despite the varying character between each bar, the connecting element of the design is the notion of books with ‘walls of books’ extending from the ground
to top floor. The design seeks to coincide the contrasting tectonic language of the Queen Street urban fabric and railway infrastructure. The open study bar, adjacent to the railway, appears transparent visually and architecturally with glazing, exposed structure, ductwork, and a sunshade that filters southwest light into the study space. Steel structure continues to be emphasized in the next bar that contains the main stair and atrium, covered by a double roof structure that diffuses light into the space. The quiet study bar is defined by the rich texture of ipe wood siding along the walls and ceiling, creating a warm ambient study space.
f
g
c
h
d
a
day exterior
b
sketches
c
ground floor plan
d
transverse section
e
longitudinal section
f
night exterior
g
quiet study
h
kids zone
e
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{ 57
IDEA EXCHANGE TORONTO Alvin Huang Carolina Ramirez } Undergrad - Year 3 ASC 620 Integration Studio II
a
b
moments }
axis }
gateway }
planes c
}
angular
58 }
sequence 02_collaboration_establishing_connection_present solutions
The library stands as a gateway for the neighbouring communities to exchange ideas. Fluid circulation animates the ground floors as a community center, whereas above holds the main library stacks. The form accentuates unique moments found between the stacks of the library. The idea exchange evolved from the ‘library’ to become more than just a place that houses information; it has become a collaborative space where users can simultaneously learn and create. In a library today, their constant flow of information is shared not only from books, but also from digital mediums of our technological era. Moreover, the increase of information inspires an application for the knowledge, whether through creation, presentation, or
conversation. Thus, the renovation of the library typology is much needed to fit the ever growing minds of humanity. The architectural gesture of the massing mimics the moments seen between stacks, where minds are immersed in an idea exchange through reading. These fruitful moments are evident in the program of the library and are divided by vertical planes of the walls expressed in the form.
g
d
h
i
e
a
exterior view
b
conceptual parti
c
tectonic
d
fourth floor stairs view
e
lobby interior view
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section
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fifth floor plan
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fourth floor plan
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ground floor plan
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{ 59
k
60 }
j
atrium interior view
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details
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wall section
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physical model
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sectional mode
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program axonometric
sequence 02_collaboration_establishing_connection_present solutions
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{ 61
NET ZERO ARCHitecture building Julianne Guevara } Undergrad - Year 4 ARC 720 Architecture Studio
a
sustainability }
net-zero }
adaptive reuse }
wood b
}
envelope
62 }
sequence 02_collaboration_establishing_connection_present solutions
As several governments are declaring a climate emergency across the globe, it is critical for architects to be continuously cautious of the energy impact of buildings. Architecture should be able to balance the tools and strategies for sustainable buildings without compromising beautiful aesthetics. This project is a net zero carbon building renewal of the existing Ryerson University’s Department of Architectural Science building completed in 1981 by Ron Thom. Currently the architecture building’s double atrium interior heavily promotes interaction between students, however sometimes even the existence of the program is unknown to others on campus. The key objectives of this building renewal are to encourage the exterior to interior relationship of the building, and
to strengthen the sense of identity for the architecture program. The concrete structure of the existing building was maintained, a new high performance envelope replaced the previous precast panel facade, and a fifth floor was added to accommodate for programmatic needs. The materiality of the envelope focused on having a low embodied carbon, utilizing wood slats of varying sizes and structural insulated rammed earth, which allows for the building to become warm and inviting in comparison to the preceding cold and desolate concrete exterior. Other strategies explored include maintaining a window-to-wall ratio of 40%, implementing efficient, electrified mechanical systems, and introducing on-site renewable energy sources.
d
c
a
exterior view
b
conceptual parti
c
exterior render
d
floor plan axonometric
e
sectional perspective
e
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{ 63
church of the transfiguration Rutuja Atre Jeannette Wehbeh } Undergrad - Year 4 ARC 720 Architecture Studio
a
sacred space }
transfiguration }
ad quandratum
b
64 }
The Transfiguration is a story told in which Jesus is transfigured and becomes radiant in glory upon a mountain. In these accounts, Jesus and three of his apostles, Peter, James, and John, go to a mountain to pray. On the mountain, Jesus begins to shine with bright rays of light. The Transfiguration was a special event in which God allowed certain apostles to have a privileged
sequence 02_collaboration_establishing_connection_present solutions
spiritual experience that was meant to temporarily strengthen their faith for the challenges they would later endure. In the same way, God may give certain members of the faithful special experiences of his grace that strengthen their faith. The momentary glimpses of the joy of heaven are meant to sustain them as they face the challenges of life, to help strengthen them on the road that will bring them to heaven. The word “transfiguration” comes from the Latin roots trans-, across, and figura, form or shape. It thus signifies a change of form or appearance. This element dictates the design of the Church of Transfiguration and helps in creating an interior atmosphere that gives the user a temporary glimpse of heaven. The massing
is a heavy earth-bound form clad in stone encasing the lighter heaven-reaching form within it manifested through a Kalwall system application. The wooden truss structure reaches towards heaven and rotates in ad-quadratic proportions. The glazing casts shadows in rhythmic patterns. The ever-shifting nature of the space provides a unique experience every time someone visits, whether it’s bright or dark. This quality is what will compel users to visit again and again. The temporality of the atmosphere speaks to the transfiguration of Jesus, as witnessed by the apostles in order to give hope and strengthen the people’s faith in the religion.
c
f
d
a
exterior view
b
massing diagrams
c
ground floor plan
d
interior narthex view
e
longitudinal section
f
structure axonometric diagram
e
_launching macro design
{ 65
Active Urban Dwelling Bianca Verwaayen } Master - Year 2 Thesis Milestone 4
a
active }
body }
variation
b
66 }
Designed for efficiency and economy, apartment housing in Toronto has become repetitive, often leading our domestic environments to lack spatial variation. As our mental and physical wellbeing becomes impaired we slip into the ‘automatic’; the limitations on how space is used and navigated increases the risks of declines in our cognitive functioning,
sequence 02_collaboration_establishing_connection_present solutions
physical abilities, and life span. This thesis project proposes and tests a new conception of mid-rise urban dwelling that revolves around active lifestyles through physical and social engagement. Various scales are considered, and findings of the thesis highlight that urban living can in fact promote wellbeing. The design project examines 5 scales at which urban dwellings can engage the body through private and shared living environments. These 5 scales are: 1. Private Dwelling, 2. Dwelling Shared, 3. Neighbourhood, 4. Building Shared, 5. CourtyardCity Connection. At the 5 scales, the design informs how active lifestyles can emerge through carefully considered relationships that create bodily movement and spatial variation.
Dwelling blocks which form “neighbourhoods” allow smaller groups of people to connect and share while establishing meaningful relationships. By creating a semipublic outdoor gradient between the housing blocks, referred to as the neighbourhood ‘street’, opportunities for an active and social lifestyle flourish. The courtyard further extends active opportunities of the home and allows for public interactions, access to green space and biophilia, and places to play, relax and exercise. Through the use of site design and urban connections, portals establish gateways connecting city and home. Active Urban Dwelling seeks to improve the quality of urban life and provide variety to the often repetitive designs of Toronto’s apartment housing.
f
c
g
d
a
exterior view
b
unit configurations
c
portal esplanade view
d
courtyard view
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site section
f
level 1 plan
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level 2 plan
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{ 67
i
j
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68 }
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concept diagrams
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sample unit 1
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sample unit 2
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section
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shared core view
sequence 02_collaboration_establishing_connection_present solutions
k
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{ 69
In conversation with: Dr. Will Galloway Professor Yew-Thong Leong } Moderated by: Ilsa Khan Vanessa Paningbatan-Cerezo } Edited by: Maya Higeli Ilsa Khan Gladys Lee Vanessa Paningbatan-Cerezo }
On Covid: New Perspectives ii Educator Edition
\\On Virtual Schooling: The Educator’s Perspective -325: Do you find that online learning has affected
Currently in the second year studio we record every
the results you receive from students? Positive?
Zoom session and post it online. This is done
Negative?
so that those who have a slow connection have a recorded session as an option that they can still
Will Galloway: As a new faculty member, I have
reference later on when it’s not as busy at home.
this weird position that I’ve never truly met
To help with these situations, I believe showing
anybody at Ryerson. I came here, and within weeks
sensitivity is a crucial attitude to have in these
of arriving the school shut down! I don’t know what
trying times.
is considered normal, so I can’t compare results. When I first came here in January 2020, I was
-----
still teaching a studio course in Tokyo and I was
325: What are your thoughts on Hybrid Learning?
doing both programs through Zoom. I do think that
Would you like to integrate this way of teaching/
my Japanese students had a much harder time as
learning permanently? Why?
they really missed the in-person discussions, and they did not produce what they normally would. In
Will Galloway: I don’t want to teach lecture classes
comparison, I felt that the students of Ryerson
online. However, I don’t really see the need to do
seemed more open to the strange shift on how things
a three hour class either. Perhaps asynchronous
were being run, and there were really good results.
learning where we record lectures is the key. I
So, I haven’t noticed that things have been bad or
somehow think we would benefit from having these
negative as a result of going online. But yes, I
ideas of utilizing the virtual built into the way
think that in general the work seems high quality
we teach and it may not come from only the lecture
actually, I expected it to be a lot worse due to
setting.
the pandemic. Yew-Thong Leong: I feel there are two student groups
So, in that sense, some hybridization would be
negatively affected: The first is the international
a good way to head towards.
students. Most of the international students come by themselves and they make friends with like minded people from their home country. They basically rely on an external network of Canadians, a fabric
Yew-Thong Leong: The biggest advantage is having
of people to tie together the social friendship
both synchronous and asynchronous learning. With
circle. So when there’s a barrier like Zoom, where
the latter I do not mean this in the manner that
you have to consciously reach out, their social
online educators understand it, but something
circle becomes even more diminished. Not only do we
closer to informal or off-schedule [after class]
Canadians lose all of the opportunity to interact
learning. Some of the best learning happened
with international students about their cultures,
informally, and that informal learning underpins
they also lose this sense of connectivity, and
Studio Culture. So I use Miro as one of the tools
become even more isolated.
to replicate an e-Studio Culture. in
In addition to “blurring” time, another benefit of
intergenerational families. Imagine 10+ people
Hybrid Learning is the ability to blur distance. I
living there in perhaps a four bedroom apartment!
was able to not just invite guest critics at the
This can become a serious issue that affects the
end of the semester, but was also able to enhance
learning experience of these students. Doing school
the use of external guests at the very onset of
in an environment where everybody’s online at
the semester. Why invite a few guests when you
the same time, and zoom is extremely bandwidth
can invite many? I had a group of Global Mentors
dependent, it becomes impossible to be productive.
assigned to each and every student – architects from
This can also become a serious issue about access,
South Africa, London, Paris, Vancouver, Frankfurt,
as having high speed Internet is an expense, and
New York . They contributed asynchronously and I
not everyone is willing to, or can afford it.
taught synchronously.
