UNTAMED GROWTH / P. 10 PLANT KINGDOM / P. 16 AMIGOS IMAGINARIOS / P. 22 SKETCH COMMUNITY CENTRE / P. 28 PORTRAITS OF HER PATH / P. 34 DWELL IN A DAYDREAM / P. 38 TRANSITION / P. 42
UNDER WRAPS / P. 48 LES DEUX FEMMES / P. 54 LOST AND FOUND / P. 60 THE GREENHOUSE / P. 64
ARTIFICIAL LANDSCAPE / P. 68 AKIN COLLECTIVE / P. 73 OMW / P. 76
FASHION PHOTOGRAPHY DESIGN
The future is creative.
The future is Thecreative. future is creative.
Faculty of Communication & Design
Faculty of
Faculty of Communication Communication & Design & Design
Editorial Admin EDITOR-IN-CHIEF Emily Bartosiewicz
PUBLISHER Amelia Ball
MANAGING EDITOR Abigail Chevalier
VICE PRESIDENT, FINANCE Avery Tarek-Kaminker
COPY EDITOR Lannii Pettiford
ADMIN ASSISTANT Sabrina Yussuf
PHOTOGRAPHY EDITOR Molly Steels
EVENTS MANAGER Lois Oginni
INTERIOR DESIGN EDITOR Katie Regis FASHION EDITOR Mia Yaguchi-Chow
EVENTS COORDINATOR Morgan Patterson PARTNERSHIPS MANAGER Romy Arsenault
CONTENT CREATOR Aisling Gogan
DISTRIBUTION MANAGER Jessica Augurusa
CONTENT CREATOR Brooke English
PUBLIC RELATIONS COORDINATOR Megan Ebreo
CONTENT CREATOR Olivia DeRoche
MARKETING MANAGER Zerlina Lac
CONTENT CREATOR Julia Spensley
MARKETING COORDINATOR Amanda Tran
Art Incoming
ART DIRECTOR Alexander La PRE-PRESS MANAGER Winnie Lee GRAPHIC DESIGNER Afrah Idrees GRAPHIC DESIGNER Emmanuelle Cabalatungan
OPERATIONS DIRECTOR Alexander La PUBLISHER Zerlina Lac MARKETING MANAGER Amanda Tran ART DIRECTOR Brennan Robinson
GRAPHIC DESIGNER Brennan Robinson GRAPHIC DESIGNER Claire Cambridge GRAPHIC DESIGNER Manuel Hariman
MASTHEAD
Editor’s Letter
EDITOR’S LETTER
HOW ARE WE EXPECTED TO STAY CLOSE WHILE REMAINING PHYSICALLY DISTANCED? This is truly the puzzling paradox that has defined our last year. While I don’t think I have the answer, I’ll give it my best shot. Something I wonder about a lot is the future, particularly in how we’re going to remember this calamitous pandemic in the years to come. I often think back to this time when I was a little kid and we had this great big blackout in my neighbourhood. It must’ve gone on for a few days and losing all electricity, there was nothing to do. All of the neighbours gathered together in our yard and we spent the time getting to know each other, laughing, and sharing snacks - campfire style. I was pretty young then, so I don’t remember much, but what evidently stood out to me was this unified, community spirit at a moment of the unexpected. While this blackout was nowhere near as tragic and consequential as the pandemic has been, the resilience of our society has been illuminated in a similar way. With a shared problem, there is often also a shared tenacity and the ability to have empathy for one another. There is a newfound intensity in supporting the local community, an increase in collective activism towards marginalized groups, and an overall deeper intent to connect to the relationships that are present in our lives. For some, these evolving relationships are seen in
blossoming (or withering) friendships or romances. For others, they have had the opportunities to reconnect with family. But I think for most of us, the most important relationship of this year has been that of growing comfortable in solitude and the practice of getting to know yourself. While this past year has often been referred to as the time the world stood still, I’d argue that, quite the contrary, there’s been a lot of growth. And you’ll be able to see that in this issue - a confidence in the creative process and the tenacity of these creators. Finally, I wanted to touch upon an important personal relationship that I’ve seen grow over this last year: the relationship between an Editor-inChief and a team of brilliant creatives. I joined the team as a foreigner to RAD but was welcomed with (virtual) open arms. It’s been a personal highlight getting to know each of you more closely. I hold so much respect for each member on this team: those who have spent their whole undergrad here and those who have joined us more recently. Each of you devote your time, talent, and energy to this magazine and I am constantly blown away by the work that you do. This is why I regularly refer to RAD as a well oiled machine, even during this period of social disconnect. This passion continues to be the fire of RAD and at the crux of it all is this team.
