325 Magazine | 2020 - 2021 by 325 Magazine

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

© 325 Magazine 2020-2021 Toronto Metropolitan University 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 Maya Higeli

Chair of the Department of Architectural Science Dr. Mark Gorgolewski

Creative Directors Anna Halleran Florencio IV Gamboa Tameta Yiran Ma

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

Copy Johann Almeida Marwa Al-Saqqar Leshin Chew Mathieu De Pompa Jessica Izzo Shanali Tewarapperuma

Vice Provost Academic Dr. Christopher Evans

Graphics Kelly Bang Kristyan Calletor Mayan Ebrahim Cynthia Hua Wincy Kong Madina Koshanova Jake Kroft Carolina Ramirez Kristen Sarmiento Sponsorship Todd Collis Kathlynn Hoang Jialing Li

Manager of Student Relations and Development, FEAS Zohair Khan Special Projects Coordinator Sara Berman Executive Director of the Office of the President Amy Casey Faculty Supervisors

Vincent Hui -

Print Coordinator

Alexandra Berceanu Financial Coordinators Kathleen Sojor Champlin

For more information about the previous editions, visit https://issuu.com/mag325

Message from the Editor-in-Chief The 2020-2021 academic year would challenge us in unprecedented ways as we continued our academic careers virtually. In many ways, the previous year was a catalyst and so it was apparent to us that for this edition we wanted to approach the new year that highlighted the strength of the students. Reflecting on the past, while also looking hopeful to the future possibilities and changes yet to come. The 2020-2021 installment of 325 is a testimony of the adaptability and perseverance of the DAS student body, to not only prevail, but to excel, during these difficult times. This edition seeks not only to highlight the excellent work from students, but also the new experiences and endeavors students chose to partake in. While celebrating the achievements we also reflect on the undeniable struggles of the many students faced due to online learning as this year was also not met without its challenges. It is indisputable that even during such uncertain times, our students still continued to persist and produce high caliber work. 325 magazine is a platform that is committed to documenting the excellence showcased at 325 Church Street and we are thrilled to present to you the 2020-2021 edition of 325 magazine. 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. Happy reading! Maya Higeli Editor-in-Chief

Message from the Chair My sincerest congratulations to the editorial team on this year’s production of 325 magazine. It’s a thoughtful issue that aptly captures the unique learning challenges and opportunities students have faced in these last few years. This impressive catalogue of work shows how adeptly students have navigated and overcome those challenges to produce work that is thought-provoking, compelling and interesting, both in and outside of the classroom. It also displays the diversity of strengths of our students as intended by the curriculum here at DAS. Whether it’s design, scholarship, technical knowledge, or advocacy that works to advance principles of sustainability, equity, and inclusion within architectural pedagogy and practice, the works selected here showcase the rigorous teaching standards and learning expectations we set for our students. 325 magazine is an entirely student-led effort and every issue requires hours of volunteer time and dedication to bring together. This valuable service to your peers is also an homage to the tight-knit community of students that we work hard to cultivate each year. I am immensely proud that this endures and thrives, despite the difficulties presented by a pandemic. On behalf of all the faculty and staff here at the department, I extend my thanks and congratulations. Dr. Mark Gorgolewski Chair, Department of Architectural Science

HEAD IN THE CLOUDS CAITLIN CHIN HOSPICE - Home for Terminally Ill Competition

KROFT HOUSE

JAKE KROFT ASC101

SHARDS MEHVISH CHANDIWALA, GLADYS LEE ILSA KHAN & DESIREE LLANES ASC856

A PLACE OF REFUGE

TODD COLLIS ASC101

PASTEL REFLECTIONS

JIALING LI, YUN GAO & RUIJUN QI Quality City 2020

RETREAT CHRISTIAN MAIDANKINE Romantic Cabin for Two Competition

SUPERIMPOSITION

ARIEL WEISS ASC301

THE CHURCH OF ARCHANGEL RAPHAEL

VANESSA PANINGBATAN-CEREZO & SAIJEENI ELANGKO ARC920

MICROHOUSING CESAR RODRIGUEZ PERFETTI ASC101

15 MINUTE CITY KRISTEN SARMIENTO & MARWA AL-SAQQAR The Charette - 15 Minute City

healthcare architecture ellipsoid forms

HEAD IN THE CLOUDS

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CAITLIN CHIN

boundaries

Undergraduate / Year 4 / HOSPICE - Home for Terminally Ill Competition

The “Head in the Clouds” hospice is located on the McMaster University campus in Hamilton, Ontario. The hospice is near the McMaster Children’s Hospital which is the largest pediatric academic tertiary care teaching hospital. Pediatric palliative patients can access the hospice by foot for those who are able or by a quick ride over. The goal of the program is to provide for and fulfill the patient’s physical, psychological, social, and spiritual goals.

ellipsoid volumes to generate dynamic ceiling surfaces and varying heights that transition into the wall planes to define programmed spaces.

Due to hospitals optimizing functionality and sterilization, the building is not conducive to a warm or comfortable environment. This project examines the concept of confinement – the boundaries of place. Typical hospital rooms are made up of 4 walls and a linear plane for the ceiling. Spatially this box could feel confining and isolating. The design of the hospice utilizes

ETFE is used to generate the ellipsoid forms and aid in creating visual connections through the material. The translucent material allows for privacy in enclosed spaces while allowing patients to know that they are not alone in this tough position. The translucency assists the caregivers to be aware of the whereabouts of people within the building.

The layout of the project provides continuity in circulation and offers various paths to reach the different programming. The circulation allows for the patient to have autonomy put back in their daily life through the ability to pick and navigate their own way through the hospice.

program diagram section site plan ground floor plan courtyard render interior render

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head in the clouds

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decay

secrets

SHARDS

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MEHVISH CHANDIWALA, GLADYS LEE, ILSA KHAN & DESIREE LLANES

corrosion

Undergraduate / Year 4 / ASC856 Small Buildings

Located in the East Kazakhstan Province of Kazakhstan, the project Shards narrates a process of the effects caused by the aftermath of the explosion and represents the physical manifestation of radioactive activity. The structure is scattered across the site in radial formation, mimicking the effect of an explosion and the remnants it leaves behind. The structure is used as a gesture of material decay, illustrating the levels of decay through hiding and revealing parts of the structure with the difference in water levels at different times. Starting from one mass, the mass is broken down into segments and placed across different places within the crater to exemplify the process of an explosion and the extent it leaves behind. To access the monument, a user would boat towards the structure, depending on the water levels, the location for going on the structure can change. There are a series of internal and external

stairs that a user can take to go to different levels of the structure. Even though the government claims to use the nuclear testing bombs in a positive light, the side effects are shown through the nearby towns through illnesses and deformities. The monument is a physical warning of what the nuclear bombs can cause over time. It is a physical representation of what radiation can do and the impacts of it to the surrounding environment.

material composition parti sections approach in between

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shards

nature historic

PASTEL REFLECTIONS

a b c d e

form process concept drawing functional diagrams exploded axo interior

JIALING LI, YUN GAO & RUIJUN QI

reflection

Undergraduate / Year 3 / Quality City 2020

Long Hu Park is located in the east of Handan city center, with Tai Hang Mountain in the southwest. The water of Long Lake originates from the Fu Yang River, which is known as the “Handan Mother River”. The shape of the pavilion is taken from TaiHang mountain. The layers of semi-transparent boards outline the streamline shape, as a metaphor of the mountain, which is also an element that connects nature and people. The design of its interior stair is intended to create a poetic space, letting visitors feel the picture of “returning dozens of steps, suddenly bright”. The ends of the poetic space correspond to the northwest and southeast directions, respectively, where people can enjoy sunset and sunrise. The characteristic of its transparent material makes the shadows appear when the tourists go through it - and seems like a shadow play is quietly released.

1. grid

At the same time, it echoes many cultural elements in Long Hu Park, such as the stone monument Gu Zhao Yi Feng. Look up at the sky, which is reflected in the river. The mountains and waters are linked together, which not only maps the surrounding natural environment, but also becomes a dialogue channel between historical elements and modern civilization. Also, Jinnan Shadow Puppet is the first world-class cultural heritage in Handan. In order to awaken the public’s attention and love for this traditional handicraft and local opera art form, this design takes Jinnan Shadow Puppet as a design element, integrates modern technology into traditional art, enhances and demonstrates Handan’s social image and urban characteristics, and improves the public service capacity of the Gu Zhao Yi Feng scenic spot in Longhu Park.

2. floor projection/outlining

3. form cutting

4. installation a

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pastel reflections

ad quadratum

THE CHURCH OF SAINT ARCHANGEL RAPHAEL

light

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VANESSA PANINGBATAN-CEREZO & SAIJEENI ELANGKO Undergraduate / Year 4 / ARC920 Advanced Architecture Studio

church

The Church of Saint Archangel Raphael designs the journey of the faithful towards enlightenment through the use of light as a guide. The story of Saint Archangel Raphael revolves around light and healing. A woman was cured of her blindness, bringing light back into her life and allowing her to be reunited with her lover. The idea of uniting two people was used in the church to reflect the two proportioning systems used in the design. The Ad Quadratum and the existing historical canary building were both used to influence the forms, shapes, and heights of the church as the faithful progress to the most sacred portion of the building. People are often a reflection of their surroundings and the church was designed to be a reflection of the language in the surrounding context.

To create a harmonious journey, the Ad Quadratum was used as a proportioning system, integrated in many design aspects of the project, including the structural grid and details in the custom furniture. The Ad Quadratum patterns help organize the interior spaces with the patterns found in the tiling of the church. This pattern continues to spread outwards from the church and continues into the landscaping of the area. The hierarchy of the arches progress from the large and almost overwhelming barrel vault of the nave into a more human-scaled, personal experience within the side aisles and coves housing the 12 Stations of the Cross. Through the proportions and the hierarchy of brick articulation, the design intends to guide people on their spiritual path.

window & floor tile pattern building section axonometric (choir space, side aisle, alterscape) choir space painting

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the church of saint archangel raphael

intimacy privacy

RETREAT

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CHRISTIAN MAIDANKINE Undergraduate / Year 3 / Romantic Cabin for Two Competition

getaway

The Earth Energies Sanctuary cabin should act as an opportunity to escape daily life and to find a place to reset Couples are able to come and enjoy the services the Sanctuary provides, while staying in a private getaway. The cabin aims to have minimal impact on the environment. Screw piles minimize earth impact, while sustainable materials and mass timber structure allows for the cabin to sequester carbon. Local woods such as cypress are used to not only tie the building back to its context, but to help reduce the environmental footprint of the project. Solar energy is captured to run the building, and rainwater is harvested and heated for the users of the space.

beautiful pasture and Firth of Thames, removing the boundaries between inside and out. The cabin itself is low and unobtrusive to the site, and its cypress facade helps blend into the local environment. When the visitors want to spend time together, the openings can be shut to create a warm, intimate environment. Local pine makes up the interior, creating a continuous surface of wall, floor and ceiling. Although the space is compact, it provides everything a couple would need to enjoy their time. Other finishes are made from local leather, using another natural material to relate back to context. Once inside the cabin, visitors will be able to fully remove themselves from their daily lives and relax.

The cabin opens and closes from the environment as the visitors seem fit. They’ll be able to enjoy the

diagram south elevation plan perspective section exterior

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retreat

space planning micro-housing

MICROHOUSING

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CESAR RODRIGUEZ PERFETTI Undergraduate / Year 1 / ASC101 Communications Studio

residential

The building massing is produced by three volumes. The lower volume, responds to Entrance, Kitchen, foldable dining/living, mechanical and bathroom areas, and The higher volume responds to bedroom, storage, and foldable studio space. Connecting both of these volumes is a rectangular prism which contains the stairs, operating as a transitional threshold between private and the public. The programs of each level influenced the material selection. On the first level the materials would be tolerating a higher circulation, as the concrete used on the floor. The rectangular prism transition contains the stairs, made of corten steel and it gives stiffness to lateral forces. On the second level, wood frame construction was used, with a wood interior that relates more with the comfort of a bedroom area. This second upper volume

is supported by wood posts, connected by steel cables that relate with the transitional passage on compositional on angle and materiality The building is proposing as many openings as possible, with a wood panel system on the outside that regulates the light penetration and gives privacy of the spaces. The separation of the public and the private is also given by the vertical positioning of the program spaces, which allow increasing building opening on the upper volume. With a very different performance from the rest of the building, the transitional passage between the first and second level is made of corten steel and frosted glass, which is revealing the light and shadow of the circulation moment between the levels.

exploded axo section ground floor plan second floor plan model model

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microhousing

micro-housing residential

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KROFT HOUSE JAKE KROFT Undergraduate / Year 1 / ASC101 Communications Studio

intimate

The goal of this project was to design a personal micro home on the site of a former Beer Store in Toronto. The site was divided amongst our firstyear studio with each of my 13 peers and myself getting a plot on the site. The building could not be larger than 15m2 with the ground floor restricted to 10m2. I created a place that I could see myself living and working in happily, utilizing the small footprint of the structure efficiently. The plan of the building is divided into four quadrants that are dependent on their use. This was done to separate areas of work, eat, and sleep. The kitchen is adjacent to the entry and up a few steps is the work area with access to a bathroom on one side and an outdoor deck on the other. Up another level is the bedroom loft area which accommodates a double bed and closet. The mezzanine allows daylight entering through

the predominant southwest openings to reach deeper inside the entire house. The metal panels contribute to a lightweight construction on the building’s modest wood framed structure. The dark grey and bronze tones create an elegant exterior impression. The shifting building envelope with its slits of glazing, allows for an abundance of natural light to enter the home, while maintaining privacy. Kroft House has everything a student would need to live comfortably and is a space that encourages creativity and wellbeing. The intention of the revitalization of the site was to create housing for students, while maintaining small footprints to maximize the efficiency of the space used on the site. This was done with a laneway of tiny homes, creating a sense of community within.