The
second
group
are
students
living
_press to continue
{ 71
\\Diving Deeper: W/ Dr. Will Galloway -325: Do you think the course would have turned out differently if it were in person instead of online? Will Galloway: My point of view about technology has changed a lot by switching to online learning. The fact that technology is now making aspects of our lives such as learning and working possible over distance is an amazing thing! If we had to learn online without platforms such as Miro or a
a
Head-shot of
Zoom, I don’t know how we would have done it. We would have had to read books for three months and
Dr. Will Galloway
To dive deeper into each interviewee’s personal
send letters to each other – in which case things
philosophies, we sat down with each professor
would have been quite different.
https://www.ryerson.
individually to gauge their views on the pandemic,
ca/architecturalscience/people/ faculty/will-galloway/
and the predicted impact on that architectural
-----
pedagogy will take from now on.
325: Speaking from your experience as a new faculty member at Ryerson (and in Canada!) Was it
Dr. Will Galloway is one of the new faculty that
challenging to start a completely new course in a
joined the DAS community in 2020. Splitting his
new educational setting?
days teaching between Ryerson and Keio University in Tokyo, Will also runs his professional practice:
Will Galloway: Yes, it’s painful - it’s extremely
frontoffice
on
painful. Being a teacher is a little bit like being
sustainable and resilient planning, informed by his
a performer, I suppose. You need to be able to read
encounters of instantaneous change during his time
the audience and read the room in order to pick up
in Japan. This inspired a theoretical focus where
signals. It’s very easy to see 100 people sitting
design works in relation to scale, with a goal of
in a lecture hall and notice that this lecture
creating more efficient, lasting results through
is not working, or that students are confused,
architecture.
or they’ve already learnt this. You can feel it
tokyo.
His
research
focuses
almost, through osmosis. ----325: The Architecture Theory course was recently mandated into the 4th Year Architecture Stream; How
By teaching online, all these signals are
did you go about structuring the course, what was
gone.
your thinking behind it? Will Galloway: I thought the topic of the class was interesting. The fact that everything we use is material that we have created and we made up on our own, where we can assume that everything we use is there for a purpose.
In fact, there are no signals. If we’re really lucky, I’ll see a few faces during a zoom lecture, so reading signals online is challenging. I think there is a completely different set of tools that professors need to learn, almost as if we’re teaching as youtubers. You’re imagining an audience and you’re just hoping that they’re picking up
We are so accustomed to doing everything
on what you’re putting down. But on the other
without thinking, like in a fixed pattern,
hand, the fact that we have Miro for an online
resorting to default solutions, all the time.
studio is absolutely amazing. We are able to keep a trace of comments and write over an image, without completely defacing something that someone has
We might not be able to reach anywhere new, and so for me, the course was about making that point plain.
72 }
Editorial Code: On Covid
produced! It’s perfectly digital and it is really great! Perhaps for lecture courses I can figure out how to use [Miro] better for 50 students at a time.
325: Can you tell us more about your Tokyo
change because all of these other issues are
practice, FrontOffice Tokyo and what it is like
compounding with each other, making it extremely
working online from Toronto versus in Tokyo? Has
difficult to separate the multi-headed problems
it been any different now compared to the pre-
that need to be solved. There are problems that are
pandemic setting, and perhaps projecting into post-
happening right now, we’re just not reacting to them
pandemic?
right now, even though we should respond because these issues are affecting us. So, the work that
Will Galloway: There are some serious problems our
I’ve been doing lately is trying to figure out how
office is facing by working exclusively online.
to have architecture that works at a small scale,
We are unable to make models which are really
but responds to the big issues. There are already
essential to our work.
thousands of sustainable built examples that work great for now, but when you zoom out to a slightly
The way I’ve been thinking, at least for myself, is
larger scale, you can see that the positive impact
that the entire planet has been beta testing all
is minimal for neighborhoods around them; they’re
the ways that we can work online.
too small to have a significant impact. It’s as if we’re doing nothing. How do we make architecture and urban cadenza fit into the whole concept of
There’s this huge network of software that
panarchy is what I’m studying. It’s clear that we
suddenly became easy and cheap to access.
have all of these lingering old problems that began in the 1830s and 1850s that we refuse to answer and these issues are still here today. We have to
I think it’s clear that we don’t need everyone
respond, and the only way to do that is to include
to physically work in the office anymore. At the
this element of time and try to scale solutions so
very beginning of the pandemic when our office was
that we can actually get positive and impactful
working in Ireland, the project was initially very
results out of it.
challenging considering that the whole world was not accustomed to the digital “pandemic workflow”.
Now covid is here, we see all of these problems
In comparison to now, everyone knows how to use
in cities and we need multiple solutions that must
Zoom, including all of our clients and partners who
work at different scales. Going forward, this is
understand this new working standard. This has made
the kind of attitude that is going to be really
work a lot smoother and the only thing we have to
important.
figure out now is how to use the software and tools in a better way. How architecture plugs into that idea is going -----
to differ depending on how we view the bigger
325: What are your views on the scale of architecture
picture, proving the importance of Panarchy.
and the roles that Architects play in a post-covid society where Panarchy sits at the base of all design frameworks?
b
A Convenient work Will Galloway: It’s useful to think about what
space by
panarchy is. The reason I started teaching about
FrontOffice Tokyo
Panarchy is because it’s a theory that comes from resilience planning. When I was in Tokyo, I thought
read more: http://
architecture was going to continue the way it
frontofficetokyo.com/
had been until then, and then in 2011 the Tohoku earthquake and disaster happened. It became clear that as I was already studying sustainability, I needed to switch to resilience, because it became obvious that disaster planning was actually part of sustainability. However, we shouldn’t limit ourselves to natural disasters caused by climate
b
_press to continue
{ 73
\\Diving Deeper: W/ Professor Yew-Thong Leong -The COVID Studio was structured around the students and what is most dear to them. It is still a 4th Year Architecture Option Studio, and I always feel that 4th Year students should be given latitude in exploring their own ideas on architecture. Each student chose their own site, program and design process. The range of design issues were enormous – personal space, public space, spirituality, social spaces. Of course we now know how far reaching this c
c
Head-shot of Professor Yew-Thong Leong https://www.ryerson. ca/architecturalscience/people/ faculty/yew-thongleong/
pandemic has been – uprooting and upturning almost everything: We social distance, we get ticketed
To continue the conversation, we sat down with
for walking our dogs, and we are all suffering from
Professor Yew-Thong Leong to get his perspectives.
isolation fatigue due to the lack of socializing. Covid Studio addressed them all because many of
Associate Professor and RAIC Fellow Yew-Thong
the things we examined will have a highly relevant
Leong is a significant force behind many of the
impact in defining that future new normal.
international learning opportunities within DAS. As the recipient of the 2021 AVP International’s
-----
Global Learning Award [see annotation d], his
325: What are your takeaways from teaching the
passion for global learning, as well as his
Covid Summer Online Studio? Eg. Some Challenges
dedication to including diverse perspectives on
you’ve faced, why did you decide to do it, benefits,
the built environment, is apparent in both his
disadvantages? If the course were to be offered
educational and practical philosophies. Professor
again, what would you do differently?
Leong is adamant that learning opportunities should be accessible to people of diverse backgrounds,
Yew-Thong: Yes, I would like to offer Covid Studio
especially during times of change such as the
again. I don’t know what I will do differently, as
Covid-19 pandemic.
the pandemic, and by extension the post-pandemic world, is a changing landscape. We are still in
-----
the middle of this pandemic and I do not see a new
325: Why is Covid in your opinion a relevant topic
normal until at least 2022.
There are still many
in the realm of architectural design?
topics to learn and changes to make, but we are
Yew-Thong: When COVID-19 started over the holidays
Perhaps one new change I would like to see happen
d
between 2019 and 2020, it was startling how quickly
Read more about
it spread. COVID-19 became a global pandemic in a
the 2021 AVP
short span of 3 months. My sense then, and now, is
International’s Global
that there will not be a normal for us to return
Learning Award here:
to. My question that followed was; what does the
https://www.ryerson.
post-pandemic future hold for us?
getting a good handle on designing for COVID-19. would be a teaching and learning tool different from what we have now - a new software that combines or integrates FB Group, Zoom, Miro, email and D2L. Maybe I should invent this app, make billions, befriend Elon Musk, and retire from teaching?
ca/architecturalscience/storiesevents/2021/04/ associate-professors-
This is what architects do, we design the future - many years into the future.
receive-the-dean-sscholarly-researchand-creative-
As architects, our work lies in the anticipatory
activity-and-teaching-
future – in other words, we need to imagine what
award-and-the-avp-
the near far future holds for us. We need to train
international-s-
ourselves to design that world in the near future,
global-learning-award/
74 }
Editorial Code: On Covid
so I started the COVID Studio in May 2020.
e
325: The Covid-19 Pandemic has reignited some important issues surrounding racism and inequality, both within the architectural community and within society as a whole. In light of recent events with the increased involvement of #BLM and with the new addition at ryerson with the EDI Task Force, can you talk a little about your active approach and involvement on these grounds? Yew-Thong: So we really have to take those three f
words (BLM) and drill deep into them and not look at them as distinct from EDI. When we don’t make
325: Your office was already operating online before the pandemic hit; what led to that decision? Yew-Thong: We have two geo-locations, 12 time zones apart. When we started our Beijing location, I was flying out at the end of the week and was back in Toronto at the start of the next week to teach in-person. It was truly tiring. We later moved to Skype and other online software and started running our own cloud server so the need to travel diminished.
the effort to deeply understand things, it always creates friction. Most of us now learn about racism including BLM
e
through social media. Though Content online seldom
Work by Professor
digs into the deeper issue of EDI. As a result we
Yew-Thong Leong
don’t truly understand what EDI means, and that causes multitudes of unfortunate misunderstandings.