EDITOR’S LETTER
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TABLE OF CONTENTS 10.
34.
Abigail Chevalier
Shelly Bronizer
UNTAMED GROWTH
PORTRAITS OF HER PATH
RAD Original
Photography
16.
38.
Zongzhe Cai
Alexandria Ferdinand
PLANT KINGDOM
DWELL IN A DAYDREAM
Photography
Fashion
22.
42.
Hyla Golden Del Castillo
Nora Alkeyat
AMIGOS IMAGINARIOS
TRANSITION
Fashion
Interior Design
28.
48.
Asma Fazal
Molly Steels
SKETCH COMMUNITY CENTRE
UNDER WRAPS RAD Original
Interior Design
TABLE OF CONTENTS
54.
68.
Patricia Daszkowski
Andrea Lee
LES DEUX FEMMES
ARTIFICIAL LANDSCAPE
Photography
Fashion
60.
72.
Cassie Ton
Nautica Holdip
LOST AND FOUND
AKIN COLLECTIVE
Fashion
Interior Design
64.
76.
Judy Zhou
Alexander La
Interior Design
RAD Original
THE GREENHOUSE
OMW
TABLE OF CONTENTS
UNTAMED GROWTH TEAM CREATIVE DIRECTOR, PHOTOGRAPHER, PAINTER: ABIGAIL CHEVALIER SET ASSISTANT, VIDEOGRAPHER: OLIVIA DEROCHE VIDEO EDITOR: MANUEL HARIMAN MODELS: BOBBY MARKOV LAITH KINANI JULIE CHEVALIER ALEX CHEVALIER MICHAEL WAMARA OLIVIA DEROCHE MARJORY WAMARA DANIEL WAMARA EZEKIEL WAMARA
ABIGAIL CHEVALIER
UNTAMED GROWTH / RAD ORIGINAL
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UNTAMED GROWTH / RAD ORIGINAL
Untamed Growth is a narrative of shifting and evolving relationships throughout the pandemic. While we have lost the ability to form new physical relationships, we have gained the power to strengthen existing ones. This series focuses on an array of different types of connections that may have grown throughout the pandemic, including roommates, families, and couples. This growth is depicted through hand-painted, flourishing vines representing each model’s personal growth. Rooted from the ground, their individual vines entangle with their loved ones in fond embrace to continue their journey, growing upwards.
UNTAMED GROWTH / RAD ORIGINAL
PLANT KINGDOM ZONGZHE CAI
Zongzhe Cai is a 24 year-old, Toronto-based, portrait photographer. His work spans five years, including portraiture and still life. Cai grew up in South China in the Guangdong regions. While studying photography at Ryerson University, he discovered the world in photography between western and eastern cultures. Like any modernaged photographer, Cai found social media to be the perfect platform to showcase his works. He is particularly interested in portraiture and seeks to capture the beauty of every model.
@TREVOR_CHOII TREVORCHOI110@GMAIL.COM
ZONGZHE CAI
PLANT KINGDOM / PHOTOGRAPHY
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ARTIST STATEMENT
In our daily life, food is wasted constantly by disposing of things too soon. The dustbins at the supermarket are often filled with groceries that have gone bad which, in my view, is a total waste. The Plant Kingdom is a representation of life and stands alone from human perceptions. This
work builds on Richard Sylvan’s A Critique of Deep Ecology, inferring to the idea that “natural items have value qualities independently of perceivers.” Plant Kingdom highlights themes of beauty, resilience, and the infinite continuity of life, bringing dead plants and fruits back to life in a new world.
PLANT KINGDOM / PHOTOGRAPHY
AMIGOS IMAGINARIOS HYLA GOLDEN DEL CASTILLO
Hyla Golden Del Castillo is the designer and creative director behind H.Y.L.A., a sustainable fashion brand based in Toronto, using reclaimed materials to make unique pieces. She immigrated from Bogota to Toronto when she was 17, initially to study political science and then switched into fashion design after starting the brand in September 2019. She is a self-taught designer, finding inspiration in songs, people, and places aligning strongly with her mantra: “Match yourself to your surroundings”.