process sketch interior view interior view south elevation west elevation ground floor plan

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kroft house

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juxtaposition

A PLACE OF REFUGE

refuge

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TODD COLLIS Undergraduate / Year 1 / ASC101 Communications Studio

sensory

A place of refuge is designed to disconnect one from the busy outdoor environment. Inside the harsh and protective exterior lives a natural, form-fitting interior space tailored for relaxation, alleviation, and focus. The space is meant to produce the feeling of a warm hug upon arrival, with the smell of fresh-cut pine and organic interior form. The tenant determines guest entry; without knowledge of access or deactivation, the building is a fortress, containing an environment of tranquility, unlike its exterior. Located just Northwest of the Church and Wellesley intersection in “The Village,” this micro home protects unwanted intruders, allowing the busy outdoor environment of Toronto to fade away upon the occupant’s arrival. Cold materiality and a menacing aesthetic produce a static body that diverts one’s attention. If the static element

is unsuccessful in diverting the individual, the building will engage. Invisible to a visitor, the entry is blended within the cladding, providing the tenant in charge of entry. When the building senses an unidentified individual within set proximity, it activates its defence mechanisms—affecting the individual’s four senses, Sight, Touch, Sound, and Smell, to cause the individual to avert. Sight is affected by the produced by the menacing aesthetic and blinding reflective exterior. The sound of nails on a chalkboard is produced by the rubbing of the metal shingles when engaged. Touch is sensed by the knife-edged metal shingles, if touched, will certainly cut. Finally, smell is affected by the production of hidden corroding metal, the final yet most subtle deterrent.

diagram interior render section section interior render interior render

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a place of refuge

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extension

elegance

SUPERIMPOSITION

site analysis program analysis section elevation lower floor plan upper floor plan exterior view

ARIEL WEISS Undergraduate / Year 2 / ASC301 Design Studio II

pavilion

Located adjacent to the AGO in downtown Toronto, Grange Park is a historic park - turned active outdoor space for its surrounding residents. With the growing number of residents who live close to the park, as well as visitors who might use the park occasionally, Grange Park acts as a “backyard space” for its users. In creating a performance pavilion, Superimposition not only attempts to impose a new program onto the park but also strives to maintain and extend its existing program at the same time. The pavilion is composed out of two mirrored forms. One being an extension of the existing program, and the other being an imposition of a new one.

the day, while its lower foundational form supports a distinct and formal program at night. The relationship between both of the two forms then becomes an embodiment of the coexistence between site and program.

In using two opposing forms, the pavilion can achieve its dichotomous program. Its thin-shell concrete structure allows the upper form to maintain a subtle and informal program during

1. Land Use

1.Informal User Base

2. Residential Development

2. Formal User Base

3. Public Realm

3. Performance

S01 - reflection

superimposition

interconnected pedestrian-oriented

15 MINUTE CITY

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main ideas render external axonometric external axonometric internal axonometric

KRISTEN SARMIENTO & MARWA AL-SAQQAR

accessibility

Undergraduate / Year 3 / The Charette - 15 Minute City

Despite the holistic approach and experience that 15-minute cities may bring, it’s worth noting whether they are designed as “walkability for all”. More urban centres are gaining walkable neighbourhoods with access to quality amenities. However, they are becoming scarce for low-tono-income residents. Throughout this proposal, the challenge posed was, “how do we create a 15-minute city that centers itself where people live without gentrifying it and ultimately driving communities out?” How does design and policy ensure that the issues existing today in urban spaces can be avoided when planning these highly resourceful and sustainable cities? The module proposed allows for flexibility to explore and accommodate the city’s communities while still having a framework to build on. Using several programs, a chain of adjacencies from one

to the other is created. This allows room to discover more options to match one central program to what comes after in the next 500m, providing residents with the necessary configuration that fits their needs. This module maintains hierarchy with pedestrian-friendly landscaping and street design, which gradually increases to no vehicular access as you move towards the module’s central congregation space. The centre is the heart of the community, where it is the most public and most accessible space for recreational and mercantile activities and/or community gathering. The priority within a 15-minute city is to increase transit reliability and micro mobility alongside pedestrianization which is encouraged through landscaping.

zoning changes

accessibility to resources

local employment opportunities

interconnected public transportation

eyes on the street

pedestrian oriented

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15 minute city

REFLECTION

THE STUDENT RESPONSE The fall 2021 school year marked the second year of fully integrated online pandemic learning. In addition to this, an unprecedented circumstance has emerged: half of the undergraduate program has never stepped foot inside the DAS architecture building. While this new way of learning has been a transitional period for upper years and established professors within DAS, for those still beginning their architectural education experience, the isolation of the online learning experience has created a divide between the students that have been in a traditional studio and those whose only exposure to a studio environment has been rumors and reminiscing. As the world begins to open its doors again, and the curriculum returns in person, 325 aimed to document this anomalous generation of students. Members of 325 sat down to interview first years; Dana Kim, Angela Le, Tony Le, Chau (Karlie) Nguyen, Zayd Patel, Nathan Wen, and second years Samantha Wu and Jeffrey Zee about their entrance to a fully online Architectural Science program, and their struggles both academically and socially in an online world. Discussing their anxieties and excitement about returning to campus in order to answer the question on many upper years and professors’ minds: Are the first and second-year students alright?

IN CONVERSATION WITH: Cassidy Ho Dana Kim Tony Le Chau (Karlie) Nguyen EDITED BY: Johann Almeida Marwa Al-Saqqar Leshin Chew

Zayd Patel Nathan Wen Samantha Wu Jeffrey Zee

Kathlynn Hoang Maya Higeli

A NOT SO NEW ACADEMIC EXPERIENCE [325]: How has the pandemic affected your ability to adapt to the Architectural Science program? Especially if it’s your first time as a post-secondary student, do you feel like a large part of your education has been taken away because it started online? [Jeffrey Zee]: I feel like the pandemic has made adapting to Architectural Science much harder during the first year. It was much harder to make friends and sometimes difficult to properly communicate with professors in terms of crits as well as learning new programs. Our year is behind in the knowledge of using the workshop, as well as not being able to experience in-person studio culture for almost two years. [Zayd Patel]: Overall, I was kind of sad. I found the need to transfer to an online school when COVID-19 hit to be very depressing, especially since I switched universities so I had the opportunity to experience post-secondary in person before but then everything went online. It was the worst thing.

b [Samantha Wu]: I think that the pandemic’s greatest effect on adapting to the program and post-secondary studies was not being able to be face to face with people during critiques. Giving presentations of our work is a large part of our program and learning, and having it done online likely took away from our learning experience. Going back into in-person classes, crits would likely be something I would feel unused to and would be a source of stress since it would be quite different from how it was done on an online platform. [325]: Do you think the online resources provided have been adequate to help with any stress caused by online school?

[Dana Kim]: Going into university was such a big change from high school. Since the pandemic started while I was in high school and the work got easier because it was online, I feel like the workload that we should have gotten in grade 12 to prepare us to transfer into university was not there. I definitely had a couple of breakdowns once university started, but I had good friends. We all worked through it together, so that was nice, but it was definitely hard.

[Nathan Wen]: I feel like they’ve been inadequate because there’s not much help, it’s more relying on other years or classmates that have prior experience.

[Tony Le]: Yeah, since we went online during high school, they cancelled exams so we didn’t write an exam since grade 11. Coming to university and doing a midterm when I haven’t touched an exam in like two years. . . I was not prepared.

[Tony Le]: When we’re rendering, struggling with shortcuts, or figuring out how to do something on programs, it’s quite hard to help each other through a screen. It’s much easier in person for someone to just show you.

[325]: What sort of difficulties have you faced because of only being able to interact online?

[Dana Kim]: Bad Wi-Fi is not helpful since it crashes your screen when you stream.

a. students on zoom b. Jeffrey Zee during in person crit

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[Nathan Wen]: I think it kind of depends. It might be more comfortable doing things at home, depending on the devices you have, but some cons are that you can get distracted. You can see a game at the bottom of your screen and just press on it, but in person, you can’t really get distracted that easily and it’s easier to get help.

[325]: What stories have you heard about the studio culture experience in the Architectural Science program? What are you most excited about gaining from experiencing it yourself? [Jeffrey Zee]: I’ve heard about how the studio culture experience can be a nice bonding experience. [Leshin Chew]: I heard that the late-night studio grind is another level of a bonding experience, and though I’m not looking forward to the sleepless nights, I am looking forward to making core memories with my friends, spending time working through projects, and learning from one another. [Jeffrey Zee]: It also sounds like a better way to naturally improve projects since you have the ability to ask people next to you.

<We’re excited to be able to physically see our friends and improve together>

MAKING CONNECTIONS [325]: What’s the story behind how you all met to form this group? [Dana Kim]: It was first me and Tony, I met him during in-person orientation. I wanted to talk to someone because I was very scared since I didn’t know anyone so I talked to Tony. We hit it off really well and thought we should make more friends, so Tony reached out to Karlie, and then to Cassidy, Zayn, then Nathan . . . [Tony Le]: I had to message every single person individually.

d [325]: It’s interesting how you managed to build this large friend group while being disconnected in a sense because of online school. What’s your take on the importance of building social relationships as you progress through your educational experience? [Nathan Wen]: It’s nice to have someone to talk to while getting your work done since you can ask for help.

[325]: So you sort of adapted to making friends online then.

[Tony Le]: Friends can keep you on track.

[Dana Kim]: Yeah, we’ve been doing it for almost three years. [Zayd Patel]: When we first met each other in person, it was crazy. We were actually seeing each other for the first time, not through screens. [Dana Kim]: We first planned to all meet in studio. It wasn’t awkward, it was pretty nice.

[Nathan Wen]: And mentally stable. [Dana Kim]: Sometimes we go on a Discord call during class or when we’re working so we can feel like we’re together. Just reaching out to people to ask if they’re okay is nice too. I honestly think that if I didn’t have this group of friends and other people as well, I would have dropped out the first semester. [Zayd Patel]: Having a base of solid friends to rely on if you need something makes it a lot easier.

c a. discord banner status b. student discord conversation

[325]: What is your take on the importance of building social relationships as you progress through your educational experience in the architectural science program?

[Jeffrey Zee]: I think making friends and acquaintances in this program is helpful due to how many deadlines and projects we constantly have.

< Having people remind you of deadlines and working together to figure out assignments is a great way to stay on top of projects > [325]: What difficulties have you faced from being restricted to only interacting with your classmates online? [Jeffrey Zee]: Building social relationships was difficult for a period of time because the only way to really connect with people online really was through group projects or shared sections. [Leshin Chew]: I found it difficult to ask for help, specifically when working on studio projects. This especially applied at the beginning of the first year when learning new software. [Samantha Wu]: A few of my profs had said that our peers were one of our most important resources when it comes to learning and connections since we would benefit a lot from each other — because we were all experiencing our program together. When we were online, it felt a little more intimidating to talk to others and connect with them since most of the time we would not even see their faces in online classes.

TRANSITION TO INPERSON [325]: As you start to transition to, or back to, in-person classes, how prepared do you feel?

[325]: Speaking of commuting, is there anything else you’re not looking forward to in-person? What aspects of online school do you think you will miss the most?

[Leshin Chew]: Building strong social relationships is definitely important, not only to keep everyone on track but also to keep everyone motivated and supported. Having someone there who understands and is going through the same thing as you is reassuring and makes it easier to talk out and solve issues.

[Zayd Patel]: Waking up five minutes before class. You just need to brush your teeth, grab some breakfast, sit at the table, and you’re chilling. You don’t need to turn on the camera —no one needs to know who you are— you just sit there listening. [325]: What were you most excited about experiencing for yourself once university went back to being in-person? [Zayd Patel]: Sleeping in the architecture building, everyone just vibing and doing projects together, seeing someone just lying in the corner there, someone working there, someone stress printing . . . The vibes are immaculate. [Nathan Wen]: It’s like one big cottage trip. Everyone’s just eating, sleeping, and doing work. [325]: Is there anything that you are not looking forward to as you attend university in person? What aspects of online school do you think are worth considering when rethinking the in-person plan? [Samantha Wu]: Because of the online platform, our classes are delivered through, many students are isolated in terms of learning and aren’t able to interact with peers for classwork and help. Having lectures recorded was something a lot of students probably benefited from for reviewing lecture material, and losing that resource may be one of the few downsides, aside from commuting. [Leshin Chew]: I will definitely miss the flexibility online learning gave as I was able to have more time for my own hobbies and to sleep. Having recorded lectures allowed me to make my own schedule and having something to refer back to if I missed or forgot something was extremely helpful where I hope that this will be considered to continue in the future.

[Dana Kim]: I was very scared. I felt like I couldn’t do it at all, but honestly, the first week was not bad . . . So I think I can do it. [Tony Le]: I think I can do it too . . . Maybe, actually, I’m not sure. It’s only the first week, I can’t tell. [Zayd Patel]: It’s definitely going to get more intense, but fingers crossed.

e e. Student zoom call with professor Vince Hui

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[Chau (Karlie) Nguyen]: Some of the concerns I have is just commuting while balancing my time to do work because I commute for three hours so it’s quite hard and tiring.

[Jeffrey Zee]: The transit and early mornings are pretty annoying but I don’t think there’s anything that can be changed about that. I guess schools can maybe apply more breaks for students during lectures - but I don’t think there’s a realistic fix that the university can do to these problems. [Leshin Chew]: I will definitely miss the flexibility online learning gave as I was able to have more time for my own hobbies and to sleep. Having recorded lectures allowed me to make my own schedule and having something to refer back to if I missed or forgot something was extremely helpful where I hope that this will be considered to continue in the future. [Jeffrey Zee]: The transit and early mornings are pretty annoying but I don’t think there’s anything that can be changed about that. I guess schools can maybe apply more breaks for students during lectures - but I don’t think there’s a realistic fix that the university can do to these problems.