Digital composite of 200 King St. E project
While in the context of our education, and I am a big fan of global learning, our systems often look at international students as just “temporary
We found all these solutions could also be applied to Toronto, so we transitioned online over Christmas 2019 and by January 1st, 2020 we were virtual. By March 13th 2020, I already had 3 months of online training. However, I am still trying different softwares and techniques as the new normal becomes more normal.
visitors”. This attitude is dangerous, as the labeling of “temporary” can ultimately carry into viewing immigrants as mere visitors. This is a serious equity issue; they’re not getting the same fair chances, as you and I, with education and social opportunities. So for myself, while working with internationally trained architects and new Canadians, all my initiatives are personallydriven to find institutional anchors where I can
As professionals, there is always that need for
as
much
incremental
improvements
as
possible.
affect change. We have to find a real mechanism to deal with those kinds of seemingly simple issues. We have to look at human-equity, human-diversity, human-inclusivity, and at injustice very seriously. Not just for one race but for all of humanity.
I practice Kaizen - a Japanese business philosophy f
of continuous improvement. ----325: Can you compare your online office before
Our education and vocation force us to drill
Work by Professor
down into the actual problem, not the surface
Yew-Thong Leong
of the problem.
[current research]
and after the pandemic: did you notice any major differences? (Eg. Was it easier to operate now that everything/everyone has moved online?) Yew-Thong:
There
are
no
real
distinguishable
differences, as the whole profession and industry is now digitally based. Zoom is that last enabling tool. But should there be any hiccups, digital technologies will very quickly heal it.
digital twin EDI to me is about getting to the root of those
recreation of Frank
words and what they truly mean. It’s the idea of
Lloyd Wright Banff
being diversified, and accepting all different
Pavilion - interior
races. Of course, there are other topics like gender and women where these communities also experience
read more: https://
equality hardships. But maybe next week, next year,
workingwithwrightblog.
next cycle, we might come up with a better term.
wordpress.com/
_press to continue
{ 75
\\On the Post Pandemic World: New Perspectives -325: How can institutions better serve us in a post-pandemic world? Will Galloway:
It depends what that world looks
like, and to imagine what’s actually coming. If we imagine that we go back to what existed before the pandemic, then perhaps what we did and what we have been doing up until now would be fine. But I suspect that what we need to do as a profession is to be more open to others. If we’re training architects, we need to be much more critical, and even be fine with changing our skill set completely. Because what we are learning now in 20 years it’s not going to be what we’re using. We need a way to comprehend big ideas and the new information that comes in and synthesize it in useful ways, and that’s actually what DAS might be trying to do more. You’re adding that critical thinking and theoretical framework
g
to courses. As we start to deal with issues like
325 Church Street
systemic racism; the schools are already changing how it’s dealing with that and incorporating it.
interior where Ryerson and DAS may be able to lend a hand along the way. I suspect the next thing is going
Photograph by
to be a collection of Instagram, YouTube, Tik Tok
Rita Ruotao Wang
But it comes down to the same point that
and other content where everybody is
we need to have more; more access and more
going to be
curating their own database of really insightful
exposure to different things, so that as
content. There’s no reason for architects not to be
the world changes architects are capable of
a part of this new age of communication; even as a
adapting to it.
starting point. Yew-Thong Leong: In my opinion, institutions alone
And to be nimble, it would be interesting if
can do very little to initiate change, even in the
Ryerson became a part of that process of finding
case of a post-pandemic world.
the next steps, whether it’s new technologies, new ways of working or new ways of educating. We have to be very open to testing all these ideas, and
An institution relies on you and I - as
this can be difficult in schools. It’s great that
individuals - to make changes.
there are social platforms like Tik Tok to explain all kinds of really knowledgeable information such as financing and monetary policy.
This reflects society overall, but it is us that make up society. Institutions have process and bureaucracy and they do not necessarily serve a
If such information can be relayed to the
good end-purpose. Not because they are not willing
public, we should have no problem introducing
to, but because the barrier and the structure
architectural content into this context,
that currently exists does not always allow them to get the best outcome. Change must come from individuals, just because you have a process in place does not mean it will solve issues. In many instances we already have those institutions and the infrastructure in place for decades, and it results in nothing that is truly effective. -----
76 }
Editorial Code: On Covid
g
325: How do you see the world changing post-
Yew-Thong Leong: My single biggest takeaway sounds
pandemic? Are we creating a new normal? Is the goal
trite: We cannot use old tools in new situations.
to go back to the way it was?
This has never been more true and we all should reexamine how we teach and learn;
Will Galloway: Humans are not really wired for instantaneous change, and the fact that we’ve gone through such changes for over a year is significant.
and when you embrace the re-examination, they
Maybe it means that something has really shifted.
are no longer challenges but opportunities.
It’s been so long, it’s going to be hard to get back. Yes, another cliché; but very much part of that I remember the events after the Tohoku disaster and
paradigm shift. However, we still need a bit of the
the Fukushima nuclear meltdown in Japan, the changes
old and familiar as we transition. I started using
that took place where we had rolling blackouts. It
recognizable lexicons, cultural terms and day-to-
was amazing because you’d go to Shibuya which was
day references: like referring to my Miro Board as
usually a heated outdoor city, but when I went
my “House”, being late starting class as a “traffic
there at night, it was noticeably dim and cool. It
jam” and using a heart symbol to show that I liked
was a surprisingly nice environment. And shortly
a design or a drawing. As well as, showing that I
after that, all of the Convenience Stores in Japan
am actually alive by sharing a bit of my life and
changed their lamps to be compact fluorescent. The
routines. We also had a Zoom party to have some
big debate was about these coin operated machines
levity in the otherwise soulless cyberspace. These
that are a huge part of Japanese culture, but they
may be simple examples we will adopt for the new
consuming a lot of electricity. So the big question
normal.
was whether to shut them down because they are energy hogs. But instead they’re still there, a lot of them went solar and others found ways to be more energy efficient. Now if you go to Shibuya it’s as bright as it ever was. So there was this moment in time when there was a massive change and it looked like something really radical was happening, all because of one massive disruption. Perhaps the pandemic would serve as a disruption for us. We respond as we need to at the time, but then how long it takes to actually get over the lessons learned probably changes, because we as a society are always forgetting the lessons we learned. We probably will end up with some kind of mix inbetween. We’re going to build the same low quality condominiums in the center of Toronto that only work when the city is not shut down, and people will just go back to their whole lives living in those minimally viable places. Unless somebody works out a new way for improving how things are now, where we are able to recognize the benefit so we can be selfish when collectively choosing a better lifestyle.
At the end of the day, I suspect we’re going to resume all of our stupid habits.
How will the design field evolve from here? _press to continue
{ 77
} Sequence 3 { { } { } { } { } } RESPONDING { } TO... { { } disruption { } { } 80 > Decay of Materiality > Rui Batista Codeiro > Exchange Program
82 > Acclimate > Wonseob (Eric) Jung > ARC 720
86 > Votre
> Michael Evola > Luisa Gonzalez > Diana Hyun > ASC 755
88 > Moonlight
> Shengyu Cai > Rui Batista Cordeiro > ASC 755
90 > Cave House > Tatiana Estrina
> ACSA Housing Competition
92 > Isolate > Jimmy Hung > ARC 820
96 > Solo Atmospheres > Amanda Mota > Jean-Paul Guay > AR 8103
100 > Cycling Hub > Luisa Gonzalez > ARC 820
102 > Phy.lo.gen.e.sis
> Alvin Huang > Christopher Cleland > Raymin Sidhar > Kristyan Calletor > Steven Cheung > Maya Higeli > YAC Hyperloop Competition
104 > Head In The Cloud > Ted Bulaclac > Wonseob (Eric) Jung > ARC 820
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DECAY OF MATERIALITY Rui Batista Cordeiro } Undergrad - Year 4 Exchange Program - Bergen Arkitekthøgskole
a
continuity }
weathering }
decay b
80 }
When exploring the continuity of change - ultimately resulting in decay - it is imperative to look at the duality of open work and the freedom it imposes on the spectator by the creator. In architecture, this can be represented through the human body, and its positioning within architectural spaces. This manifestation presents itself through the user and the way they
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respond to the architecture in unexpected ways. The work begins to be characterized by the invasion which is presented from the creator to the author. In the conjunction of architecture and landscape - including design, history and fiction - nature is not just a protagonist, but a co-author as well. This is represented through analogue attempts at acknowledging authorship involving accidents, as well as intentions, of contemporary science: climate change, ecology and complexity theory consistent with the idea of nature as an author. This creates awareness of change linked to time and duration, creating moments in which every single stay reveals a new discovery and a different spatial experience. Following the exploration of the mentioned work, commonalities such as, the experience of space, and
continuity of change, ultimately leading to decay, become imperative factors. As a result, a connection between nature is established, allowing for the explorations of decay, and portrayal of sensorial experiences to occur. Therefore, it is through the understanding of these manifestations of work, in relation to the text of Umberto Eco, The Open Work, that the work becomes open to an unlimited range of possible readings, causing the acquirement of new vitality, perspective, or personal performance.
c
f
d
a
exterior view
b
axonometric
c
close up detail
d
close up detail - decay
e
section
f
device diagram
highest tide normal tide normal tide normal low lowest tide
e
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{ 81
ACCLIMATE Wonseob (Eric) Jung } Undergrad - Year 4 ARC 720 Architecture as Response & Design That Educates Awards 2020
a
responsive }
adapt }
attraction
b
82 }
Acclimate is a kinetic pavilion, designed to enhance urban public spaces in hot climate regions. Downtown Bahamas, for instance, has outdoor spaces that are often inhabited, as the problem of dealing with extreme tropical heat is intensified with climate change. The design proposes an intelligent canopy system that rapidly adapts to accommodate a variety
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of programs. The white modular shading devices are comprised of Shape Memory Alloy (SMA) linear actuators and pinion-rack system. Together, these components create different configurations of the canopy that react to the changing sun angles. The ability to control the shade casted on ground provides freedom to enjoy warmth on pleasant days. The interactive features of Acclimate aim to attract the locals and tourists to further use the parks, as well as fulfilling the needs of the users beyond the capabilities of static shading devices. Acclimate is located at the downtown of Freeport, Bahamas, where the occupants are a diverse group of tourists and locals. Despite the potentials of sufficient greenery and open spaces that are available
in the neighborhood, the community lacks the uses of them. Acclimate envisions to enhance this dilemma by implementing intelligent canopy system that is capable of responding to the frequently changing needs of the users. In further applications, the project can be viewed to be applied in other typologies of shading devices such as bus shelters to be dispersed around the city and enhance the daily activities of the community overall. The canopy system utilizes hydraulic compressor as its main supply of energy. The compressor can cover a network canopy system within the range of 1km- 3km and supplies the electrical currents that the SMA linear actuators and SMA wires require to operate.