@H.Y.L.A_ HYLABRAND@GMAIL.COM SHOPHYLA.COM
HYLA GOLDEN DEL CASTILLO
CONTRIBUTORS PHOTOGRAPHER: CAEDON WIGSTON MODEL: BRETT JULIETTE BELANGER PRODUCTION ASSISTANT: KATHERINE LARA DERIKON
AMIGOS IMAGINARIOS / FASHION
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AMIGOS IMAGINARIOS / FASHION
ARTIST STATEMENT As kids, we create these imaginary worlds, inhabited by imaginary beings that make this imaginary world go round. Life is good and serene. As we grow, we slowly lose the joy in the simplest things that surround us everyday. When we were little, we had these imaginary friends and some even with superpowers. Now, when it’s hard to differentiate between one day from the last, the trivial things have become the most amazing to me at the same time. I have found immense peace knowing that everything in my house ticks the way it’s supposed to. This winter collection translates these deep feelings of gratitude and serenity while being something to take lightly, like the little doodles you swore were the prettiest things as a child. It is meant to explore our invisible struggles with mental health and isolation through a childish lens of coping. My new imaginary friends are the most real things I’ve had all along: water, air, fire, life, and love. I hope that you’re able to feel them like me too. Welcome to my imaginary world.
AMIGOS IMAGINARIOS / FASHION
AMIGOS IMAGINARIOS / FASHION
SKETCH COMMUNITY CENTRE ASMA FAZAL
Asma is in her third year at Ryerson University’s School of Interior Design. She has always been fascinated with how spaces define us and our environments; how we, as individuals, interact and move around certain spaces differently; and how spaces can affect our everyday lives and our attitudes. She seeks new challenges and opportunities to hone in her problem-solving, from technical to creative skills, furthering her experience in the design industry.
@AXFDESIGN ASMA.FAZAL@RYERSON.CA AASMAFAZALL.WIXSITE.COM/DIGITALPORTFOLIO
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SKETCH COMMUNITY CENTRE / INTERIOR DESIGN
ASMA FAZAL
SKETCH COMMUNITY CENTRE / INTERIOR DESIGN
SKETCH COMMUNITY CENTRE / INTERIOR DESIGN
ARTIST STATEMENT SKETCH Working Arts, a non-profit organization, needed a design that reflects their identity and vision of transforming the lives of the homeless and at-risk youth through community arts. This purposed design takes the shape of a prism as a symbol of colors and light. They subtract shapes from the centre of the building mass to create a welcoming three to four-storey atrium space. This atrium creates a sense of community and allows natural light into the basement. Each floor consists of an artsrelated activity surrounding the void to connect the programs vertically, thus, encouraging human interaction from different floors. The new design is an open concept with directed circulation. Users must walk around the void to access the stairs to the next floor. This forces the users to experience the void completely. The homeless residence is located on the second floor and is adjacent to the culinary kitchen. All programs and spaces are easily accessible for the residents to their benefit. The left-over prism shape is then inserted on the front façade of the building as an angled window to create visual interest and bring in more morning sunlight in the yoga/movement studio located in the front of the building. This space also has a retractable skylight which is placed to open towards the prevailing wind direction (south-west).
SKETCH COMMUNITY CENTRE / INTERIOR DESIGN
PORTRAITS OF HER PATH SHELLEY BRONIZER
Shelley Bronizer is a Graphic Communications Management student at Ryerson University. From a young age, she has been passionate about photography and exploring her creative abilities while learning new things along the way, including dancing, sewing, playing instruments, collaging, painting, and fashion. In the next five years, Shelley sees herself as a photographer or a graphic designer at a publication.
@PHOTOGRAAAPHS_ SHELLEY.BRONIZER@RYERSON.CA SHELLEYBRONIZER.WIXSITE.COM/MYSITE
SHELLEY BRONIZER
PORTRAITS OF HER PATH / PHOTOGRAPHY
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ARTIST STATEMENT
Portraits of Her Path captures the vision of a woman’s prospects. It expresses the strength and capacity that women have to be able to carry out their own goals. It embodies the poise and patience that women instinctively have that translates to power and perseverance. The cameras in the portraits symbolizes the lens that women see the world through without anybody holding them back. The bright natural light and the model’s eyes eludes to clarity about her path and its potential. She knows what her eyes see is not always what is actually in front of her. This series illustrates the image of women through the subtlety of her strength. It is intended to present the appearance of naiveté as a strength and not a weakness. PORTRAITS OF HER PATH / PHOTOGRAPHY
DWELL IN A DAYDREAM ALEXANDRIA FERDINAND
Alexandria Ferdinand is a fashion designer from Toronto who is in her final year of the Fashion Design program at Ryerson University. She has recently started her slow fashion brand of handmade one of a kind garments and accessories called Cherry Pit Witch. The brand places focus on eclecticism and Alexandria uses a multidisciplinary approach when creating her pieces.