PREPARING FOR THE FUTURE [325]: Looking towards the future, what are you anticipating the most for once the campus fully opens up? [Leshin Chew]: I’m most looking forward to meeting everyone officially since there is another half of my year I personally have not met or interacted with. I’m also looking forward to finally being able to take full advantage of what studio, shop, and generally what the in-person experience has to offer. g [Samantha Wu]: I think that having studio in person is the one thing that I am anticipating the most once the campus opens up. Studio culture is one of the most talked-about things the professors and upper years spoke about, and being able to speak and interact with our classmates, not through an online method is really exciting. [325]: How prepared do you feel for what is expected of you in the upper years (eg: Co-op, internships)? Do you feel any less prepared than the previous years? Or less than what is typically expected of someone of your year? [Jeffrey Zee]: I do not feel prepared. I feel like in terms of making physical models and some of my drafting skills are not where they should be. For the physical models, it is definitely because we have never used the workshop to make any projects yet and have 0 experience in that field.

<It definitely feels less compared to previous years> f. Leshin Chew during in person pin-up g. Leshin Chew and Samantha Wu h. Jeffrey Zee and Samantha Wu

A new generation of post-secondary students emerged due to the pandemic: second years who spent their freshman year fully online, and first years who experienced their first term online. Nevertheless, there is an apparent divide seen in teenagers and young adults as some of their formative years have been restricted to online platforms —causing further isolation and anxiety that past students (who went through university in person) may have coped with through different means. Already existing academic struggles and disparities experienced in university have been further amplified with students learning online due to the reflections and demands shared by them. Through this discussion between 325 and some of the first and second year students, it is clear —despite a small number of perspectives provided— that online learning has left students feeling unprepared and behind in grasping knowledge that would easily be acquired through a more hands-on environment.

THE NEXT GENERATION OF STUDENTS Moreover, the social disconnect between colleagues, upper years, and the DAS community introduces another set of worries and challenges for students who now have to transition into in-person learning. Another interesting point to highlight is the students’ own reflections on their past few years of learning remotely. Students described how several elements and technologies used for online learning can continue to be beneficial if adapted for a more hybrid experience. Perhaps students can participate remotely in lecture-based spaces while attending in person for more hands-on and collaborative classes such as studio. What hybrid learning can do for students, as supported by professionals and companies who have already implemented such a framework, is provide a work-life balance and efficiency.

So how can design institutions implement a transition that supports students in adapting to academic and social changes —especially after a prolonged academic and physical isolation. How can the curriculum and pedagogy improve to enhance the student experience and uplift their wellbeing?

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These are some of the questions that must be answered. Rather than wondering whether the first and second-year students are alright, it is best to ask whether our learning environment and studio culture are equipped to ensure that they are better than just alright.

HOUSE FOR J.S. BACH

HASHIMOTO HOUSE

TATIANA ESTRINA ARC920

VENICIA AMANDA LANG ASC201

LENA MA ARC920

NIA CENTRE FOR THE ARTS

ZARREEN KHAN & BATOOL ALQASAS ASC620

KOINONIA

MADAWASKA SUITES

MICHAEL EVOLA AR8101

BOREALIS PORTAL

YAC Arctic Hotel Competition

MATTHEW LAU & JASON BRIJRAJ AR8103

ASC401

NEXUS SQUARE

JAMES GOODEVE

MUSEUM OF THE QUARTERNARY

EVAN HILLS

KELVIN HOANG ASC401

MUSEUM OF THE GREAT LAKES

JULIANNE GUEVARA & ADAM HOLLINGS AR8103

fragmentation submergence

HOUSE FOR J.S. BACH

a b c d e f

location plan site plan inspiration fragment iso fragment iso interior views

TATIANA ESTRINA

fugal structure

Undergraduate / Year 4 / ARC920 Advanced Architecture Studio

A residence for the famous composer and organist explores the fugal music structure through an architectural lens as an organizational approach to the architecture through play with fragmentation. Fragmentation of realities and cadences emerge from subdivision of spaces, fenestration, and light as well as from the segmentation of planes and materials. Bach is well known for his Fugue compositions, musical pieces created using overlapping voices. As the organ instrument provides the organist with multiple manuals, the fugal structure capitalizes on this multiplicity by overlaying repeating melodies in different keys, thereby generating counterpoint. This music structure is explored as an organizational approach for the architecture through play with fragmentation. A fragmented journey through the house, follows the experience of the client as they occupy the spaces. Entering from the dock,

they enter the public living spaces. The central stairway serves to connect the various levels, with visitors able to ascend above to the bedrooms or descend below to the organ and composing rooms. Throughout the project, fugal musical structure is employed through fragmentation which is emphasized via the placement and form of architectural planes, but also by the light access and the placement of the artificial illumination.

PRIMARY RESIDENCE

GUEST HOUSE

b site plan island in the middle of a lake

watzmannostwand st. bartholoma saletalm salet

echo

königssee seelande

SITE

kessel

malerwinkel

reitl germany

obersee

KÖNIGSSEE austria switzerland

37 P L ATO ' S CAV E

R E L I G I O U S CAV E

B AC H ' S CAV E

Plato theorized that humans view mere shadows of the reality, only by emerging and viewing the light do they view factual forms.

Within religion, light acts as an apparition or religious revelation. In order to reconnect with the light, many monks retreated into solitude of deserts or caves.

The house becomes a place for religious edification through the fragmentation and submergence into a primal environment.

subje s u b jct ec t

answer

subj e c t

a n swe r a n swe r

s ubject

a n swe r

FUGAL STRUCTURE

inset skylight between roofs

house for j.s. bach

a n swe r

concrete ceiling underside

concrete panels with inset LED lighting

steel mesh railing

steel mullion with concrete cap

raised skylight

steps with inset LED lighting

keyhole // angled into door

organ room overlook

seating stands with inset LED lighting

+ organ

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handle // inset into door panel

fragmentation fugal structure

submergence

bedroom

The morning light washes the interior of the bedroom and dining spaces.

bedroom

Light enters through the skylight around the fireplace near mid-day.

kitchen & dining

As the afternoon approaches, direct light begins to trickle in through the water into the music spaces.

39 The flickering caustics caused by the water are augmented by artificial light in the evening.

At sunset, direct light is mostly shielded from the living spaces, which are lit artificially

house for j.s. bach

organ

music room

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living room

guidance of navigation

HASHIMOTO HOUSE

exposure of senses

a b c d e f

LENA MA

light as revelation

Undergraduate / Year 4 / ARC920 Advanced Architecture Studio

This light house is designed for Mana Hashimoto, a blind contemporary dancer and choreographer. Born in Tokyo, Japan, Hashimoto received discrimination against her visual impairment. To combat this negative stigma, this light house is situated in a rebellious modern sector of Tokyo and consists of her residential quarters and dance studio for blind students. Due to the unique circumstances of the client and program, the project explores the non-visual characteristics of light. This brings a new perspective of reality that relies on other senses such as thermal, tactile, and sound qualities. The house is interjected with moments of light, acting as a reveal to enhance these qualities for the client and visitors. The project consists of two levels: the dance studio below and the residence above. The two levels are connected through light pockets from the openings in the floors. Each room is designed

with a specific material to respond to program, capitalizing on tactile and thermal qualities to aid in navigation and experience. Upstairs, each room has a special roof structure that manipulates light to fit certain programs. Screens are used to help identify areas such as circulation, time, and exterior and interior conditions. The dappling light from the shadows of the screen on thermally responsive material passively aids in the navigation of the building. The public face of the building expresses an appearance of lightness and tranquility in the cityscape, rebelling against the rebellious neighborhood in defiance of the negative stigma of the blind. It is hopeful that this exploration of design for the blind increases the scope and sensitivity of architecture through our non-visual senses to enhance our relationship with light and perception of the environment.

diagrams experiential section light & sense light funnel section light pocket section exploded axo

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hashimoto house

communal living work from home

KOINONIA MICHAEL EVOLA Masters / Year 1 / AR8101 Studio in Critical Practice

collectivity

Koinonia reinterprets the work home within a contemporary philosophical framework. Its central idea is that humans seek individuality through collectivity. Jim Sidanius’ and Felicia Pratto’s ‘Social Dominance Theory’ informs this philosophy. The following posits societies as hierarchical organizations which aspire individuals to work collectively to gain individuality. The following is a concern when considering the mental well-being of individuals working from home. Moreover, it aspires; What happens to collectivity when we are isolated? - How can architecture form a collective? Koinonia answers the following through a conjunction of isolated dwelling and collective working. In his book, ‘Defensible Space,’ Oscar Newmann argues that smaller collectives cohere better than larger ones. As a result, Koinonia contains three dwelling units. This figure and

COVID-19’s ‘flight to the suburb’ phenomenon situate the building within a Levittown suburban neighbourhood. The building contains three triangular and one rectilinear volume. These forms are their functions archetypes, whereby a-frames represent dwelling and a rectangular volume represent an office. This formation provides each dwelling with access to a collective workspace. Thereby Koinoinia attempts to balance the work home lifestyle through individual and collective spaces. Moreover, its form publicly expresses how architecture can form a collective.

a b c d e

parti section perspective ground floor plan second floor plan exterior render

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koinonia

community engagement

MADAWASKA SUITES

a b c d e f

EVAN HILLS

vernacular

Undergraduate / Year 2 / ASC401 Design Studio lll

Madawaska Suites, located at 1 Madawaska Street in Bancroft, a small growing town in northern Ontario, is a ten-unit townhouse complex developed to provide a space where residents are able to gather. The complex houses four family and four couple units, one live-work unit and one barrier-free unit. Additionally, the site also inhabits a communal building available for use by all residents of Bancroft, offering a space for the community to interact with one another by hosting arts & craft sessions and tutorials, informal presentations, and potluck lunches and dinners. It gives the community a space to gather, share, learn further skills as well as exchange recipes with one another.

the site, a row of two units being situated on the west and a row of 8 units on the south, they are able to allow for a central area in the site which each unit has a view to, creating a communal outdoor space for residences within the complex to come together and socialize with one another in a space of relaxation where they can also take in Bancroft’s exterior landscape.

The development also contains a central outdoor space created by the site orientation. With the communal space being on the northeast side of

second floor plan community space west elevation north elevation section assembly detail

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madawaska suites

northern lights

BOREALIS PORTAL

arctic

a b c d e f

JAMES GOODEVE Undergraduate / Year 3 / YAC Arctic Hotel Competition

hotel

The main concept behind the Borealis Portal is to seamlessly integrate the form into the rugged landscape, while respecting and utilizing traditional materials and design ideologies. The built form enhances the natural landscape, while still respecting the existing conditions. The slope of the hill is integrated into the structure, and a continuous path flows uninterrupted through the site of the hotel. The roof of the building acts as an observation deck, providing panoramic views of the surrounding sky and topography. The natural landscape and building work together to create a functional and fluid user experience. Traditional shelters called ‘Goahtis’ were constructed by the ancient Sami culture who are native to the Scandinavian peninsula. These conical structures acted as design inspiration for six large skylights, which act as portals to the northern lights

when viewed from inside the hotel. These forms are clad in cedar shakes, a locally sourced material which compliments the forested landscape. The stone that is excavated during construction is also packed into gabion wall units which make up the exterior façade of the building. The materials evoke a harmonious and unified sensory experience between the natural landscape and the built form. Interior spaces are organized to maximize views of the northern lights for visitors. Private rooms and shared spaces are located to take advantage of the large skylights and windows. A restaurant is located at the top floor which provides a unique dining experience under the aurora borealis. The location of this space allows for patrons to utilize this area without invading the privacy of the hotel rooms within the building. The organization of private and public spaces allows for a seamless flow between programming while ensuring privacy where necessary.

diagrams section first floor plan second floor plan site plan interior view

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borealis portal

comfort rhythm

NEXUS SQUARE

a b c d e f

parti educational lab section section elevation program axo

KELVIN HOANG Undergraduate / Year 2 / ASC401 Design Studio lll

community

As a small town in northern Ontario nestled in the rugged Canadian shield, Bancroft is as much as a remote getaway as it is a connected and selfsustaining community. It is home to Canada’s most iconic wildlife, thriving in the beautiful green forests around the town. However, although it has all the amenities needed for day-to-day life, Bancroft lacks a common communal space where residents can gather and partake in festivities. That is what Nexus Square proposes to implement, with the use of a co-op housing development and integrated courtyard. Located on 16 Station St, Nexus Square is a mixed-use development that provides careful consideration to the adjacent York River. The ground floor serves as a public square, accommodating commercial and cultural uses while residential units are located on the upper floors. To specify, the ground floor houses retail

units, an educational lab, and communal space. The residential portions consist of a combination of live/work, family, dormitory-style, and accessible units. Architecturally, the shift from commercial to residential is denoted by the sudden change in materiality from polished wood panels to repetitive stacked stone. There is also an emphasis on creating a visual and physical connection to the river, hence the courtyard-style layout. To further encourage the idea of community and gathering, the interior facade of the building courtyard is composed mainly of operable glass windows, which can be opened to create visual connections to communal events occurring at the public level. Nexus Square is a project that serves the public, playing on ideas on rhythm, familiarity, and comfort. • rhythm • staggering • familiarity • comfort

49 nexus square

first floor

e f

• 5 - commercial units • educational lab • mechanical • courtyard

second floor • 2 - family • 3 - live/work • kitchenette and lounge

third floor • 2 - family • 1 - dorm • 1 - accessible • 1 - couple

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assemblage narrative

VENICIA

a b c d e

AMANDA LANG Undergraduate / Year 1 / ASC201 Design Studio I

storytelling

Venicia arose from an exploration of storytelling: of the interplay between storytelling and architectural form, and how both can evolve through translation into different media. The original inspiration was a secondary character plucked from Fellini’s 1976 film, Casanova. As a counterpoint to the traditional Casanova narrative, a scene was reimagined from the perspective of Romana, one of Casanova’s sexual conquests. Set in an extravagant conversazioni in a maison de plaisance, the narrative juxtaposes Rococo with Enlightenment ideals; sensuality with rationality; working-class with aristocracy; aspiration with reality; agency with powerlessness. Romana begins exhilarated and eager. She ends up objectified and degraded.