Hydraulic Compressor
c
4 Passive Infrared Sensors (PIR) to Detect Directional Movement d
Detection Boundary
Motion Input from the User
e
a
exterior render
b
axonometric diagram
c
assembly diagram
d
assembly diagram
e
detail section
f
section
f
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{ 83
Intermediate prefab. Connections to expand
4 interconnected modules
Pinion on hexagonal rack column to allow vertical canopy movement
12 interconnected modules
g
84 }
g
movement diagram
h
module detail
i
elevation
j
assembly diagram
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h
i
HINGE NODE TO ACM PANEL
3-WAY HINGE NODE WELDED C-CHANNEL TO 100X100X1800MM RECTANGULAR HSS SEALANT ON BACKER ROD WHITE TRIANGULAR ACM PANELS
LINEAR ACTUATOR TO RACK SMA LINEAR ACTUATOR BOLTED SPLICE CONNECTION BIAS SPRING SMA WIRE BETWEEN BIAS SPRING TO ALLOW DIRECTIONAL MOVEMENT OF THE PANELS RUBBER ACCORDION SEAL
CONCEALED 4 PIR SENSORS CONCEALED BOLTED SPLICE CONNECTION GALVANIZED HOLLOW RACK
PINION TO RACK WHITE TRIANGULAR ACM PANELS BALL JOINT GALVANIZED PINION SYSTEM GALVANIZED HOLLOW RACK
150X150X5000mm RECTANGULAR HSS 3-WAY CENTRAL HINGE JOINT ON STEEL PLATE STEEL FLOOR BEAM GALVANIZED STEEL SCREW PILE FOUNDATION
NOTE: In permanent applications, the foundation is substituted with the splice plate connection that contains elastic bearing layer to prevent canopy structure movements to influence existing structures.
TELESCOPIC COLUMN TO TEMPORARY FLOOR STRUCTURE
PERMANENT APPLICATION
150X150X5000mm RECTANGULAR HSS 3-WAY CENTRAL HINGE JOINT ON STEEL PLATE ELASTIC BEARING ON STEEL PLATE PERMANENT STRUCTURE j
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{ 85
VOTRE Michael Evola Luisa Gonzalez Diana Hyun } Undergrad - Year 4 ASC 755 Digital Tools
a
digital fabrication }
grasshopper }
dress }
b
assembly }
fashion
86 }
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The initial step focused on creating a basic form of where the dress’s general emphasis and coverages were necessary. Then the discussion evolved into how our initial ideas can physically translate into materials and connections with the help of digital tools and fabrication. The 3D designing process shows our efforts in creating a dress that emphasizes on expressing digital fabrication through different layers revealing unique techniques and fabrication methods. To test the layering idea, test models were made with paper, real fabrics, connections and layers to visualize how the dress can come together, room for movement, places for rigid connections, etc.
This allowed us to experiment with different materials. Digital modeling and multiple digital fabrication methods such as laser cutting, CNC routing and vacuum forming. The dress consists of three layers; a plastic series of bumps, a lycra covering and a leather overlay. All layers were designed and fabricated through Rhino and Grasshopper. The plastic bumps were formed utilizing CNC routing and vacuuming forms. The lycra covering features openings for the bumps to protrude the fabric, made only possible through digital modelling. Likewise, the leather overlay inserts itself inbetween the lycra openings. The top two layers were fabricated utilizing laser cutters.
c
e
d
f
a
overview
b
exploded layers
c
assembly
d
dismantled dress
e
materials
f
close-up view
g
final axonometric
g
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{ 87
Moonlight Shengyu Cai Rui Batista Cordeiro } Undergrad - Year 4 ASC 755 Digital Tools
a
wearable }
fabrication }
fashion }
flexibility
b
88 }
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Moonlight scales a garment, which aims to take architectural praxis such as points, lines, and planes, into the translation of fashion. These are achieved through the development of connections and structures, which articulate leather strips into an exaggerated form. The departure of the project started from picking the critical joints (points) of a human body, referring to the diagram based on Le Corbusier’s modulor human body. These joints were locations where major connections were made, and further linked by leather strips (lines) to form the volume (planes) of the garment. Leather pieces of 2 thickness were used, a 2/3 oz and 4/5 oz. This allowed for the forming of the projected shapes to then be sewn into each other, remaining
permanent. The connection is made of MDF, which allows for the leather strip to slide through, while the other strips are attached by the parallel holes on the surfaces. The interpretation of architectural space and mechanism is conceived on the level of the human body, where garment is considered as the most intimate space for human bodies. The architectural connections give the garment great flexibility to define its own shape, depending on the body it’s attached to, counterpointing our conventional understanding of fashion.
c
d
e
d
f
a
lateral view
b
profile view
c
lower view
d
process/sketches
e
photo of assembly
f
fully body shot
g
half body shot
g
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{ 89
Cave House Tatiana Estrina } Undergrad - Year 3 ACSA Housing Competition
a
b
cave }
light shafts }
underground
c
“Some made [homes] of green boughs, others dug caves on mountain sides” - Vitruvius Frequently overshadowed by the primitive hut, the cave typology has been largely unexplored in architectural discourse due to its lack of architectonic qualities. Even though humans have been inhabiting cave-like structures
90 }
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for centuries, there is no architectural language for housing in such an environment. Located in the Australian Town of Coober Pedy -“The Opal Capital of the World” - the town, with 80% of the buildings in the town are either fully or partially underground, is internationally known for its peculiar vernacular housing tradition. With a steady 22 degrees C and natural ventilation, these subterranean dwellings called “dugouts” provide reprieve from the scorching desert climate and reduce already limited local raw materials needed for construction. Along with its booming mining and tourism industries, the town has recently attracted interest from the scientific community for its resemblance to the surface of Mars and the possibility of conducting
environmental tests. The Cave House acts as a dwelling for two NASA scientists, a botanist, an aeronautical engineer, and their children who are relocating to the outback for research work. The house is anchored on a circulation northsouth axis, with an intersecting pool on the perpendicular axis. Due to the demands of the research, an underground garden space is provided to experiment with the survivability of certain plant species underground. Inspired by the local vernacular tradition, the cave house defines the following four principles: spatial gradient, gravity, envelopment and optical eavesdropping. These principles are intended to act as a framework that redefines the 21st century approach to underground dwellings.
g
h
d
e
i
a
pool view
b
ground floor plan
c
basement plan
d
exploded axonometric
e
section
f
exterior view
g
entrance view
h
stair view
i
garden view
f
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{ 91
isolate Jimmy Hung } Undergrad - Year 4 ARC 820 Architecture Studio
a
b
biophilic }
transformable }
wood }
therapeutic c
92 }
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Isolate is a quarantine hut that allows for self isolation when travelling and can be used as a kitchen pavilion when otherwise unoccupied. As an essential design consideration, the hut addresses Covid-19 concerns surrounding maintaining one’s mental wellbeing while in isolation. The indooroutdoor relationship and exposure to nature can allow occupants to reduce feelings of stress or depression and create a calm space during isolation. Not only so, by utilizing this aspect, it allows the occupant to engage with their families during quarantine without compromising any social distancing measures and reducing overall loneliness. The flexibility of the design provides the occupant with the option of isolating or engaging depending on their evolving needs. By approaching this project as a
series of curtains, each layer of curtains provides another layer of privacy and provokes a different quality of biophilic design, connecting users to nature. The fold-able glass curtains bring in the sunlight during isolation. The layer of fabric curtain provides a private space indoor, while also capturing the essence of the wind. Lastly, during a rainy day, the building captures the rain with a rain cable, creating a curtain of rain, circumscribing the dining table as the family gather.
d
g
e
a
exterior view
b
parti
c
nature diagram
d
plan
e
cross section
f
longitudinal section
g
exploded axonometric
f
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{ 93
h
g
assembly diagram
h
isolation phases diagram
i
elevation
j
exterior view
g
i
94 }
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j
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{ 95
Solo Atmospheres Amanda Mota Jean-Paul Guay } Master - Year 1 AR 8103 Studio in Collaborative Practice
wet [bath house]
damp [sweat chambers]
a
solo-dwelling
mixed [fog space]
}
introversion }
dry [zen garden]
intimacy }
normadic warm [balmy room]
}
atmospheric
hot [arid cube]
96 }
b
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A home is a place where one is intimate with their surroundings, feeling connected, yet free within a self-curated and self-expressed space. Where the city acts as an extension of living, this proposal serves as an internal refuge within the chaos of its surroundings, containing spaces that encourage composure, individuality, and the freedom of interaction. Contrasting the standard housing model, these amenity spaces are designed for the users - the introverted - aiming to enhance the comfort and sense of ease within an inner living space. In line with a nomadic lifestyle - a trend that has been continuously intensifying - the temporality of living within this project offers itself to solo-dwellers travelling for work, studying in a new city, looking for
inspiration, or between indefinite points in life - in turn offering a personal space with variations of connection. Through the exploration of meditative minimalism and residential singularity, degrees of introversion within space allow for desired moments of both social connection and personal refuge in a place of home.
c
g
d
h
e
a
front building elevation
b
increments of climate levels
c
third floor plan
d
longitudinal section
e
degrees of introversion
f
courtyard interior view
g
axonometric - vegetation
h
axonometric - circulation
f
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{ 97
k
i
l
98 }
i
zen garden interior view
j
bath interior view
k
axonometric-flood plain
l
axonometric-concept
m
journey through
n
building facade
o
chamber interior view
p
compositional moods
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j
m
n
o
p
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{ 99
Cycling Hub Luisa Gonzalez } Undergrad - Year 4 ARC 820 Architecture Studio
a
transportation }
cyclist }
sustainability
b
100 }
It is the year 2070. Cars are a mode of transport of the past, cycling has become the new normal and the urban landscape has drastically changed to allow more environmental approaches to transportation. The ground that we know today is reserved for pedestrian and train traffic, leaving the majority of the land to be re-purposed by
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nature and agriculture. The sky between buildings has become the new typology of transportation, where cyclists travel through aerodynamic wind tunnels around the city and within the cycling transportation hubs. The tunnels provide ease of mobility and safety where there was none when the first pandemic hit in 2020. While some streets have bike lanes with dividers, most don’t major cities in North America are not built to accommodate cyclists at all. The major challenge this project addresses is the feasibility of cycling transportation without obstruction of larger transportation types. Through the exploration of easy, quick and safe routes for cyclists, architecture can adhere to efficient and sustainable
transportation in the city. There is an underlying urgency to find ways to supplement sustainability in the transportation sector of the environmental footprint. To cater to public demand, the implementation of a cycling transport hub provides cyclists the ability to safely travel around the city. The architecture of the cycling transportation hub would prioritize the mobility of the cyclist, creating new spaces where the person and the bike are seen and treated as one entity. The architecture would open up opportunities for the infrastructure of bicycle culture to flourish, creating a central space of activity.
c
Long Term Storage
d
Administration
Testing
Short Term Storage
Education f
Repair Services Daily Storage + rentals
a
exterior view
Shopping
b
cycling tunnel section
Streetcar stop
c
tunnel entrance
d
tunnel section render
Subway Line
e
building program
f
exploded program diagram
ed
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{ 101
phy.lo.gen.e.sis Alvin Huang Christopher Cleland Raymin Sidhar Kristyan Calletor Steven Cheung Maya Higeli }
Undergrad - Year 2+3 YAC Hyperloop 2020 Submission
program
a
division
progression }
evolution
fracturing
}
catalyst EVOLUTION: Create an evolutionary experience throughout the facility that tells a story of Hyperloops development. As people progress through the spaces they are subjected to a similar experience to that of being in the hyperloop itself.
intervention
integration
102 }
b
CATALYST: As of Hyperloop
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the development progresses, the
interaction between humanity and the technological advancements becomes more transparent. As this facility becomes a point of reference - A Catalyst - that allows humanity to transcend beyond its technological limitations. Paving way to the development of new technologies that will be beneficial to everyone. PROGRESSION: In a linear experience, visitors are subjected to the constant development of the hyperloop as a system. As they move through the spaces, this experience acts as a progressional environment for learning. The experimental development of mass travel has been exceeding the limits of current technology. As a species, we have been able to manifest greater capacities while
adapting to an ever-changing earth; Hyperloop may similarly be the next phase in technological development, set to surpass our current means of production. Hyperloop Desert Campus is the newest addition to leading edge research that will drastically change the way that international transit and travel is understood. The campus not only needed to accommodate a large state of the art research facility, but also reflect an ever-changing experience as one moves throughout the campus.
c
f
d
a
exterior view
b
conceptual diagrams
c
site axonemetric
d
ground floor plan
e
view of laneway
f
concept sketches
e
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{ 103
HEAD IN THE CLOUDS Ted Bulaclac Wonseob (Eric) Jung } Undergrad - Year 4 ARC 820
Competition Studio
Fentress Global Challenge Shortlisted
a
future airport }
urban growth }
regeneration }
self-sufficient }
new paradigm b
104 }
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‘Head in the Clouds’, the airport of 2100, explores future technological and transportational trends to bring humanities closer to nature while addressing the future economic, social, and urban growth of Incheon, South Korea. The project envisions a significant reduction in the need for physical passports and security procedures, efficiently circulating the travels. This insight multiplies the number of daily flights to create a new paradigm of generalized air traffic. Bringing aviation closer to the regular transit opens new possible ways for a city to expand as it can better integrate with the city. Moreover, its form allows the natural environment to grow and prosper thus minimizing or completely eradicating the negative impact on nature further encouraging regeneration of the
local flora and fauna. The airport is also well integrated with various sustainable features that allow it to be a self-sufficient microcity. Its design features a city grid that would allow for future city expansions to accommodate the increasing population and to provide space for functions and services needed within a city. As the source of catalyzation in the future developments of the cities, the new expandable airport typology suggests a global destination that generates the 2nd city of the future.
C a rg o A i r s i d e
I n t e rn a t i o n a l Airside Lo c a l A i r s i d e
I n t e rn a t i o n a l Airside
A mme n i t i e s Fa c i l i t y
C o m m e rc i a l Fa c i l i ty
Cultural Hub C o m m e rc i a l Fa c i l i t y
S p o r t s & R e c re a t i o n a l Fa c i l i t y R a i l Tr a n s i t S ta ti o n H o te l / Residence
Local Airside
I n t e rn a t i o n a l Airside
Pe r f o rm a n c e A r t s Fa c i l i t y
C o m m e rc i a l Fa c i l i t y
Ra i l Tr a n s i t Station C a rg o A i r s i d e
Hotel / Re s i d e n c e
A mme n i t i e s Fa c i l i t y
c
f
g
d
a
exterior view
b
parti diagrams
c
overall axonometric
d
tunnel diagram
e
sectional perspective
f
culture diagram
g
envelope sustainability
e
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{ 105
f
f
plane diagram
g
sustainability
g
perspective
106 }
h
interior render
i
exterior render
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h
i
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{ 107
Written by: Marwa Al-Saqqar [EDI Task Force Collaborator] Tapenga Peart } Edited by: Gladys Lee }
People are often open for diversity and inclusion yet refuse to reorient themselves towards
justice
and
liberation,
which
requires an actual restructuring of oppressive systems. Architecture is a social issue that paradoxically can serve as social solutions. As a field that holds the power to foster change in the built environment it’s essential to analyze prospective design implications. In amplifying marginalized communities and voices,
Ryerson’s
architecture
students
found it necessary to rebuild foundations in their department around Equity, Diversity and Inclusion (EDI). Over the course of 2020 the Department of Architectural
Science’s
(DAS)
students
took to finding support in one another and demanded
academia
that’s
more
reflective
of evolving demographics. Architects often aspire to build safe spaces for connection, and the following independent and collective EDI initiatives exemplify students using the profession
to
pioneer
actionable
change.
Whether it’s building solidarity within the student population, through mentorship with professionals, or by co-designing with local communities, DAS students have demonstrated how implementing EDI and design justice in academia impacts the built environment and one’s journey in the field.
A NEW PARADIGM: Equity+ Diversity+ Inclusion
Anti-Racism Call DAS Breaking Foundations
Following months of social upheaval surrounding systemically
marginalized
communities
across
Turtle Island (also known as North America), higher education was reckoned with addressing such issues a
within their own institutions, as architecture
anti racism call instagram
students rallied in creating calls of action. DAS Anti Racism Call (DAS ARC), an advocacy group of current and past students, published their open letter with calls to reevaluate the inclusion of
b
Black, Indigenous and People of Colour (BIPOC) as
There’s a lack of knowledge —or rather, a suppression
valued participants in the architecture community
of resources accessible— to inform students of
through pedagogy, representation, and recruitment.
their rights. Student-led initiatives that focus
visit: www.instagram.com/ ryersondas_arc/
on the need for inclusive and safe spaces, such Arash Ghafoori (B.ArchSci Alumnus ‘20) shared,
as DAS ARC, have been working collectively to host such spaces for students to speak their truth and acquire whatever resources they may need, be it
“A lot of my colleagues did want to speak up
educational, financial, social, professional, or
at times but were too scared. We weren’t able
mental. In this past academic year, DAS has created
to mobilize or didn’t feel safe addressing
an EDI Task Force consisting of students, faculty,
concerns because it felt like there would
staff, and alumni working to raise awareness and
be consequences. It was always a lingering
suggest actionable steps to address EDI barriers
feeling that kept us in place.”
within the department. Arash acts as the sole alumni on the task force, which for the first time
With such experiences in mind, what students at DAS
in a DAS committee, has a higher ratio of student
ARC aim to do is create a space for students to
representatives than faculty. With assistance from
mobilize, work collectively, and amplify those that
Nancy Simms, an independent EDI facilitator, the
are silenced, serving as a primary step in tackling
task force was able to open up the conversation to
the department’s systemic barriers.
the DAS population. b
”One thing that I was exposed to for the first time was being in a very safe space to discuss problems that we’ve noticed.”
anti racism call instagram visit: www.instagram.com/ ryersondas_arc/
Arash shared as an attendee, “Students [often] never feel safe in speaking their voice because their concerns are always downplayed.” In hopes of establishing a safe space, the consultations for students, faculty, and staff were separated to ensure that all perspectives, opinions, and suggestions were respected by fellow colleagues. Arash explained that “a space where you were valued and heard, and your issues were not dismissed was a really healing experience for many students coming out of the consultation.”
The event provided many with the chance to find support and recognize they aren’t isolated in their struggles.
a
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{ 109
A crucial conversation for many BIPOC designers is how to navigate the industry without being used as the “poster child” for diversity within performative workplaces. Simone shared,
c anti racism call website
“people in power may invite those fighting
visit: ryersondasarc.cargo.site/ open-letter
for systemic change to have a seat at c
the table within their institutions and firms, but in a lot of cases that doesn’t necessarily
mean
that
they
have
to
The root of issues present within the architectural
genuinely implement any of these people’s
curriculum and student demographic stem beyond
deepest concerns.”
the ownace of individual professors or faculty; they reflect a foundation of exclusive content, an elitist community and systemic discrimination.
Vic
In
across
candidate at the University of Waterloo), another
Canada, students came together in the Breaking
co-organizer and host of the event, explained that
Foundations roundtable to compare their respective
“Breaking Foundations was a cross institutional
institution’s strives for EDI, where it became
organizing of students that offered the opportunity
clear that their struggles for progress were
to resist the wider profession, the accreditation
shared. “I felt much less isolated.” Niara van
board, and the culture of faculty complicity in
Gaalen,
these systems.”
union
with
Breaking
9
other
universities
Foundations
co-organizer
and
Mantha-Blythe
(Master
of
Architecture
third-year undergraduate student at the University of Waterloo School of Architecture shared,
“There is no such thing as a post-secondary education that is free from [systems of oppression]. Sometimes you think that it’s just your institution, but it is the entire post-secondary system struggling with these problems.”