The narrative was translated into a physical assemblage with Romana’s more direct firstperson account shifting into visual allegory. A chiaroscuro effect leaves her figure exposed within an expansive, undefined volume. As a marble statue, Romana is an object on prominent display for public consumption, yet her own gaze is averted and withdrawn. A floating backdrop of paintings recalls the physical setting at the maison while the subjects portrayed in them reveal the complex cultural and emotional undercurrents from her story.

process section elevation collage skeleton of model section sketch close-up renders

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venicia

gathering restoration

PROCESS WORK

NIA CENTRE FOR THE ARTS PROCESS WORK

a b c d e

PROCESS WORK

ZARREEN KHAN & BATOOL ALQASAS Undergraduate / Year 3 / ASC620 Integration Studio II

fragmentation

The NIA Centre for the Arts showcases and celebrates different forms of art from across the African Diaspora. The project revolves around the idea of restoration and aims to create a space for reconciliation in a neighbourhood that has struggled to maintain its culture and identity due to ongoing gentrification. It uses art and expression as a means by which this fragmented community can be restored. The building is located on a unique triangular site at the intersection of two main streets, Oakwood and Vaughan, creating a natural gathering point and visual connection between its surroundings. The exterior is adorned with a faceted facade to create the illusion of fragments piecing together to create a whole. The mission of the building and program heavily rely on the pedestrian experience as a way of promoting engagement and participation from

the community. This is largely accomplished by spilling the internal program to the exterior of the building through the incorporation of a “core”. The vertical core is a large structure that resides between the threshold of the interior and exterior. It not only provides sufficient natural light and a natural means of ventilation, but also serves as the public heart of the building and as a culmination point, bringing together the various activities within the NIA Centre so that art can be performed, experienced and appreciated.

process sketches site axo program axo interior view interior view

53 ROOF

nia centre for the arts

THIRD FLOOR

INTERIOR PERSPECTIVE - SECOND FLOOR

SECOND FLOOR

GROUND FLOOR

COMMUNITY/ PUBLIC SPACE

BASEMENT 1:200

INTERIOR PERSPECTIVE - GROUND FLOOR

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relationship form

MUSEUM OF THE QUARTERNARY

a b c d

MATTHEW LAU & JASON BRIJRAJ Masters / Year 1 / AR8103 - Studio in Collaborative Practice

site

Sited along the lakeshore, The Museum of the Quaternary invites visitors to engage with a didactic program to teach them about our past and future relationship with the land, the lake and the people from the perspective of the geologic timeline. The Quaternary period of the geologic time scale is marked as a period of cycles of glacial movement, the extinction and evolution of species, and human technological development. The museum experience retells the history of the region through the three epochs of the period: the Pleistocene, Holocene and Anthropocene. Our past, present and future are expressed through the layering of forms, materials, circulation and exhibits. As visitors travel through the architecture, they are witness to the ongoing relationship between the land, water

and humanity, contributing to an understanding of place and time. Use of materials, both through structural expression and exterior cladding, allows for an aesthetic that recalls the dynamic movement and layering which the land has experienced throughout its history. Through its developed program and design, The Museum of the Quaternary seeks to appropriately respond to various contexts, including pressing environmental factors, while giving a public space back to the lakefront of Toronto.

render sectional perspective diagrams axo diagram

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museum of the quarternary

site

form e

relationship

57 f

e f g h

exterior render interior render experiential section plans

museum of the quarternary

CAFE

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Back of House Storage Loading Office Washroom

gateway urban integration

MUSEUM OF THE GREAT LAKES

a b c d e

JULIANNE GUEVARA & ADAM HOLLINGS

water

Masters / Year 1 / AR8103 - Studio in Collaborative Practice

Situated on the edge of one of the five most significant sources of freshwater in the world, the Museum of the Great Lakes invites users to contemplate their relationship with water through a series of immersive experiences. Exhibitions will focus on advocacy for the Great Lakes ecosystem, educating about it’s destabilization due to invasive species, pollution, and climate change. The architecture acts as a didactic tool, exposing the water conservation system through stormwater retention on the roof, filtration throughout the building, and storage in an underground cistern which is then reused for the building’s grey water. The site is the last opportunity of connection between the city and the waterfront moving east. This proposal aims to act as a gateway from the neighbourhoods to the north to the Portlands naturalization project to the south, maintaining a green space on the waterfront for the public.

aerial view site plan cafe center centerpool

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museum of the great lakes

water

urban integration f

gateway

61 section floor plans exhibition winter exterior rainy day exterior

museum of the great lakes

f g h i j

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REDISCOVERY

NEW EXPERIENCES Three DAS students share their journeys in exploring and managing a creative business and reflecting on how their academic experiences have supported their entrepreneurial efforts . . .

The pandemic would prove a trying time that undoubtedly affected students in ways they never expected. However, unexpected opportunities would unfold because of the introduction of online learning. While in-person school often set boundaries and limits in academic settings and how one could spend their free time, the online learning experience allowed students to manage their time differently and expand on passions they had previously been unable to explore. Creating businesses allowed students to express themselves and their capabilities in ways that they couldn’t in school. Three DAS students; Morgan Staples, Christian Maidankine, and Alyssa Marie Verdan, share their journeys in exploring and managing a creative business and reflecting on how their academic experiences have supported their entrepreneurial efforts.

IN CONVERSATION WITH: Morgan Staples Christian Maidankine Alyssa Marie Verdan EDITED BY: Marwa Al-Saqqar Maya Higeli

ABOUT THE BUSINESSES Morgan Staples, who is currently in her final undergraduate year, started a crochet clothing business called URTH during the pandemic —whilst she was in her co-op term. During the first lockdown in the spring months of 2020, staying at home led many in a frenzy and sought new hobbies and activities to pass the time. For Morgan, she started crocheting then to learn a new skill with the intention to make her own clothing for that summer. Immediately from there, Morgan realized that it was something she enjoyed doing as a creative outlet. The activity also provided her with space to unwind from her other responsibilities. Soon enough, friends and family started asking Morgan about her creations and made requests for items that Morgan then made.

Similarly, Christian Maidankine was in co-op during the start of the pandemic when he first began to explore what other forms of design interested him. He looked into what materials and tools he had access to, and it seemed possible to do just that with leatherworking. For Christian, the reasoning behind this push was after a moment of reflection,“After three years in DAS, I began to feel very dissatisfied with studio. We would spend so much time designing a project that didn’t turn into anything. I wanted to finally design something from concept to completion, and leather-working provided me with the outlet to do so.” Working from home during co-op provided Christian with the convenience and support to start his own business, MAIDANKINE, through social media platforms —where he can also share and document his leather-working. The business provided Christian with time to slow down and think more about design and what he wants from it; to be able to remove himself from responsibilities and expectations that may come from designing within an academic setting. The concept behind his business first started by creating sleek bags that are functional for a designer and their needs. MAIDANKINE bags are designed with enough space and comfort while ensuring they are visually appealing and look more professional than most of the bags found in the market, which lose their aesthetics for functionality. What was currently available did not satisfy Christian, so instead, he wanted to make his own bags to be able to carry his sketchbooks and supplies. From there, he considered that others may want the same. Christian explains that through this outlet,, “it’s very satisfying to turn a sketch into a real object, and in the case of leather-working, a product that people can use.” While it’s a beneficial outcome for Christian to be able to sell his products through MAIDANKINE, it always comes back to appreciating it as a form of design expression. In the future, Christian hopes he can continue designing different scales and mediums. What he has been able to explore and create in these past few years is simply the beginning of MAIDANKINE.

This experience encouraged Morgan to consider selling her crochet work which led to the creation of her own single venture business the following October through Instagram. URTH became a way for Morgan to have something fun to do while also earning some money on the side. That said, what this business means for Morgan is that she now has an opportunity to connect with people around the world — people who are pursuing a similar journey and business as her or are looking to buy something hand-made that she can happily provide.

b a. URTH by Morg hats b. MAIDANKINE bag

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“Through sharing and selling my crochet, I am hoping to create an appreciation for slow fashion, by giving customers something made with care by my two hands . . . literally from just a ball of yarn.”

“Love Tulip was a very personal brand where I wanted to showcase my creativity in something that others are able to enjoy, while also being conscious of providing a sustainable product that can be used every day.”

THE STUDENT JOURNEY c Alyssa Marie Verdan, on the other hand, started her small business a year into the pandemic in February of 2021, while completing the second semester of her third year. While studying remotely during the university’s first fully online academic year, Alyssa felt uninspired. The combination of a stressful year and being isolated at home was not satisfying her creative output. Moreover, when Alyssa started university, she had to put her artistic hobbies on pause since all of her energy was needed for her studies

The academic load placed on students leaves no capacity for them to continue exploring their own hobbies and passions —old or new. However, the pandemic and further lockdowns have pushed people like Alyssa to prioritize her needs mentally and emotionally, as well as consider what she really wanted to achieve during her time at home. While Alyssa was reflecting, she had also been interested in tote bags and has been an avid collector. “One thing led to another . . . and the next thing I know, I bought an iPad, downloaded Procreate, and just started sketching designs for my small business!” From there, Alyssa’s business, Love Tulip Designs, came to be. The small business curates lightweight eco-tote bags with Alyssa’s own creative designs. Starting this small project for herself, Alyssa found creativity in putting something out in public that she’s proud of and others can enjoy. Like Morgan, Christian, and other students who’ve started a creative business, everything that came down to handling and managing the business (i.e. shipping, eCommerce, customer service), its graphic visuals, and social media/advertisement were all done independently. For Alyssa, this creative pursuit helped her get back into an artistic rhythm that she lost in the past few years. It provided a learning experience where she was able to manage something on a scale that was never explored academically — especially since she was responsible for every decision made. That said, it was also rewarding for Alyssa to receive positive feedback from customers and have the support she needed from friends, family, and other local small business owners. c. LOVE Tulip tote bags d. URTH by Morg sweater pattern

Every DAS student’s experiences varied academically while starting up their businesses during the pandemic. Some were graduating, some have graduated, some were working in co-op, and some were in the midst of their early undergraduate years. As Morgan took a year off for co-op after her third year, she would spend a majority of her time crocheting at night after work to manage her business. When Morgan returned for her final year in the fall of 2022, having online classes provided her with the freedom and opportunity to multitask and crochet more, “I would often crochet while listening to lectures at home, which is something I wouldn’t have been able to do if classes were in person.” As for Christian, his final year has been quite busy academically. That said, he managed to create more designs, craft with new red leather, and expand his business network by taking his bags to a small exhibition in Montreal in October 2022 —where he showcased his products to over a hundred people that night. Alyssa, who first pursued Love Tulip as a full-time student, found that having virtual classes made this business possible.

This major shift in priority and capacity, caused by academic institutions operating remotely, created a difference and an opportunity that did not exist for students before the pandemic. Although the lockdown and virtual studies led Alyssa to lose her creative output academically, these aspects still gave her the possibility to balance managing a small business on her own while completing her school work.

Despite scaling back the amount of time spent crocheting once classes started, Morgan maintained her time to fit it into her daily schedule, post on Instagram, and do a few commissions every now and then. Furthermore, Morgan reflects on the experiences she’s gained outside of the classroom and envisions the possibilities that academic spaces can occupy if they were to incorporate different forms of design into the architectural pedagogy or explore more interdisciplinary and collaborative ways of learning, “perhaps DAS can cross over between crochet/textiles and architecture. I would be really interested in pursuing that.”

Between these three small business owners, the aspect of transitioning from work and back to school (Morgan and Christian) or from school and into the professional field (Alyssa) has offered students the opportunity to experience how managing their business has been in these different circumstances. When Morgan returned to an academic space with an already established business, it changed her mindset compared to her first three years at DAS. It taught her how to have a healthy balance of school work, business work, and fun, “I think my mindset this year was that —yes, I need to focus on academics first— but I also want to make room to continue doing my hobby.”

f As for Alyssa, the transition from starting in school allowed her to understand the entrepreneurship found within her co-op especially the relationships made with clients and

a business aspects of placements, consultants.

“With my small business, you really get to value the relationships you build and the people you come to meet with the same aspirations and interests as you. I think that my journey with Love Tulip opened my eyes to be more engaging and be more comfortable with expressing myself, especially within my work environment.” Running their own small businesses for the first time, each designer found that they have developed professional skills that are helpful within the architectural field. Morgan explains that from a logistical side, she was able to learn a lot regarding project management through communicating with customers and suppliers, as well as managing finances and time. Christian shares that the design process for his products from concept to realization was most beneficial,

Christian, on the other hand, elaborates that starting MAIDANKINE was easy during co-op since he had the time after work and on the weekends to focus on leather-work, “the nice thing about working in an office is that after 5 pm, you’re generally done. You don’t have the constant stress and workload that is present during school.”

From another perspective, it is also crucial to note what ways learning at DAS has been advantageous in pursuing designbased entrepreneurship. Certainly, for Alyssa, proficiency in design softwares and other technical and graphic skills gained through her architectural studies allowed her to incorporate them into the business.