For the most part, students seek concrete change at their institutions in isolation from students with similar goals elsewhere. Fellow co-organizer, Simone
Delaney
(fourth
year
undergraduate
student at the University of Waterloo School of
Architecture)
added
that
“by
opening
the
conversation to be a public roundtable event, we hoped it would generate a larger dialogue based on concrete actions that are currently happening on the ground at institutions across the country.” Thus, creating a space for students to collectively maintain momentum in seeking equity within design institutions, and to eventually, have the capacity to
address
larger
scale
structural
concerns,
systems of accountability, and problematic cultures perpetuated within the design world at large.
110 }
Editorial Code: On EDI
so... what strides have been made?
Architecture Course Union Tackling And Dismantling The Boys Club
or much less a BIPOC woman. The intersectionality of womanhood in addition to race, sexuality, caste, religion and disability form a plethora of interlaced challenges. “Women in architecture are not iconified or normalized in the same way men are,” says Nohemi Lopez-Taylor, second year DAS student and member of the Ryerson’s Architecture Course Union’s (ACU) events committee. “I think...
...visibility is a huge player in getting people to be encouraged in an industry as well as dismantling whatever idea people have for what an architect is.”
If students were asked to list five architects without conferring, it is probable that they would list the same individuals and exclude any women representation. Apart from Zaha Hadid, most architecture students are unable to name accredited female architects, and those that can, were educated through their own research, not that of academia. As a student with Latin American heritage, Nohemi d
felt disheartened to learn that her education
d Women in architecture symposium poster visit: www.instagram.com/ryeacu/
would lack information that reflects her identity.
As historically marginalized people, finding safe
“There were things that interested me, subjects and
spaces often equates to being surrounded by those
architects that I related to more, that got lost in
sharing similar values or appearances. So when the
any form of education. If I wanted to learn about
targeted are lonesome advocates in fighting for
women in the history of architecture not a single
change, the notion that issues of EDI are irrelevant
name is really mentioned and same with people of
or negligible persists. While conversations around
colour.” While architectural institutions show
misogynistic practices exist within the realm
growing numbers of female students, this group is
of architecture, more often than not women are
inadequately reflected in any form of curriculum.
the sole initiators and participants. Following
Without teaching the significance and pivotal role
Breaking Foundations, Niara described that,
that women play in designing the built world, the loud message that they aren’t valued members in the
“It seems like BIPOC men can shelter in the
their
male-ness
architectural
to
fit
in
with
establishment,
and
“boys club” is reaffirmed. Kira Phillips, second year student and vice president of ACU’s events committee, voiced that she has
white women can use their whiteness to assimilate
themselves.
[BIPOC
women,
“realized
the
issues
with
EDI
that
femmes and gender-nonconforming folks]
architecture and this program faces are
bear
repercussions
issues of discrimination by admission
for speaking out, and have the hardest
with things inherent within the culture of
time in school, in the workplace, and in
architecture, the profession, and within
professional associations.”
the educational structure. It makes it
the
brunt
of
the
harder to change because it’s not just From the nature of architecture education, one might think ‘architect’ is synonymous to the type of person who is a white cis male, never female,
one person saying discriminatory things, it’s a structure and people complacent in reinforcing it.”
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{ 111
Of the three main clubs offered under DAS, women
this system. Zohra Akbari (M.ArchSci Alumnus ‘17),
made up 86% of the leadership positions in the
member of WZMH Architects, explained that,
2020/21 school year. It is not a reluctance that prevents women from leadership, but rather the cumbersome hurdles that are faced when proving their
worth
beside
their
male
counterparts.
Sadberk Agma, third year student and ACU president (2020/21), initially noticed the imbalance of females and nonexistence of WOC architects doing firm calls for Ryerson’s American Institute of Architecture Students (AIAS). As a result,
“It was good to learn from the perspective of various other female leaders in the industry and their diverse backgrounds. I have noticed recent promotions of women in leadership positions and it became obvious how little there were before.”
ACU
and their all-female group of student executives this year found it necessary to organize an event
As one of eight female associates in a firm with
that focuses on the exceptional women in the field
over 150 employees, Zohra felt compelled to see
and their professional achievements. Zohra Akbari,
that a more inclusive social shift had progressed
Danielle Sernoskie, Valerie Gow, Nova Tayona and
since her time as an architecture student.
Camille Mitchell were the five diverse panelists that spoke on their experiences and journeys in the
As the most widely and well received event ACU
Women in Architecture Symposium on November 18,
has hosted in the past school year with over 100
2020. Sadberk stated that “this was so important to
remote participants, it’s evident that safe spaces
us because we never see ourselves represented in
that amplify diverse perspectives are sparse yet
these accomplished roles. It was also important to
essential. Nohemi revealed that, “the knowledge
reflect our student body as much as possible and
that they gave was wonderful, but even just the
include women of colour.”
event as a source of visibility for our students felt even better.”
The
panel
gave
insightful
information
about
structures upheld in the profession that minimize the visibility of women and POC. It’s indisputable that this is a man’s world, quite literally built largely by men for men; down to the average measurements used to design satisfies the average male’s proportions rather than a female’s. A panel on women’s adversity created a safe space for students questioning their worth and place within
e participants at the women in architecture symposium
e
112 }
Editorial Code: On EDI
Creating An Impact Through Community Building & Co-Design Freedom By Design Elitism runs in the design industry. It’s almost natural to criticize and place opinions on one another when competitive environments are the foundation to one’s academic experience. This in turn creates exclusivity, and gate-keeps who can enter and succeed in the field. Amongst many Ryerson DAS students, Caitlin Chin (B.ArchSci ‘21) and Kathleen Crisol (B.ArchSci ‘22) have experienced such obstacles early on within their academic journeys and knew that this was not the path they wanted to be on. In her first two years at DAS, Caitlin was introduced to Freedom By Design (FBD), a program affiliated with AIAS that focuses on service and community engagement through architecture and design, and saw it as an opportunity that is much needed for the DAS community. As a founding member and director for Ryerson’s FBD chapter in her third year (2018/19), Caitlin aimed to create an inclusive space where all DAS students can utilize their acquired skills through community design. Without participation fees, academic competition, or handpicking, FBD operates
without
gate-keeping
their
available
opportunities. Caitlin explained that “what I was fighting for was a space for everyone. That your grades don’t matter. It’s just the desire to design
f
and serve.” Similarly, Kathleen, founding member of FBD Ryerson and current Co-Director (2020/21),
f
described that this initiative is decoupled from
students working on the church street revitalization project
the design curriculum, In its first realized project, FBD Ryerson had the “it centers itself around values and
opportunity to work on beautifying the pavement of
passions that I hold close to my heart.
the Church Street Junior Public School’s (CSPS)
It’s [philanthropy through architecture
playground during the summer of 2019. Through an
and design] something that hasn’t been
open-call submission, the FBD Ryerson team invited
addressed
the DAS student body to design ways to bring life
as
much
in
terms
of
our
curriculum.”
back to the playground through whimsical and fun imagery to spark creativity and imagination. “I was excited to take on this opportunity” shared
FBD at Ryerson was built on creating these ‘open-
Montri Jones, CSPS Early Childhood Teacher and FBD
for-all’ spaces to allow students the chance to
Ryerson’s community lead for the CSPS Revitalization
develop academically and professionally in their
Project. Montri believed that such initiatives
architectural journey. Aside from it’s goals within
and partnerships can provide a safe and nurturing
DAS, Kathleen explained that FBD “lets you pursue
learning environment for everyone around that child
your own interests, apply them to the real world,
and student, where “seeing the positivity within
and most importantly, make a difference in your
the neighbourhood and the school that the child is
local community.”
in, can provide a sense of pride and joy.”
_press to continue
{ 113
g c
2018-2019 FBD student leaders and design team engage in discussions
g
After months of development and co-design, both DAS
As for Caitlin, Kathleen, and the rest of the
and the Church and Wellesley community volunteered
FBD Ryerson team, the outcomes extended beyond
their time to execute the design. By the beginning
professional and academic development, but has also
of the next school year, students at CSPS were
impacted them personally.
engaging in a vibrant playground. The new educationfocused environment encourages learning through curiosity and play. Montri shared that “[students
“It kind of brought back my interest in
and faculty] were so excited and happy.” Montri
architecture. ”
continued that “from the students, their reaction was very genuine. They saw something that was not only nice and new, but also interactive. You can
Kathleen revealed. Starting a journey in design,
tell that they were just full of curiosity and that
it would be difficult to deny that many of the
they just wanted to ask so many questions.” It became
stories shared from professors and professionals
even more encouraging when neighbourhood community
were regarding their negative experiences in the
members passing by would react positively to the
industry.
project, some even jokingly ask if they could play there with their families over the weekend, or even ask if they could add more to the paintings.“That
[FBD] allowed me to see all the good
was an amazing feeling to experience because, as I
things
hoped for in the beginning, this is what we wanted,
potentials that can be had from working
about
this
career,
all
the
[a stronger partnership with the community]. And
in this field, and the ability to use your
what a great start by doing something as simple as
talents for something that can actually
laying out those designs on the pavement.” Montri
not just benefit you, but someone else.”
beamed. In addition to beautifying the pavement, FBD
FBD and the initiatives that can be done leaves a
Ryerson also took the initiative to engage with
plethora of positive differences for the individual
the children over at CSPS by hosting workshops
and the collective —be it personal, professional,
that introduce design and fabrication skills, and
academic, socio-economic, cultural … the list goes
involving them in the production of the project
on.
itself. “That was an experience!” Caitlin shared. “What I did find was special about FBD “Seeing their enjoyment of drawing and
was its ability to ignite the passion and
getting them to understand something that
desire for change within my peers. That
will hopefully lead them to the design
was what I enjoyed out of it and felt was
profession
most rewarding from it all,”
—that
was
heavy
community
involvement.” Caitlin shared. “What makes it successful is that
114 }
Editorial Code: On EDI
The immediate feedback received through this youth
it’s not just one person. FBD is all about getting
engagement initiative was indispensable compared to
the whole community involved —and seeing people
the prospective feedback received through theory-
at Ryerson who wanted that, made it worth pushing
based education.
for.”
designing to make a difference It’s not an easy feat to take on initiatives independent from, and in addition to, one’s academic responsibilities. That being said, students at DAS have been reinforcing and empowering communities that
have
been
systematically
excluded
from
these conversations. Working internally within DAS, inviting external perspectives to DAS, and supporting the local community outside of DAS, the experiences mentioned only scratch the surface of the actions implemented by generations of DAS students. We are ecstatic to see students being passionate about expanding and challenging the harmful systems rooted within the design education and industry at large. Despite the plethora of actions implemented, it is of utmost importance to recognize how necessary collaboration and emotional support is to sustain these efforts. Like many of the organizers here and elsewhere, initiatives built on community engagement and empowerment create opportunities beyond the initial goal of exposing
diverse
perspectives
—Ultimately,
it
cultivates a sense of connection and solidarity between one another. -----
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{ 115
{ } } } SPECULATIVE { } } future{ { } WHAT IS NEXT? { } 118 > Pier Atlantis
Sequence 4 { {
> Lena Ma
> Non Architecture Competition
122 > Market 2.0 > Rita Ruotao Wang > ASCA Competition
126 > Pod Immersion > Caitlin Chin > Lena Ma
> Central Park Book Studio Switch Competition
128 > Conquest
> Hyo Yeon Lee > Nicole Li > Kolbie Fung > ARC 820
132 > 101-111 Gerrard Street East
> David Luong > Atika Tasnim Adity > Benett Blazevski > Marta Karlova > Solar Decathlon
136 > On Boundaries + Apertures > Maya Orzechowska
> Thesis Milestone 4
140 > Home of Imaginary Bodies > Kate Korotayeva
> Thesis Milestone 4
loading future sequence... _press to continue
POD IMMERSION Caitlin Chin Lena Ma } Undergrad - Year 3 Central Park Book Studio (Switch Competition)
a
immersive }
projections }
pavilion }
pod }
reading b
118 }
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There are multiple compelling reasons to read: to obtain knowledge, to expand one’s thoughts, to be challenged or to be entertained. Some stories have even shaped generations. Such powerful works of literature immerse readers to feel, to think, to reflect upon oneself. Words you read are 2-dimensional, but certain arrangements of words can immerse you into that time and place, the feeling of a book. In the midst of today’s culture, books are becoming less popular. With distractions all around, the patience and focus needed to connect with stories are disappearing. To preserve the legacy of fiction in the future and how we approach this treasured pastime needs to adapt. The [POD] creates a new immersive environment that uses modern
technology of virtual reality to enhance the reader’s engagement with their novels. Each [POD] is spherical to imitate the idea of a small world and is home to small projectors that illustrate the setting of the reader’s book. The projections on the curved surface allows for a 360° immersive experience along with an operable oculus to control natural light The main [POD] is where the books are stored along with a public cafe. Visitors choose their stories here before going into their separate [POD]s. Like the small [POD]s, the building’s source of natural light comes from an operable oculus above. This removes distractions windows may bring while maintaining a comfortable reading environment for all.
CE NT RA L
PA RK
W
ES T
CE NT RA L
PA RK
W
ES T
CENTRAL PARK BOOK STUDIO UNITS: METER 1:100 000
SHEEP MEADOW
65
TH
ST
TR
AN
SV
ER
5TH
AV EN UE
SE
65T
H ST
TRA
NSVER
SE
e
5TH
AV EN UE
c
f
d
a
view looking up
b
parti sketch
c
view of shelves
d
view of pods
e
site plan
f
new paths
g
site section
g
_what is next?
{ 119
MARKET 2.0 Rita Ruotao Wang } Undergrad - Year 3 ACSA Competition
site
st. lawrence hall
st. lawrence market
a
process } 1898
1954
food production
??? 2019
} version 2.0
anatomy
b
}
experience Market 2.0 aims to highlight the rich history in the neighbourhood, and create an innovative addition to the local artisanal food tasting and shopping experience. Replicating the general form of the existing adjacent market, Market
120 }
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2.0 is an upgrade, version 2.0 of the world-renowned St. Lawrence Market complex. It is an open, transparent, and flexible space made of an intricately constructed steel structure that celebrates the process of food production, which might have been overlooked or hidden in a generic market place. Market 2.0 is more than just a food hub with local vendors and retail space. It is an architectural response that aims to re-connect and re-acquaint the local community with the stages involved in the production of food from growing to consuming. The rise of industrialization has resulted in over-consumption and overdependenvce for food production, creating a disconnection between production and consumption.
Food production is important to all cultures and it is strongly connected to one’s cultural identity. Every culture has developed very unique strategies for optimizing different aspects of production that were handed down through generations. Situated in the heart of Toronto - one of the most multicultural cities in modern history, Market 2.0 aims to educate the local communities about the food cycle from cultivation to plate by portraying the anatomy of food production through spatial relationship and program organization. Together, the facility offers a participatory experience driven by various human activities such as working, cooking, studying, and eating.
market
storage
cooking
processing
consumption
c
food production cycle
harvest recycling
cultivation
anatomy of food production
existing st. lawrence market opaque volume: minimal transparency
MARKET 2.0 transparent shell: experience from both interior and exterior
e
d
a
exterior view
b
context diagram
c
interior view
d
interior view
e
food production diagram
f
roof plan
f
_what is next?
{ 121
a. b. c. d.
e.
f.
g.
h.
b
k. l.
m.
n.
c
a. joint node
h. insulated glass
b. sleeve
k. connection plate
c. bolt
l. pin connection
d. steel tube
m. sling support
e. space frame
n. steel grate
f. cross bracing g. aluminum mullion
122 }
a
exploded axonometric
b
space frame detail
c
suspended stairs
d
bracing detail
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a
STORAGE + PROCESSING
A centralized component that consist of: o - bservation platform/ cable car station. s - torage units that stores food delivered from the growing pods p - rocessing units that prepare the food. s - piral walkway wrapping around the processing units, allows visitors to observe the process.
CULTIVATION + HARVEST +RECYCLING self-sustained cultivation pods that provide fresh fruits and vegetables.
solar panel
water resvoir food recycler
MARKET
RETAIL + CONSUMPTION COOKING h T e market consists of flexible structures for various vendors, acts as a gathering public space.
POST-COVID PICK-UP STATION
u D e to the effect of , 9 1 - D I Vthe OC flexible structure allows each module to transform into pick-up locations, minimize chances of contact, which could become the new normal in the future.
h T e cooking pods consist of: c - ommercial kitchens that prepares food that can be sold in the market t - eaching kitchens that offers culinary classes. a - patio accessed by an exterior staircase.
d
_what is next?
{ 123
101-111 Gerrard Street East David Luong Atika Tasnim Adity Benett Blazevski Marta Karlova Ana Padron
} Master - Year 1 Solar Decathlon 2019-2020 (Second Place)
a
occupant health }
low-carbon footprint }
low-energy
b
124 }
101-111 Gerrard Street East is a four-storey sustainable office building located in Toronto, Ontario. This office building focuses on four design goals: simplified construction - through the use of prefabricated elements, low carbon footprint, a result of our mass timber structure, low energy operation - through
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efficient plug loads and control strategies, and health and wellbeing - which is achieved through biophilic elements, promotion of physical activity and circadian lighting. By implementing a central atrium and supplemental usage of circadian LED fixtures, the office’s lighting strategy synchronizes with the body’s natural circadian rhythms, providing overall health benefits. These benefits include increased focus, alertness and better sleep quality, promoting better productivity and overall well-being for office occupants. The lighting fixtures are also controlled by automated sensors to reduce plug loads. The HVAC system uses underfloor air distribution, allowing the mass timber structure to be left exposed, and in conjunction with planters in the office areas, contribute to a
complete biophilic environment. By using insulated metal panels for our building envelope, energy efficient systems, and a dedicated outdoor air system with a ground source heat pump, our office building is able to achieve an EUI of 71 kWh/m2/year [22.5 kBtu/ ft2∙yr], a 70% reduction compared to our base office building model. Additionally, with photovoltaics, it is able to offset 19 kWh/m2/year [6 kBtu/ft2∙yr]. This proves that a healthy building does not come at the detriment of energy usage, both can exist in harmony. This project works to demonstrate that sustainably built and affordable office buildings in dense urban areas are not only possible, but they’re the future.
c
e
d
a
exterior view
b
sketches
c
atrium
d
office
e
wall section
f
ground floor plan
g
typical upper floor plan A602
A602
-
4
-
5
3
8200
2
8200
8200
1
5
4
8200
8200
3
2
8200
1
8200
8200
2660 [8.73']
8740 [28.67']
KITCHEN
MEETING ROOM
W/R
13620 [44.69']
STORAGE
RETAIL
3000 [9.84'] 5740 [18.83']
MEETING ROOM
MAIL ROOM
6640 [21.78']
STAGING AREA
3255 [10.68']
W/R [M]
W/R [F]
COPY / PRINT ROOM
8815 [28.92']
B
KITCHENETTE
8700
12340 [40.49']
Garbage Truck - Front Loader TYPE 'G' 4m X 13m X 6.1m
W/R
BREAK ROOM
4650 [15.26']
EXIT
EXIT
8700
G1
3 cu/y
3 cu/y
G1
G1
3 cu/y
G1
3 cu/y
3 cu/y
LOADING ROOM
GARBAGE ROOM
12500 [41.01']
3855 [12.65']
RETAIL G1
15560 [51.05']
B
8700
8700
SERVICE CORRIDOR
36000 [118.11']
W/R
BIKE / MAIL ACCESS
8735 [28.66']
3980 [13.06']
C
3885 [12.75']
21450 [70.37'] C
OPEN TO BELOW
1900 [6.23']
OFFICE LOBBY
RECEPTION
8700
OPEN TO ABOVE
D
7500 [24.61']
13500 [44.29']
7950 [26.08']
8700
2640 [8.66']
CAFE
3000 [9.84']
D
8700
6270 [20.57']
8700
W/R
9265 [30.40']
E
5275 [17.31']
3000 [9.84']
34000 [111.55'] E
A
A
5490 [18.01']
7800 [25.59']
A602 -
A602 -
f
RETAIL
OFFICE
SERVICE
g
_what is next?