It became challenging to keep up when he returned for his final year at DAS, but that did not stop him from pushing forward to achieve the goals he has for his business and his future,“it has been difficult, but I am excited to continue expanding my business once I graduate from the program and enter my master’s.”

e. LOVE TULIP tote bag making f. MAIDANKINE bag

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“when designing, I always had to think about how the leather would come together … which adhesive, what type of stitching or seams, and how to layer everything properly. This attention to assembly is directly applicable to architectural design.”

For many creators and businesses, another conversation that is frequently brought up is where they see their pursuit going in the future. Despite being a result of the conditions that the pandemic brought onto their lives, each business is evolving with the designer. Morgan has no large plans to expand URTH at the moment but instead aims to continue making clothes and accessories after graduating to share them online and for people to buy. Christian would also like to continue his journey in designing and creating leather products since he, not only enjoys making them, but also because he considers them a product that is equally about form and utility. Furthermore, he sees MAIDANKINE growing with him “I think as I continue developing as a designer and have my own practice, the bags will be joined by other types of design and production.” For Alyssa, she has been able to learn how to do pottery during her break after attending some classes, so she hopes that she can develop her skills in that area. The continuous pathway in exploring her passions has also allowed Alyssa to consider creating more art and look into making prints or posters.

From another perspective, it is also crucial to note what ways learning at DAS has been advantageous in pursuing design-based entrepreneurship. Certainly, for Alyssa, proficiency in design softwares and other technical and graphic skills gained through her architectural studies allowed her to incorporate them into the business.

NEW PURSUITS Despite the difficult circumstances that the pandemic has brought on to students in their academic and professional environments, they continue to surprise everyone with their resilient drive to explore themselves and take on any opportunities that come their way. Time and time again, students had to neglect their existing hobbies due to heavy academic workloads that limit them from having the capacity to pursue both old and new passions. With the pandemic impacting the conventional ways communities have navigated their daily responsibilities, students’ existing struggles have been brought to the surface as they began to experience increased demotivation and virtual fatigue due to online learning, as well as social isolation and creative limits due to remote working Nevertheless, these unfortunate circumstances allowed for much-needed conversations regarding how necessary it is for students to prioritize their wellbeing and improve their work-life balance. As such, young designers in the field, such as students and graduates of DAS, have been able to discover and rediscover creative pursuits that they have been unable to explore until now. By creating businesses, students are able to express themselves in ways that they are unable to do so in an academic environment.

g g. LOVE TULIP print h. Urth by Morg hand crocheted vest

By sharing some of the journeys and reflections of DAS students and their creative entrepreneurial efforts, there lies an example of how determined and creative students are capable of seeking new experiences and rediscovering design outside of the classroom.

With a year or two of experience, all three designers have reflected on their journey as students and creators. For anyone interested in entrepreneurship, looking to explore their creative outlets, or share their design/architectural talents publicly, Morgan, Christian, and Alyssa have shared some key lessons that they have learned through their own journeys of rediscovery:

“My biggest advice would be to not be scared of starting! It is a great learning experience and if it is something you truly love to do, it will attract people who see your passion and will definitely support you. One thing to add also is to reach out to other small businesses that you believe have the same mindset or creative vision as you, because most of the time, they would love to help out or provide some advice.” - Alyssa Marie Verdan

FIND THEM HERE

ADVICE & REFLECTION

Alyssa Marie Verdan LOVE TULIP | @ 1yssq

Christian Maidankine MAIDANKINE | @ maidankine

“Just to take it slow and really think about what interests you. Don’t rush into things and give time for ideas to settle and develop.” - Christian Maidankine “If you want to start your own creative business, do it! It may seem a bit scary in the beginning because you don’t know what you’re doing, or what’s going to happen, but it’s so fulfilling to be able to share what you make with others, and to see them enjoy it!” - Morgan Staples

Morgan Staples URTH BY MORG | @ urth.bymorg

02 rediscovery S02 - rediscovery

i. MAIDANKINE bag making process

CLOUDS OVER REGENT PARK

THOMAS GOMEZ OSPINA ACSA Steel Competition (First Place)

NIA CENTRE FOR THE ARTS

KIPLING ACRES LONG TERM CARE HOME

JAMES GOODEVE & MARIAN MOLINA GARCIA ASC620

MEHVISH CHANDIWALA ARC920

NIA CENTRE FOR THE ARTS

OLIVIA NUNN & ISABELA MANGLALLAN ASC620

TERMINAL 0: MORPHO

ALICIA AHONEN Thesis

THEATRE TEMPS

ARC920

INDUSTRIAL WASTELAND: REVITALIZATION TRANSCRIBED

THE ANDREA CAMILLERI FOUNDATION

RITA WANG

NOAH SPIVAK ASC301

NICOLE BURDYNEWICZ BSC820

SILO PARK COMMUNITY ARTS CENTRE

KONNER MITCHENER, OLUWATOBI OMISORE & NICOLA CACCAVELLA AR8103

DEFLECTION THEATRE

JUSTIN LIEBERMAN ASC301

modular flexible

CLOUDS OVER REGENT PARK

diagrams sectional perspective details exploded axo

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THOMAS GOMEZ OSPINA Undergraduate / Year 3 / ACSA Steel Competition (1ST PLACE)

ephemeral

Regent Park represents a memory of Toronto’s failed aspirations and the mistakes inherited from the modernist era. As a failed social housing experiment that implemented post-war modernist ideals, the violent history of Regent Park resonates to this day. However, the momentum behind a new era for this community is reaching an apex as city leaders expedite the final phase of Regent Park’s celebrated revitalization plan. “Clouds Over Regent Park” is a project that intends to drive this momentum forward through the design of a grand canopy that will bring the entire community under a single roof. The design of this canopy can mold, react, and respond to the engagement from the community. The concept of several canopies within a canopy is explored to create a space in which members of Regent Park’s diverse community can congregate

flexibly and spontaneously underneath a modular structure that serves the user’s needs. Several different frameworks are incorporated to host activities such as farmer’s markets, performances, shows, exhibitions, and more. The entire structure is elevated by two V-shaped masts that allow the space underneath to remain column-less. This gives the canopy an ephemeral lightness that allows it to remain unobtrusive to its natural context whilst also remaining flexible and welcoming to all members of the community. Finally, a permeable stainless steel chainmail mesh wraps the structure and its non-permeable inner canopies like a soft veil. Aside from providing passive shading, this chain is tethered to the steel frame to provide lateral bracing. Conceptually, the mesh provides the final embrace to the structure, giving the canopy an organic formlessness that alludes to its ever-changing functionalities.

site

lift

suspend

drape

engage

71 clouds over regent park

Stainless steel permeable chainmail mesh

Stainless steel light truss frame 3. Performance canopy 2. Market hall canopy 1. Exhibition Canopy

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Steel Crane Masts

1. Exhibition Frame

2. Market Hall Frame

Deployable scissor mechanism for vendor stations

Deployable exhibition partitions from a curtain track system

Market with stations partially deployed

Exhibition in an open and public arrangement

Partitions deployed to create a more controlled exhibition experience

Market with stations fully deployed

3. Performance Frame

Truss is equipped with performance rigging system

Performance as a concert or show with deployed curtain, performance lights, and speakers

Performance in a more intimate and private arrangement, such as for dance practices

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features roof plan floor plan exterior render farmer’s market night time performance

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clouds over regent park

home village

KIPLING ACRES LONG TERM CARE HOME

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sketches site plan axo moments garden overview

MEHVISH CHANDIWALA

identity

Undergraduate / Year 4 / ARC920 Advanced Architecture Studio

Considering the Green House model of care and an elderly village, the KIPLING ACRES LONG TERM CARE HOME considers creating a neighborhood with different typologies of homes to create its own identity. It incorporates different architectural elements to make a place of living not only look but also feel like a home. Some things that are specifically identified are materiality, home front conditions, rooftop gardens, and loggias. The homes align with major streets, and internally connect with its own urban street, leading to different activities, amenities, and the village core, creating a transition from the exterior urban city to the internal unique village for the elderly. The homes are divided into 5 distinct buildings with public programming throughout. The concept of home can have different connotations, meaning every home is unique from the outside as well as the inside, and that has to do with the person

who inhabits the space, without the individual, there is no sense of home. And so these different elements and characters are involved to attribute to these different homes. The project allows many opportunities and different choices for a person to have a place of living that feels like an extension of their home.

drop-off admin

lounge gathering space

kitchen

kipling avenue

gift salon shop

cafe

front lawn

parking loading ramp laundry

clinic

dentist

community garden front lawn

library amphitheatre

wandering garden village center

public living room

garden front lawn

worship room

urban street wellness room

public living room

urban street

stores

green spaces

water features

garden path

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entry points

kipling acres long term care home

movement biomimicry

TERMINAL 0: MORPHO

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RITA WANG Undergraduate / Year 4 / ARC920 Advanced Architecture Studio

Terminal 0 is an architectural extension to the existing Terminal 1 at Pearson International Airport in Mississauga, Ontario. The envisioned extension aims to create a contemporary and futuristic addition to the existing structure, accommodating more domestic and international passengers.

have very irregular flight patterns that make it difficult for predators to catch them. So together, the movement of a butterfly is dynamic also with delicate manipulations. The conceptual design aims to construct an architectural expression from the movement of butterflies.

dynamic

Like how the butterfly combats the challenges of flying in windy days, it took humans a long time to combat the challenge in aviation and cope with unpredictable weather conditions. Inspired by the movement of butterflies, the goal for Terminal 0 is to celebrate the technological advancements in aviation with advanced technology in architecture such as parametric design. Rather than flapping their wings like birds, butterflies contract their bodies to push air under their wings, propelling it through the air. They also

process collages experimental drawing level 1 floor plan level 2 floor plan interior view

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terminal 0

movement biomimicry dynamic

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detail development longitudinal section transverse section

i j

fragment plan pier 1

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terminal 0

net-zero sustainable

THE ANDREA CAMILLERI FOUNDATION

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pie chart perspective section insulation/PV panel diagram water diagram wind/plant diagram plan

NICOLE BURDYNEWICZ Undergraduate / Year 4 / BSC820 Building Science Studio II

renovation

This sustainable, net-zero retrofit of a 100-yo Italian villa explores numerous facets of sustainability, not limited to just energy consumption. This villa was once the writing studio of the late Andrea Camilleri, and will now house the foundation in his name, along with their requested programming. All pillars of sustainability were considered, including the independence from the Italian energy grid, accessibility and inclusivity, occupant control of their environment and use of space, as well as the reuse of building materials. Two building additions were strategically implemented based on the Mediterranean climate, building orientation, and spatial uses. The first is a 3rd floor writer’s studio addition designed to collect energy and water, provide ample cross-ventilation, and be wheelchair accessible and family-friendly. The design also provides ample north light, with no

windows on the east or west, which still provides daylight autonomy for most of the floor area. It also reuses the old windows and doors from the renovation reducing waste.

176 kWh/m²/year without cooling 30% renewable

The second additions are the front and rear terraces, made of reused scaffolding. They shade the building from the south while also providing space for social gathering, occupant customization, and cooling plant life that pairs well with cross-ventilation and thermal comfort. The design seeks to find efficient combinations of sustainable features so that building elements and spaces can do some heavy lifting when it comes to sustainability. 110 kWh/m²/year with cooling 37% reduction in energy use 100% renewable

cross-ventialtion

heat pump (to ID air) water heater

ample north-facing windows

solar array

graywater collection for gardening

64°

milti-level terraces perfect for viewing events level 3 residential (accessible) multifunctional and modular structure

terrazzo floor for thermal mass

level 2 residential

urban farming

level 1 admin office

ground floor event space

the andrea camilleri foundation

accessible and efficient platform lift

air-source heat pump

c 90% 80%

90%

80%

90%

heat pump water heater (syphoning heat from the indoor environment)

90%

Daylight Autonomy

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90%

contamination design remediation

INDUSTRIAL WASTELAND: REVITALIZATION TRANSCRIBED

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diving pod hamilton map render render biodome - water

ALICIA AHONEN Masters / Year 2 / Thesis

revitalization

provide experiential engagement for the public. The For decades, shipping harbours, industrial objective is to develop a post-pollution, diversified, developments, and municipal wastes have mixed-use coastline with functional, engaging escalated levels of pollution and contamination in structures that promote a connection of place the water, soil, and air. Cumulative effluence has led between the city and its natural resources. to the demise of valuable waterfront cities, and this Shell - repurposed degeneration has separated urban centres from Exploded Axonometric rolled steel public accessibility to the water. Hamilton Harbour is the largest contaminated sediment site along the Great Lakes in Canada. The urban waterfront is crucial to Hamilton’s history, both geographically and politically. However, the current industrial High-strength alloyed steel recession has caused these lands to degrade: Accessing the water pod from shore physically, culturally, and architecturally. Water purifying biodome returning for treatment

This thesis explores a method to revive Hose the waterfront and improve community connection wellbeing, through revitalization of the landscape. Architectural intervention provides the means to implement decontamination processes and

Compressed oxygen air tanks

Viewing room

Mechanical & Engine

Diving Pod Section

a Diving planes

Viewing hatch

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industrial wasteland

AIR

L SOI

WATER

contamination design remediation

f Degeneration. Contamination. Remediation. Increasing levels of pollution from industrial sectors and municipal waste have limited public water access. For decades, industrial practices were prioritized, ignoring the resulting water, soil, and air contamination. While waterfront industrial and municipal factories are still important for economic

growth and maintaining the city’s heritage, their contaminated lands can be transformed into revitalized and resource systems. The once-severed, urban waterfronts have the unique opportunity to reconnect the public with the water’s ecosystem, establish deep connections, and create a sense of

place. Cleansing biodomes on the coastline are a prospective alternative way of rectifying the damage caused by pollutants. Reviving our water, land, and atmosphere assets will create new, distinctive, and mix-use ways of sensorial experiences.

Pedestrian and cyclist pathway

HERMET IC

G BA HOT-ROL LE

D EEL ST

BRUSHE DB STEEL CK LA

DARKEST

IED GLASS RIF IT

revitalization

CONCRE TE

85 industrial wasteland

f g h

render entrance render air purifying diagram biodome

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air purifying biodome water purifying biodome stationary soil biodome

S T E EL C

MIXED V ITR

OI L

LASS ED G IFI

WEATHE

RECYCLE D

EEL ST

RO L LE D S T E E L

REPURPO S

STEEL CK LA

TE WAS ED

BRUSHE DB

VITRIFIE

SHALE

DG LA SS

SAND

TE EL

PER FORATED

g w, es.

BLACK S

Water purifying biodome – locally sourced materials and decontamination by-products

Stationary soil biodome and soil decontamination cap to host vitriﬁcation - locally sourced materials and decontamination by-products

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culture community

SILO PARK COMMUNITY ARTS CENTRE KONNER MITCHENER, OLUWATOBI OMISORE & NICOLA CACCAVELLA Masters / Year 1 / AR8103 Studio in Collaborative Practice

adaptive reuse

The Silo Park Community Arts Centre provides a space for gathering and recreation on Toronto’s rapidly developing harbourfront. The Silo Centre turns an underutilized site on prime harbourfront land into a communal jewel in the center of a dense residential development. The Victory Mills Soya Silos stand as an iconic relic from Toronto’s industrial past, now transformed into recreational, creative, and exploratory spaces accessible to the public. The goal of the Silo Park Community Arts Centre is to give back to the community. The five-storey building provides spaces for artistic creation, learning, and recreation. Included are spaces for indoor performances, markets, outdoor exhibitions, and exploratory paths for community members to engage with the industrial relic itself. In an effort to conserve the existing structure and reduce the

carbon footprint of any addition, the concrete silo is strategically carved out at the lower levels, and prefabricated floor plates and walkways are dropped into the silos and fastened to the walls of the concrete complex. A small addition is added to the roof of the silo complex within the footprint of the previous roof structure, providing communal space for the public to gather, sit, eat, and experience views of the harbourfront and city from the new community hub. Through this design proposal, a once dilapidated and often overlooked symbol of Toronto’s historic identity becomes a lively and playful hub defining Toronto harbour’s new community identity.

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diagrams site plan section rooftop

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silo park community arts centre

culture

Solar Panels

Light Tubes Light Diffusers

Flat Roof

Support Trusses & Roof Structure

community

Channeled Glass

Concrete Pad

Metal Connection Paths Prefabricated Floor Plate

Pre-Constructed Metal Staircase Sections Graffiti Silo Access Structure Existing Silo Complex

adaptive reuse

Rock Climbing

Drilled Light Reveals

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axonometric 3rd floor axonometric flexhibition ceiling

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silo park community arts centre

integration flexible

NIA CENTRE FOR THE ARTS

a b c d e

diagrams ground level plan screen detail overhang detail facade

JAMES GOODEVE & MARIAN MOLINA GARCIA

community

Undergraduate / Year 3 / ASC620 Integration Studio II

The Nia Centre for the arts aims to integrate the unique culture and artistic expression of the surrounding little Jamaica neighborhood into a building which becomes a beacon within the community. The centre supports the existing local artistic community while fostering the next generation of creative minds. Situated in the heart of the cultural presence within little Jamaica, the NIA centre embodies the unique individuals who use the space. The flexible spaces within allow for a variety of community events and programming to be held in the building, and ensure it is a desirable space for all demographics. The form integrates the artistic styling that is already present within little Jamaica and respects the existing vernacular. The dynamic facade is decorated with murals and installations by local artists, creating a physical embodiment of what the building represents. Outdoor spaces are integrated with the interior

programming of the building to create a cohesive and functional public realm that works in unison with the centre. Continuous pathways flow through the site and link significant surrounding spaces, creating pedestrian areas that are convenient and functional. A central mass houses critical circulation elements, and allows for the auxiliary spaces to be placed freely around it. The building consists of materials and shapes that reflect traditional artistic styling that is present in little Jamaica and aims to help shape the future of the neighbourhood. The NIA Centre strives to become a place that seamlessly integrates into the existing context, and enhances the artistic and cultural values of the community.

UNITE. Unite the streetscape with the building by integrating the sidewalk and public realm with the facade and setbacks.

CIRCULATE. A central mass houses primary circulation elements and provides access to the rooftop.

LINK.

Link the surrounding streets and Reggae Lane with the rear courtyard to activate the space.

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nia centre for the arts

gather safe

NIA CENTRE FOR THE ARTS OLIVIA NUNN & ISABELA MANGLALLAN Undergraduate / Year 3 / ASC620 Integration Studio II

centrality

A sense of place is established at the NIA cultural center through the engagement of the surrounding context. By drawing the surrounding community into a central gathering place, the building aims to support the idea of togetherness for the African Diaspora community in the GTHA. With a dynamic form that encompasses the performance space and reaches through the whole building, this central core establishes a sense of place for the people. Each floor engages with the central core through views, circulation and program within. The core is visible from Eglinton through to the school at the rear of the site. The use of transparent glazing engages with the street scape for people to enter and explore the building.

An effortless flow of people through the first floor and marketplace creates a place that people want to engage with. Ultimately this form invites people in and establishes a central node for community togetherness. Located North of Toronto in the Oakwood- Vaughan neighbourhood, Little Jamaica has seen its surroundings flourish both structurally and culturally. On its own, the community has been a place of refuge, opportunity and community, however within the last years its sense of place has been buried and soon to be lost by its neighbouring developments. With this in mind, an insitituation such as NIA not only acts as a strong symbol of community and significance but also stands in hopes of inspiring and empowering those within its presence.

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core diagram performance space ground floor building section wall section

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nia centre for the arts

intricacy movement

THEATRE TEMPS

exterior view diagrams sectional perspective ground floor plan third floor plan interior

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NOAH SPIVAK Undergraduate / Year 2 / ASC301 Design Studio II

The performance I chose to explore for my theater is ballet. Ballet can be defined as a form of dance that is composed of precise choreographed movements, put on display. The theatre takes this definition of ballet and applies it to everyone who enters the building. It creates a space for the movements of people to be displayed and the intricate details, spatial relationships, and inner workings of the building to be exhibited.

throughout the entire building. The movement of people is displayed at all times of use and in all areas of the building.

connection

Temps lié is a ballet move that is a connecting movement from one point to another. Dancers use this move to transition between other moves and continue to stay in an elegant fluid motion. A large 3 story atrium space connects each of the public programmatic elements of the building as well as some private areas. The circulation is weaved throughout this atrium and visible

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theatre temps

transmission reduction

DEFLECTION THEATRE

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louvres diagram sectional perspective north elevation south elevation west elevation interior

JUSTIN LIEBERMAN Undergraduate / Year 2 / ASC301 Design Studio II

reflection

Deflection Theatre uses curved gestures therefore allowing light to be reflected and absorbed, reduce sound transmission, and define programmatic location. Deflection Theatre is located at the corner of Dundas Street East and Bond Street and uses specific curved gestures to allow light to be deflected and absorbed into interior spaces. These curved gestures are louver systems that clad the exterior elevations of the building. Natural and artificial light deflects off these louvers and travel along the interior materials to illuminate each programmatic space. The louver system also reduces and controls sound transmission when vocal control is preferred. In the community spaces, the louver distancing is larger to allow for vocal and visual engagement. Then in the private spaces, the lovers are closer together, making the views opaque.

The building is split into three defining spaces, the public, circulation, then the private. The street frontage has community facilities at the forefront to interact with the centralized context. Then as you go towards the theater you descend into a light well where circulation is located. As you descend you can look up to see the offices, public practice studios, recording studios, and the glass roof. As you travel down underneath the wooden curve you can see the backbox theater, concessions, and the bridges to enter the theater space. There is a disconnect with the public that occurs. One enters the theater and backstage underground, which reduces external sound transmission.

Absorption + Deflection

Sound Reduction

Light is absorbed by the dense part of the louver system then deflected into the space.

The dense louver system reduces the transmission of unwanted sound to the private programs.

Absorption + Deflection

Sound Reduction

Light is absorbed by the dense part of the louver system then deflected into the space.

The dense louver system reduces the transmission of unwanted sound to the private programs.

Street Engagement

Public vs. Private

Larger spaces between the louvers allow for visual engagement with the community.

A denser louver system makes it difficult to view through the slots at an angle. While looking at it straight on allows for almost uninterupted views.

Street Engagement

Public vs. Private

Larger spaces between the louvers allow for visual engagement with the community.

A denser louver system makes it difficult to view through the slots at an angle. While looking at it straight on allows for almost uninterupted views.

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deflection theatre

reflection

reduction b

transmission

Dundas Street

4 Open to below

UP DN

1 Open to below Open to below

DN DN

Bond Street

7 OTB

5 5

OTB

3 Open to below

DN Floor +1 UP

Floor +1

(1) Entrance (2) Vestibule (3) Ticket booth (4) Performance Library (5) Loading / Garbage (6) Private recording studios (7) Mezzanine (8) Backstage entrance

(1) Recroding studios (2) Office lounge (3) Administrative Offices (4) Practice rooms (5) Rehearsal rooms

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Floor 0

deflection theatre

(1) Recroding studios (2) Office lounge (3) Administrative Offices (4) Practice rooms (5) Rehearsal rooms

REVIVAL

THE ACADEMIC FUTURE DAS students have been embracing the digital paradigm shift currently being undergone in architectural production, collaboration, and visualization. While the COVID-19 pandemic has certainly distanced students from the familiar studio environment, it has not stopped them from realizing their projects and social events. Through the use of digital tools and virtual collaboration, the students of DAS have been able to achieve some impressive results in architectural research, fabrication, and collaboration. The LongHouse Project pushed the boundaries of architectural research, employing the use of virtual reality and animation to gain a deeper understanding of the past. S’Winter Station used advanced visualization tools such as augmented reality to visualize a structure in real 3D space before it was constructed. Through the hard work of DAS students, the department was able to stay connected and networked over the pandemic, with successful student-run events, such as Women in Architecture, being held completely virtually. The perspectives of the students involved in these projects and events offer insight into the kinds of tools and technologies that are changing architectural education. We had a chance to hear from Alvin Huang and Vivian Kinuthia about their involvement in their LongHouse research project, Ariel Weiss for his work on the S’Winter Station, and Kira Phillips and Rysa Braganza, the presidents of ACU and AIAS Toronto Metropolitan University respectively.

IN CONVERSATION WITH: Kira Phillips Rysa Braganza Alvin Huang EDITED BY: Marwa Al-Saqqar Mathieu De Pompa

Vivian Kinuthia Ariel Weiss

Maya Higeli Jessica Iozzo

Overall there was much to be learned but scrutiny and sensitivity were important throughout the research process.

a The online collaboration of S’Winter Station would prove to be more difficult. As a design-build, much of the work has to be done physically. Beyond the typical Miro and Zoom repertoire, both projects would take advantage of different mediums in order to find ways to work collaboratively. S’Winter Station used digital tools in the form of virtual reality (VR) with the Oculus Quest 2, and artificial reality (AR) with the Holens 2, to digitally visualize and iterate on early design decisions. AR, and VR technologies with Enscape, Vray, and Fologram would be utilized to simulate lighting conditions, and visualize the pavilion at a 1:1 scale. Digital tools, such as the CNC, were also used to make a lot of the elements of the pavilion. Furthermore, the use of programs such as Unreal Engine for The LongHouse Project leveraged their graphics rendering capabilities and made it possible to have an executable that ran like a game with creative tools to design the environment, texture the longhouses, and add animated characters. Virtual reality was also incorporated into the build as a teaching tool for students.

TECHNOLOGY IN ACADEMIA As the architectural field continues to heavily rely on technology, the question arises about where that fits within the architectural curriculum. When discussed, it was agreed that the increasing use of technology is undeniably advantageous and should be better integrated into the curriculum. Alvin explains that students have spatial awareness of the digital spaces through the use of VR, such that they are able to dimensionally connect to the depicted context when compared to a photo or video, “Interactivity introduces play within the tool —and what better way to learn than to play while doing it?”Vivian adds that, as we evaluate the use of technology, it is important to ensure that the exploration is informing the use of the chosen technology rather than having the technology limit the outcome of the exploration. During her time as a DAS student, Vivian found interest, curiosity, and necessity as key motivator to exploring novel technologies, which are often self-taught, “A curriculum that rewards innovative spirit, provides safety nets in moments of failure, and assigns projects unencumbered by the pressure of grades could be very beneficial to an environment where students can experiment and better understand how to use different tools effectively to reach desired outcomes.” Similarly, Ariel elaborates that if there is an opportunity, technology should be integrated to provide students with a robust technical background and an understanding on how advanced technology can encourage an efficient design process and innovation. Furthermore, he believes there is a need to push further with the technologies provided and used within the field, “If we have the technology, we will design within those boundaries. So if the technology is pushed, design ideas will also be pushed.”

a. Immersive Visualization of Longhouse Community b. Visualization vs Built Project

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The new academic year would allow for the organization of extracurriculars. Having been paused during the last academic year, the excitement surrounding the new design-builds was palpable. However, each project would prove to have its challenges when collaborating virtually. For Alvin and Vivian, while the learning curve of the technical aspects was not steep, a significant challenge was finding reliable and diverse sources of information. The LongHouse Project meant both would work collaboratively inter-university with fellow research assistants, Namir Ahmed from the DME, the design team at Sheridan College, as well as their supervisor Vincent Hui. Despite the many recorded accounts of Huron Wendat’s culture, lifestyle, and practices, most of the information captures their history post-contact with European settlers. Additionally, with the information coming from the perspective of French and Jesuit colonists, extracted information was carefully analyzed to ensure it lined up with Indigenous artifacts as well as recent historians’ works that acknowledge the misinformation in some of these sources

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ONLINE COLLABORATION

ONLINE EXTRACURRICULAR EVENTS + STUDENT ENGAGEMENT

c While reflecting on their experiences with these technologies and remote collaboration, it is apparent in how influential they can be regarding their academic and/or professional goals. Alvin, Vivian, and Ariel share what opportunities they see emerging in the near future. Since these technologies have shown to have promising capabilities to teach visually rather than simply through words, it has left Alvin wondering what the possibilities truly are,“To quote a picture is worth a thousand words, then what does a fully immersive, interactive, digital experience bring to the table for students? In other words, interactivity encourages users to explore and learn within the space rather than rely on a research paper to read through in order to understand it. Vivian found that this experience exposed her to an interesting area of research using architectural visualization tools to elaborate on historical research and theories. She adds that, “The implementation of this in game design is an area that architecture students could contribute to through their understanding of the built environment, construction practices, and material properties.