{ 125
h
WHITE DRYWALL FINISH WOOD FURNITURE PLANTS
h
lighting plans
i
rendered floor plan
j
HVAC diagram
k
water harvesting
CLT STAIRS
diagram l
details
m
section perspective
i CLT COLUMNS
126 }
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LINOLEUM FLOORING CONCRETE CORE
j
k
l
m
_what is next?
{ 127
Pier Atlantis Lena Ma }
Undergrad - Year 3 Healing & Social Distancing Competitions by Non Architecture (Honourable Mention)
a
pandemic }
city system }
future
b
128 }
As the pandemic affects our daily lives, those who are immunocompromised are at the highest risk. To mediate safety without jeopardizing access to resources, Pier Atlantis provides a city system that offers amenities to residents where those who are most susceptible to the virus can safely reside. Each block consists of housing pods, three conveyor
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belt structures and a central park floating on water. The boat-like housing pods consist of living amenities and are organized on the conveyor belt, developing a vertical neighbourhood. Each pod can also detach and travel in the water individually, reducing the risk of public transportation. These housing blocks are anchored by a central green park that creates opportunity for interaction and activity among the community. The centre of the block has a bauble that moves with the waters, connecting to a generator which sends energy to the conveyor belt structures, replenishing pods with electricity when attached. To service the lives at Pier Atlantis, each detachable living pod is designed to fit with two main building types: Export
Piers and Recreational Piers. Export Piers are represented by commercial or restaurant companies who are responsible for delivering packages of goods. Their building cores administrate the process, while their external tubes attach housing pods where residents can receive their parcels safely in their homes. To introduce a sense of community to Pier Atlantis, the Recreational Piers are used to host movies, bingo nights and more for residents. The partly opaque dome allows for projections to be shown on the interior and its exterior skin is made of solar panel to provide energy passively. As quarantining becomes more normal in society, Pier Atlantis provides an optimistic outlook to our city infrastructure in the future.
c
f
d
e
g
a
exterior perspective
b
exploded axonometric
c
problem - solution
d
export pier diagram
e
recreational pier diagram
f
exterior perspective
g
sectional perspective
h
exterior perspective
h
_what is next?
{ 129
i
housing section
j
sectional render
k
functions of the pier
l
full atlantis diagram
i
j
k
130 }
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l
_what is next?
{ 131
Conquest Hyo Yeon (Tiana) Lee Nicole Li Kolbie Fung } Undergrad - Year 4 ARC 820 Competition Studio Leap Space Habitat Design (First Place)
a
space habitat }
haven }
asteroid mining
b
132 }
Conquest is a self-sustaining, resource-rich safe haven designed for 2000 users in outer space to be launched in 2032. With one of its main purposes as space mining, the habitat’s design is derived from the concept of a factory production line, emphasizing the distinct process of extracting minerals from asteroids. Asteroids are captured and pushed through the central core
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system to be sequentially broken down and processed into mineral goods. Conquest is designed with a modular construction, where it would be launched into space in separate phases. Necessary construction elements will be created using material gathered from mined resources and 3D printing. The main source of power will come from photovoltaic panels and human waste, with aquaponic and aeroponic farms for continuous food sources. These self-sustaining strategies provide endless possibilities for the expansion strategy into creating a permanent space habitat in the future. The supporting programs for space mining and living facilities remain undisturbed from the asteroid wrapping around the central core. They are split into two dominant
wings: work and life, to keep users healthy and productive in their outer space mission. The entire space habitat takes on a form of curves and spirals to accommodate and induce centrifugal force for users and equipment to stay grounded. Although the core purpose of the habitat is industrial, Conquest achieves a space with high-quality living conditions by providing a delightful work-life balance setting for all users in their home away from Earth.
d
e
0 1 2 3 4 5 6 7 8 9 10
ELEVATORS MINING SPACECRAFT HANGAR HQ + COMMUNICATIONS RAW MATERIAL STORAGE ELECTRICITY GENERATORS MECHANICAL COOLING PROCESSED MATERIAL STORAGE RESEARCH LABRATORY ASTEROID TAILINGS MANAGEMENT VACCUUM VAPOUR + DROPLET DEPOSITION 3D PRINTING PRODUCTION
12 13 14 15 16 17 18 19 20 21 22 23 24
CENTRAL PARK COMMUNAL KITCHEN AEROPONICS + AQUAPONICS FARM RESIDENCES WASTE CONTROL MECHANICAL POOL FITNESS CENTER SIMULATION ENTERTAINMENT MEDICAL CLINIC COMMUNICATION CENTER CAFETERIA VIEWING LOUNGE
c
WORK
M I NI NG
a
space/landscape view
b
mining diagram
c
program axonometric plan
d
mining view
e
space view
f
life wing view
L IF E
f
_what is next?
{ 133
1 ASTEROID MINING
2 WORK + LIFE + MINING
3 CENTRIFUGAL FORCE
4
h
S PA C E M I N I N G FA C TO R Y
134 }
g
asteroid aerial view
h
diagrams
i
diagrams
j
section perspective
g
FA R M I N G
A S T E RO I D A N D H U M A N WA S T E MA N AG E M E N T
3D PRINTING
The food source for the users is sustainably managed through aquaponic and aeroponic farms. Users are to maintain the farms and use the grown crops to consume, creating a selfsustaining system.
Leftover asteroid waste after extraction can serve as materials for 3D production. Their silicate properties are adequate for radiation protection members. Human waste can be used to create biomass, a crucial source of fuel in the spacecraft, as well as fertilizer for the farm. Nothing goes to waste in the habitat.
Most of the production and manufacturing will be done with robotic 3D printing methods, including parts for the spacecraft’s extension and repair.
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i
j
_what is next?
{ 135
On Boundaries + Apertures Maya Orzechowska } Master - Year 2 Thesis Milestone 4
a
home }
utopic }
internal intimacy
b
136 }
The boundaries and apertures of home play an active role in the politics of body and social body health. As the idea of home and housing fail increasing numbers of people, this thesis seeks alternatives to the home’s narrative of utopic internal intimacy that endorses retreat and a relationship of non-responsibility vis à vis the public realm. It
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suggests the result is dystopic in its concealment and exacerbation of vulnerability, and its resistance to change. Instead, a vulnerable and intimate architecture centers the vulnerable body to uncover unique, pluralistic, personal intimacies. To draw out the uncanny, repressed and emotional in home, Five Principles and corresponding drawings of unhomes are proposed. The Principles are based on Corbusier’s calibration of the subject and values of modern architecture in the aftermath of the 1918 Spanish flu and at a time when Tuberculosis was a leading cause of death. In the midst of the 2019 Coronavirus pandemic and environmental crisis, a time of social and economic polarizations and of increasing tendencies
towards solitary inhabitation, it seems it is time to reevaluate the physical and psychological effects of architecture’s boundaries on health in a more holistic manner. Architecture’s inside and outside, often interpreted according to binarization (nuclear internal versus external environment, people or groups of people) are re-examined. The intent is to speculate an unhome based on new understandings and boundaries of self in relation to one’s neighbours and context - in the broadest sense. This unhome relishes in the pleasure of mediating tensions. It is urban and personal in its conscious relationalities; it is selective connection and isolation, regardless of distance.
c
d
f
a
the Beatriz L1 plan
b
the Jane configiration diagrams
e
c
the Clara in context
d
the Beatriz AA section
e
the Beatriz BB section
f
inhabitant pulse design concept diagram
_what is next?
{ 137
j
h
k g
g
home isolation concept
h
the Beatrix intersitial
i
l
m
n
chamber plan i
the Beatrix intersitial chamber section
j
the Hannah unit details
k
the Hannah open plan
l
the Hannah closed plan
m
the Hannah elevation
n
the Hannah section
o
design principle 1
p
design principle 2
q
design principle 3
r
design principle 4
s
design principle 5
t
the Clara X-ray axo diagram
138 }
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o
q
r p
t
s
_what is next?
{ 139
home of imaginary bodies Kate Korotayeva } Master - Year 2 Thesis Milestone 4
a
home }
technology }
human body
b
140 }
Throughout the history of Western architecture, the human body was understood as a complete and singular thing. The collection of rules, texts, and theories that we inherit as the system of architecture has been developed by mining ideal bodies for formal principles. This work is an attempt at engaging with the ongoing processes of rapid redesign of our
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bodies, moving away from principles of biological determinism. The imaginary bodies, derived from the study of emerging surveillance technologies, social media, sexual desires, and neurological disorders, inform the speculative design project of the Home of Imaginary Bodies. As an assemblage of environments that only address imaginary dimensions of human condition, this thesis aims to relate to the emerging ways of being human that are often dismissed by established architectural regimes. Following Andrew Holder’s methodology outlined in his essay Five Points Toward a Queer Architecture, the process begins with a collection of disjointed and autonomous parts that belonged to imaginary bodies selected for the project - The Social Media Body,
the Anxious Body, and the Sex-Doll body. As certain parts gravitate toward each other, programmatic assemblages emerge as rooms inside the home. Technologies such as parametric software and artificial neural networks are then used to randomly arrange the parts within the rooms and the rooms within the home, experimenting with relinquishing the interest in composition, proportion and symmetry, in favour of design processes devoid of hierarchies. In its attempt to move away from the established Western methodology of conceiving architecture first as a coherent idea or a set of rules and then applying the rules to create order, this project begins with disorder.
c
e
f
d
a
facade transformations
b
massing study
c
youtuber’s boudoir
d
bathroom
e
youtuber’s boudoir top view
f
bathroom top view
g
bedroom/closet/body-shop
g
_what is next?
{ 141
i
h
j
142 }
h
youtuber’s boudoir parts
i
collection of parts
j
stair drawing
k
stair drawing
l
sectional perspective
sequence 04_loading future sequence_speculative future...
k
l
_what is next?
{ 143
{ 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 Ryerson’s Department of Architectural Science students in their path toeards the avenue of design and problem solving. _ We would like to acknowledge the yearly support from the following:
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plant. Making even going to the dentist fun.
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2020
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