Continuing the discussion with Kira and Rysa, many of the challenges faced were also reflected in the internal extracurricular committees of DAS. Both ACU and AIAS are committed to hosting events beneficial to the student body. However, since the pandemic led students to strictly connect academically and socially through virtual means, student engagement and online participation proved difficult to predict and encourage. That said, it is important to take note of the fact that, by focusing their leadership and planning effort virtually, the opportunities to engage and participate have opened up to more people. Kira explains this by identifying that “one of the nice things about holding events online is that we are able to promote it outside of the University community.” In addition, Rysa shares that it enables student groups to invite speakers and facilitators from different parts of the world to come in and talk to students. Although people have now seen the limitless possibilities of event planning by using online platforms, the same opportunity is a double-edged sword due to the fact that everything had to be virtual. Kira shares that “because online events are through Zoom, there obviously is much less of a commitment to participate since you don’t have to travel somewhere.” The challenging part is that since students are only speaking to one another online, much of the student leaders’ time is spent on attempting to contact people through different online platforms to reach out and share these opportunities with them. Rysa describes that in the past (during inperson learning).

Even if this experience did not orient her professional goals in this direction, it did however, introduce Vivian to new ways of seeing the relevance of her education and the skills one can provide in industries outside of architecture, engineering, and construction. For Ariel, working with technology reinforced his appreciation for architecture and the design process involved, “Seeing the project through from the initial design stage provided great insight into how a project can —not just work conceptually— but be physically built into the real world as well.”

It is evident that the projects and experiences these three students have obtained provides valuable insight that one could use as part of their professional, academic, and personal journeys. c. Immersive Visualization of Longhouse Community d. S’Winter Station Mould Production - taken by Ariel Weiss

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“There were always people populating the building, where you could go up to the studios and say, ‘hey we want a one-hour break, come to this event in the Pit right now’.” But the reality is that, regardless of whether the event is interesting or not, if a student’s schedule is too busy for that week, they will not have the capacity to attend. Although this dilemma was evident before the pandemic, it has only been exacerbated during online learning when it became even more difficult for student leaders to coordinate with the Department so that planned events aligned with student schedules, university-run events, and avoided deadline season. Furthermore, online learning comes with a time for much internal restructuring, unpredictable changes to plans, heavier academic workloads, and social isolation. This amalgamation of stress and limited capacity on a student creates a difficult situation for one to have the ability to engage in extracurriculars. Rysa sums this, “that’s been a difficult part: trying to engage people. Zoom fatigue is real and people don’t want to do another online event.”

While knowing this, Kira, Rysa, as well as all the other student leaders at DAS understand how necessary it still is to be able to provide these opportunities where students can learn from one another, connect with industry professionals, and collaborate outside of the classroom.

THE ACADEMIC FUTURE By looking into the nitty and gritty details of online event planning and facilitation, as well as running a student group, it is crucial to evaluate the use of technology and the barriers students have to overcome. Through this discussion, it became clear that Zoom had created a paradigm shift in how facilitators view participation. Rysa explains this further by describing the difference between participation and engagement and how we view it in-person versus online, because at the end of the day, “it is one thing to expect people to be engaged during an event, and another thing to plan an event that is engaging.

Despite these challenges, these restricted circumstances have forced and guided these student leaders to be creative with their event delivery and planning. Through this discussion, it also became evident that, for student leaders, maintaining good relationships and strategic communication with their peers can go a long way. “Then our peers show up, not only for the industry professionals, but because they also want to support us [ARC.SOC, ACU, and AIAS].”

e. Immersive Visualization of Longhouse Community f. S’Winter Station Casting Fabrication - taken by Ariel Weiss

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As for Kira, she adds that ACU events have been dictated, to some extent, by what Zoom and other available digital platforms allow for. With Zoom, it was easy for student groups like ACU and AIAS to plan and host panel events since it only requires a speaker to talk while attendees simply watch. Regardless of the additional aspects that Zoom continues to introduce, it is still limiting for this pair of student leaders. Additionally, Rysa reflects on the aspect of Zoom fatigue and believes that perhaps Zoom itself may not be the best software to work with for such extracurricular activities and events — let alone university life in general. “Perhaps by mixing up events and interspersing them with other formats such as tutorials —where people are more engaged because they are a more casual and lighthearted event— can be part of the solution. The goal here is to provide students some sort of ‘university life’ that is beyond mandatory Zoom lectures.”

That said, Kira believes that “in the coming years, we will be more in a hybrid environment where there will be more effective and efficient solutions to facilitate better online learning and social experiences.” In a way, it is all about figuring out technologies and processes that balance out what the students are capable of working with and what the community (including the Department, panelists, facilitators, and attendees) can use. While discussing their experiences as leaders hosting events, it is clear how eye-opening it was to engage with the student body through a digital environment. Despite the challenges and struggles it may have brought on Kira and Rysa, these experiences have not deterred them from doing more or being part of such leadership roles in their future. As the “digital landscape and additional formats are not going away in the future”

Therefore, student leaders will be in a more hybrid environment where they can choose whether to focus on online or in-person delivery of events, based on the nature of the event, and are able to assess the advantages and disadvantages of each format. Rysa explains that from past years, knowledge was passed down to incoming and future leaders in regards to what works and doesn’t work in terms of planning events, which - of course - were in person. So, after these two years of online learning brought unordinary situations and dilemmas, student leaders can now pass on their own experience regarding virtual events and provide future students with a comprehensive understanding of how to lead and host events, regardless of their format. In addition, Kira describes “this year [as] more about endurance and long-term solutions,” whereas “last year was a shock where we were just scrambling and trying things out.” In a way, 2021 was the time for DAS student groups to really evaluate what worked from the previous year, what should be carried forward, and what needs to be changed. Despite facing a lot of challenges head on at the beginning of the pandemic, as well as taking some time to figure out how best to lead and host events, both Kira and Rysa hope that future student leaders at DAS will have a little more freedom and control over the types of platforms they are able to use and provide to the rest of the student body, which expands the possibilities and opportunities they are able to create. This ensures that the student university experience is maintained and further enhanced as much as possible. g. S’Winter Station On-site Install - taken by Kelvin Hoang h. S’Winter Station On-site Install - taken by Kelvin Hoang i. S’Winter Station Final - taken by Kelvin Hoang

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LOOKING TO THE FUTURE FIND THEM HERE

While students will always take advantage of advancements in technology from visualization, fabrication, and collaboration in their projects and studies, questions remain on how students will be able to learn beyond asynchronously.

Architectural practice is not solely a digital field and requires active in-person participation. As technologies advance and mature, architectural education will have to keep up to meet the growing needs of an ever-digitized world while also trying to maintain balance and enable students to learn through first-hand experiences.

S’Winter Stations https://winterstations.com/

The LongHouse Community https://longhouseoer.blog. ryerson.ca/

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The COVID-19 pandemic was certainly an unparalleled time to be an Architectural Science student. Isolated and away from studio spaces and peers, DAS students had to quickly learn an assortment of skills and technologies in order to face the challenges of online education. The pandemic has accelerated the integration of technology into architectural praxis. As the world continues to try to return to “normal”, many questions remain unanswered about the future of architectural education. Online learning had severe consequences not just on the academic learning experience but as well as the extracurricular. The tactile and hands-on experience of architectural education is now lost in translation and has been replaced by Zoom and Miro.

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RU ARCHITECTURAL RESEARCH CENTRE BENJAMIN BOMBEN, GABRIEL GAROFALO & ANDREW LEE ARC920

LIVING WATER TOWER JULIANNE GUEVARA, KAVITA GARG, NICOLA CACCAVELLA Manhattan Wildscaper Competition (First Place)

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UNVEIL JIALING LI & YIRAN MA ASC620

THE INCOMPLETE PROPOSAL OF THE EVER CHANGING RESEARCH INSTITUTION

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GLADYS LEE ARC920

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BREWED CAFE TREYA VYAS & THOMAS (NICK) EDMUNDS Cafe in Vienna Competition

TRCA SATELLITE VISITORS CENTREAND OFFICE

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ABI NARESHKUMAR, SIMRAN MUNDE, POURIYA JAFARPUR, FARABI BASHAR & MOHAMMAD FAZELI Solar Decathlon Design Challenge 2021 (Second Place)

GAME OF LIFE

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LIANE WERDINA ARC 920

THE MUSEUM OF WOODWORK AND WATERCRAFT

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SALLY HUANG, EMILY TISHANA PHAGOO & RUTUJA ATRE AR8103

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ECO-RIG ARIEL WEISS & NOAH SPIVAK ACSA Steel Competition

THE ECOLOGIES OF RIO DE JANEIRO IN YEAR 4400

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VIVIAN KINUTHIA, LENA MA & RITA WANG ARC920

re-forming flexible

RU ARCHITECTURAL RESEARCH CENTRE

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BENJAMIN BOMBEN, GABRIEL GAROFALO & ANDREW LEE

adaptable

Undergraduate / Year 4 / ARC920 Advanced Architecture Studio

Ryerson University has developed a master plan for the future of their Downtown Toronto Campus. Many of the existing buildings will need re-imagining and redeveloping, which includes the Ryerson Architectural Science building and program. The opportunity to expand such a program is tied with particular considerations. How will research and innovation progress within this industry? What would an architectural research facility become in the distant future? Our approach to the facility began with looking towards the future of architectural research. With the rapid development of digital education and the cascading effects of climate change, the architectural industry will undergo drastic transformations. One element has become a guiding parameter to our design process, the development of truly resilient architecture. Referencing a concept by Stewart Brand known as Shearing Layers, we intended to form our own

system of layers that prioritize various levels of adaptability, as seen in our layered text diagram. Our design stems from this layering concept and the creation of defined fixed space, along with adaptable flexible space. Through the creation of large timber/steel hybrid cores we are able to run structure, services, circulation and communal space through these forms. The cores have layers of permanence within them as well, the services are accessible from internal platforms and removable panels. The negative space that surrounds the cores is fully flexible and is made of regulated partitions, floor-plates and spaces that will grow and adapt with the building. The exterior envelope acts as a lightweight shell and utilizes foldable wall panels to open the learning spaces to the exterior. The building’s goal is to grow and change as environmental and social needs change in the future.

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mass timber construction city exhibition

UNVEIL

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JIALING LI & YIRAN MA

community engagement

Undergraduate / Year 3 / ASC 620 Integration Studio II

By regarding the building itself as an “exhibition” of the art and culture that NIA is representing, the interactivity among the diverse spaces and users gives a strong architectural presence to the Little Jamaica community. Using interlocking of space as the primary architectural language, the act of both making art and viewing art becomes a cohesive whole, intertwined organically to deliver the uniqueness and essence of the art and culture of the African community. The floor plates are designed to overlap with each other. The building put in great awareness of construction and building performance considering the integration of several building systems. The building focused on applying a double wall system consisting of a channel glass skin as the exterior glazing and internal glazing, with an operable shading system in between to intermediate the

vast sunlight exposure due to the west-facing building facade. The concept of utilizing the doublewall system is tied with the design intention to achieve the communication between the building interior and the streetscape due to the elongated building form, aiming to enhance the engagement and social intervention between the exclusive building users and the general public. The design of the construction put an emphasis on the overall performance of the double wall system, the clean and minimalist visual profile, and how it works with other building systems such as mechanical and HVAC. In this application, three detail conditions of the building envelope will be presented to show the intent of the double wall system and how it ties with the design concept technically, visually, and aesthetically.

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PRODUCED BY AN AUTODESK STUDENT VERSION

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BREWED CAFE

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TREYA VYAS & THOMAS (NICK) EDMUNDS

parametric

Undergraduate / Year 3 / Cafe in Vienna Competition

Coffee Culture holds high precedence in Vienna as the historical context of the evolution of the city can be depicted by the influence brought by various societies congregating within the capital. In turn, the desire for new architectural language is in constant demand, with the current era seeking sustainable practices and renewable outcomes. With this in mind, Brewed Cafe is intended to not only promote sustainability and environmental awareness, but to advocate for creative integration and expression within the community. As Brewed is located adjacent to Belvedere 21, a local art gallery and museum, the integration of artistic expression is a crucial aspect to the design of the project, providing a space for coffee connoisseurs, as well as creative minds.

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sustainable waterfront connection

THE MUSEUM OF WOODWORK AND WATERCRAFT

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SALLY HUANG, EMILY TISHANA PHAGOO & RUTUJA ATRE

community hub

Masters / Year 1 / AR8103 Studio in Collaborative Practice

The Museum of Woodwork and Watercraft is a community hub that fosters public engagement and activity along Toronto’s waterfront, fulfilling the needs of the neighbourhood as well as the city. The main programming of workshop and gallery is integrated within a network of art institutions that exist within Toronto, bringing a unique focus to the craft of woodwork. Located along the lake, the project contributes to Toronto’s rich history of water-based activities, recognizing the indigenous cultures that once resided along these waterways. Driven by the intent of giving land back to the public, the building occupies a small footprint on grade to allow for a birch garden and a central water feature, generating a healthy public realm on site. A larger massing that hosts gallery functions is raised above to frame views and connect people to the natural beauty of the lake and waterfront. The project is designed with wood construction

and aspires to be net-zero in operation through the application of sustainable passive and active strategies.

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sustainable waterfront connection

NETWORK OF ART AND MAKERSPACE The project will be integrated within a network of art institutions scattered throughout the city, providing functions that fullfill needs of both the neighbourhood as well as the city itself, bringing back attention to the arc of making and crafting.

CITY TRANSPORTATION The location of site of the project means it is naturally cut off from the rest of the city by the strong presence of the Gardiner Highway. Having a landmark art hub located on a previously abandoned industrial sire allows for visitor anracrion and revitalization of the Quayside.

GREEN SPACE A distinct lack of green space in the downtown core of the city begs a reconsideration of how the urban context is designed. Providing green spaces for relaxation and community gathering is vital for a healthy city to function.

URBAN BUILT CONTEXT In response to the concrete and steel of the urban context, the project aims to create an architectural response that takes wood as the main material to create a human-scale context, allowing for wood construction to pay homage to the regional materialty and craft of pre-industrial Toronto

RIVERS AND WATERWAYS Located at the edge of Lake Ontario, Toronto has a rich history of water-based activities, fishing, boating, etc. There is a need for an activity center char brings back focus to the historical watercraft and activities, and the site being located along the waterfront provides the perfect context. It also acts

community hub

as a symbol of recognition to indigenous crafts and cultures that resided along these waterways.

LAKE ONTARIO A visual and physical connection to the lake is vital to the project, bringing focus back to the natural beauty of the waterfront but also allow for downtown activity to spill into the Quayside. The project is deliberately designed to frame views of the water but also lead activities to the lake itself.

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Wood Panel Finish

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AirInsulation Barrier Mineral Wool

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biophilic design mass timber construction

TRCA SATELLITE VISITORS CENTRE AND OFFICE ABI NARESHKUMAR, SIMRAN MUNDE, POURIYA JAFARPUR, FARABI BASHAR & MOHAMMAD FAZELI Masters / Year 1 / Solar Decathlon Design Challenge 2021 (2ND PLACE)

net zero energy

Winning Second-Place for the Office Division category for the 2021 International Solar Decathlon Design Competition hosted by the U.S Department of Energy, this project proved to be resilient in being a self-sustaining, Net-Zero office building. The TRCA Satellite Visitors Centre and Office presents a minimal impact approach in relation to the surrounding site. The form of the building is elevated on pile foundations, creating gentle impact and sitting lightly on the land. The goal is to set an example for future developments to follow the principle of modular design. Our team was assembled based on group members with different expertise and skill sets. We used the Integrated Design Process (IDP) and worked closely together with an iterative approach in mind. Each member was responsible for a different aspect of the project, including an

Architecture Lead, Building Envelope Lead, Energy Modeling Lead, Project Manager, and Renewable Energy/ HVAC Lead. Given the current global climate change emergency from increased greenhouse gas emissions, it is up to the designers, engineers, and stakeholders of today to implement strategies to reduce GHGs to ensure a prosperous tomorrow. With the current goals to achieve Net-Zero emissions by 2050, the decarbonizing and electrification of future buildings and infrastructure is critical. Our proposal sets an example for future edge of city Net-Zero office buildings and developments.

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modular re-use

ECO-RIG

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ARIEL WEISS & NOAH SPIVAK

sustainability

Undergraduate / Year 2 / ACSA Steel Competition

With the inevitable collapse of the oil industry, renewable energies are taking an increasingly important role in powering the world. Given this promising competition, global offshore drilling rigs are being decommissioned as operating costs and risks no longer outweigh their potential benefits. However, offshore drilling rigs, being some of the most stable structures in the world, are extremely difficult and environmentally-taxing to decommission. While lighter steel jackets may be dragged back to shore and recycled, larger concrete gravity base structures will continue to destroy marine ecology for over 250 years before they begin to deteriorate. Located in the Gulf of Mexico, Eco-Rig is an adaptive revitalization model of an existing “concrete gravity base” offshore structure. The intervention occurs on three separate levels: the topside, the

centerpiece, and the observation deck. The entire complex functions as an eco-tourism destination, where the topside is responsible for residential accommodations, as well as sustainable energies such as food, energy, and water generation. This component is wrapped in a protective steel moving facade that acts to shield the residents from harsh waves and weather conditions. The centerpiece is a historical exhibit where the visitors can interact with the decommissioned oil rig and remember its destructive past. The observation deck takes visitors underwater where a steel lattice structure can be seen cultivating a sprawling coral reef that enhances the surrounding environment, providing fish and coral with a safe and protected home. The complex embodies the transition from natural gas to sustainable energies in its ability to transform a deteriorating environment into one teaming with life.

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water filtration nature sanctuary

LIVING WATER TOWER: VERTICAL HIGH LINE ON THE HUDSON RIVER

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JULIANNE GUEVARA, KAVITA GARG & NICOLA CACCAVELLA

urban agriculture

Masters / Year 1 / Manhattan Wildscaper Competition (1ST PLACE)

Located in the Hudson Yards the Living Water Tower is a mixed-use, green skyscraper which places emphasis on the filtration and purification processes of air and water. The building is situated at the original terminus of the High Line, which now extends through the interior of the tower, spiralling upwards. While it incorporates traditional program (retail, residential, and commercial), it does so unconventionally. The building separates into two parts, one tower which houses on-site research laboratories and farming, and another containing residential units embedded within greenery. The farm sustainably grows crops which are easily transported and utilized in the farm-to-table dining and retail market on lower floors.

and other creatures. Perhaps the most unique element of the project is its large water tower running through the building’s core. The tower funnels water from the river below into a vertical filtration process, once the purified water reaches the top it is stored in a tank to be redistributed for use. The Living Water Tower aims to be a model for new ways of interacting between biodiversity and urban life.

Vast greenspace incorporated throughout the building aids in improving air and water quality, while acting as a sanctuary for birds, butterflies,

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embracing the temporary bio-active + bio receptive materials

THE INCOMPLETE PROPOSAL OF THE EVER CHANGING RESEARCH INSTITUTION

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GLADYS LEE

material activism

Undergraduate / Year 4 / ARC920 Advanced Architecture Studio

In recent years, there has been an increase of interest in the architectural research community in the concept of material ecology. The term “material activism” was coined for the movement in the field, looking at bio-active + bio receptive materials, mostly focused on how biomaterial properties could be used to combat problems such as renewable power, air pollution control etc. As the design field evolves further into a true interdisciplinary field, opportunities to collaborate with experts in fields such as ecology and biology, along with the trend of biomimicry in design, has made this once niche topic now stand out more than ever. XXXLooking at notable researchers such as Neri Oxman and MIT Lab, Bio-ID Lab, ecoLogical Studio, as well as independent innovators like Hyunseok An and Maria Luisa Becerril, this proposal for the RYE ARC innovation institute aims to create dedicated spaces to curious

researchers to fabricate their visions. Envisioning the building as one big organism, the aim at this phase is to provide the internal systems and resources required to fabricate, to innovate, and to, in a sense, “grow” a new building. As the nature of material activism is not to look at the everlasting, but to embrace the cycle of growth and decay, The proposal seeks to provide a “skeletal” / shell that would sustain the flurry of research activities that is envisioned within the building. Society is moving towards a greener culture, hence we as designers should also design for a greener future. I believe the key lies in the raw, smaller details, in material activism. This project began with the stance that building can be constantly evolving and does not have to be permanent, and can be seen as an ongoing investigation instead of a final iteration.

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digital architecture future

GAME OF LIFE

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LIANE WERDINA

dystopia/utopia

Undergraduate / Year 4 / ARC920 Advanced Architecture Studio

Building off the studio explorations of a communist political state in a dystopic future, where resources are abundant, the project explores this abundance in the form of technology and data. The exploration involves the intersection of the virtual and physical potentials of a future context, utilizing the abundance of the virtual to replace the need for physical architecture and human interaction. This anticipates a virtual world that is used to gratify the creative need for human innovation and discovery. Through the physical, architectural spaces are explored in their ability to influence intimacy and evoke the most primitive human emotions. Within the proposed future, the physical world feeds off the abundance of resources and technology. In a post-capitalist society, data and technology are the only “all-seeing” bodies and humans live in isolation, housed in their individual units by birth with their reliance on digital reality. The digital

world is fabricated to stimulate ideas, creativity, interaction and wonder that are unattainable in physical reality. The representational “game” identifies a way for citizens to obtain instant satisfaction and achieve their creative goals in the digital world which transitions their dull reality into a framework of imagination. This becomes the architecture of their new world. With the ability to fully immerse in smell, sound, and sight, the only element left unsatisfied is touch. The remaining need for physical intimacy is the only human interaction that is sustained in a setting for human exploration, free of technology. It is also the only place for the architectural exploration of human experience.

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speculative evolution hyper-agriculture

THE ECOLOGIES OF RIO DE JANEIRO IN YEAR 4400

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VIVIAN KINUTHIA, LENA MA & RITA WANG

genetic modification

Undergraduate / Year 4 / ARC920 Advanced Architecture Studio

At the Apex of human civilization, Rio de Janeiro is an extremely dense and populated city, where the built form has transformed into modular systems that are attached to high-rise buildings to keep up with growth and efficiency. This leads to a region full of luxurious skyscrapers to accommodate the needs of the population. As global warming leads to the collapse of the Amazon rainforest and other natural landscapes on earth, humans are forced to expand their genetic engineering capabilities to maintain food growth to feed the masses. This leads to a hyper-GMO world where nature is completely controlled and artificially grown within raised farm pods and the new urban environment. Due to a genetic engineering fallout within the farm pods, plants and animals soon become toxic to consume by humans. As the availability of healthy food reduces, humans turn against each other and

destroy their environment in the fight for edible food. This ultimately results in the starvation and extinction of humankind. The collapse of the GMO farm pods catalyzes the uncontrolled growth of flora and fauna in Rio’s Post Anthropocene. Rubble from the apex dominates much of the landscape with plants and animals reclaiming their space, creating a new environmental condition within the city, allowing an opportunity for new ecosystems and species to breed from. Three creatures are evolved under the impact of GMO fallout. They are 1. Rheo Demolitor – a hunter and scavenger, it has evolved to destroy the built environment to ensure its survival; 2. Diablo Labrum - a mischievous dragonfly that capitalizes on its environment to stay hidden and hunt for prey; 3. Triplex Maxilla? – a monster fish hiding within the water’s trash to sneak up on its enemies.

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DRAGONFLY & ENVIRONMENT

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EVOLUTION

RENEWAL

IMAGINE THE FUTURE Given the uncertainty that accompanied the COVID-19 pandemic, the Imagine the Future campaign challenged students to propose visions for what the future potentially holds. The following drawings are a collection of student submissions visualizing their concepts of a renewed future.

FEATURED ARTWORK DONE BY: Anna Halleran Wincy Kong Andrea Bancod Kristyan Calletor Brooke Pearson Mayan Ebrahim Madina Koshanova Carolina Ramirez Jake Kroft Kathlynn Hoang EDITED BY: Yiran Ma Maya Higeli Florencio IV Gamboa Tameta

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LARGER THAN LIFE Maya Higeli

imagine the future

Anna Halleran

DEFAULT Yiran Ma

SCARCITY Florencio IV Tameta

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AMONG THE STARS Andrea Bancod

COVET Kristyan Calletor

DUST CLOUD 9 Brooke Pearson

MENDING Wincy Kong

UN-EARTH Mayan Ebrahim

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imagine the future

LIFE BEYOND Madina Koshanova

Jake Kroft

CHIMERICAL STILLS Kathlynn Hoang

NEW BEGINNINGS Carolina Ramirez

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MARTIAN LIFE

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 Toronto Metropolitan’s Department of Architectural Science students in their path towards the avenue of design and problem solving. We would like to acknowledge the yearly support from the following: Department of Architectural Science arc.soc Faculty of Engineering and Architectural Science (FEAS) Toronto Metropolitan Provost and President’s Offices Student Initiatives Fund (SIF)

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

BRIGHTER DAYS AHEAD, THE OCULUS

By Giaimo and ACO Toronto at the City of Toronto’s South Humber Park A Park People Public Space Incubator Project

Innovative Canadian Architecture Since 1961

197 Spadina Avenue, Suite 301 Toronto, Ontario M5T 2C8 // 416.364.8079

dsai.ca

Durham Modular Supportive Housing

Ontario Tech University Shawenjigewining Hall

First Nations Technical Institute New Academic Building

info@montgomerysisam.com www.montgomerysisam.com @montgomerysisam

We believe in the power of design to solve our most pressing and grand societal challenges. Now more than ever we must go above and beyond the standard definition of Sustainability. Our Living Design framework will give our projects and the buildings that make up our cities greater purpose and meaning. A local community-oriented practice with global resources.

Toronto Public Library, Dawes Road

“The role of libraries is shifting towards building culture, community health and well-being, and content creation. Embedded in this shift, Perkins&Will and Smoke Architecture conducted a robust consultation process with Indigenous groups and community members to inform programming and design elements. Various sustainable technologies and practices were also considered as the library targets zero carbon emissions.” —Canadian Architect Magazine

42 Years of Designing Supportive Environments that Make a Difference

Design. For good. We are architects, designers and urbanists who create places that foster wellbeing, inclusivity and sustainable futures.

bdpquadrangle.com

@bdpquadrangle

We would like to amiably thank the following industry patrons: OAA Giaimo Perkins & Will BDP Quadrangle NEUF Architect(e)s Montgomery Sisam RAW Design WZMH Gow Hastings Architects Diamond & Schmitt Baldassarra Architects Snyder Architects