@CHERRYPITWITCH CHERRYPITWITCH@GMAIL.COM CHERRYPITWITCH.COM
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DWELL IN A DAYDREAM / FASHION
ALEXANDRIA FERDINAND
ARTIST STATEMENT
DWELL IN A DAYDREAM / ALEXANDRIA FERDINAND
Dwell in a Daydream SS 2022 is a collection by Cherry Pit Witch. To “dwell in a daydream” means to linger in your imagination. Daydreams are a pleasant place to be. They’re a break from the oftentimes harsh realities. This collection illustrates the individual’s creative exploration of the mind that happens while daydreaming. The garments are whimsical, textural, and complex - much like the feeling of daydreaming.
DWELL IN A DAYDREAM / ALEXANDRIA FERDINAND
TRANSITION NORA ALKEYAT
Nora is an award-winning Honour Roll student at the Ryerson School of Interior Design (RSID). She is creative, diligent, and imaginative with a passion in storytelling through her strong skill set in 3D visualization and digital fabrication. Her prominent skills are shown in her interests: hospitality design, experiential design, and community/cultural spaces. Growing up, Nora has always had a love and passion for illustrating, painting, and history sequentially, learning to transfer her artistic vision into practical yet innovative architectural designs. Nora aspires to design with a humanitarian perspective.
@NORAALKEYAT.DESIGN NORA.ALKEYAT@RYERSON.CA NORAALKEYAT.COM
NORA ALKEYAT
TRANSITION / INTERIOR DESIGN
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LES DEUX FEMMES / PHOTOGRAPHY
ARTIST STATEMENT TRANSITION / INTERIOR DESIGN
Throughout time, we have transitioned into a digital-based world and have lost touch with craftsmanship practices from the past. Transition is a facility that creates an intersection between art and technology. The commercial space hosts the Digital Fabrication Studio on the main level and the wood and metal workshops on the basement level. This concept achieves organized pockets of space, designed specifically for the integration and separation of residential and commercial use. While the functions of the building vary, the element of unity interlocks into, blocks out of, and hugs around to create a cohesive block-like structure. The commercial space is designated to house a new arts and technology studio for the nonprofit organization, Site 3 CoLaboratory. This is dedicated to the integration of arts and technology and is striving to expand to allow more room for equipment, materials, and collaboration. The residential component is intended for the missing middle class: the middle-low income, multigenerational, unconventional family population in Toronto. The proposed residential design is four micro townhouse apartments. This is a reaction to the market in Toronto aiming to provide options for different cultural traditions or living arrangements. The ability to have a range of unit sizes, a multitude of combinations, as well as different ownership models, provides more choice in the market. This can provide a household the option to expand and contract their dwelling over a family’s life cycle and appeals to this multigenerational, contemporary family lifestyle.
TRANSITION / INTERIOR DESIGN
UNDER WRAPS
TEAM CREATIVE DIRECTOR, PHOTOGRAPHER: MOLLY STEELS STYLIST: BROOKE ENGLISH MODEL: AISLING GOGAN MODEL: CONCHITA PAEZ VIDEOGRAPHER: CLAIRE CAMBRIDGE SET ASSISTANT: EMILY BARTOSIEWICZ
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UNDER WRAPS / RAD ORIGINAL
MOLLY STEELS
UNDER WRAPS / RAD ORIGINAL
The term “to keep things under wraps” means for something to be known to few. By constantly compartmentalizing different facets of who you are, it can be as if your real self is lying just below the surface of what is shown to the world. This idea of holding important aspects of one’s self below a barrier, like a mask, can be a frustrating and isolating experience. This project visually expresses this experience. This series is partially inspired by René Magritte’s oil painting, The Lovers, which depicts a surrealistic interpretation of masks and what lies beneath surfaces. In Under Wraps, the flowing fabric and faceless subjects appear ghost-like to reference the concept of being haunted by feelings and thoughts. We can think of these feelings as secrets being manifested Emotion is projected through gestures. This curiosity is intended to spark reflection about what it means to hold secrets and hidden feelings that are so integral to one’s self that you will undoubtedly be haunted by it later.
LES DEUX FEMMES PATRICIA DASZKOWSKI
Patricia Daszkowski is a Toronto-based portraiture and fashion/editorial photographer working towards her BFA in Photography at Ryerson University. Patricia has no distinct style while using analog and digital while drawing inspiration from cinematography, fine art, and fashion photographers. Currently, Patricia is focused on her thesis work, a study of traditional Polish fashion from different regions highlighting the bond and the cultural and societal demands of women, influenced heavily by Catholicism.
@PATRICIA.DASZ PATRICIA.DASZKOWSKI@RYERSON.CA PATRICIA-DASZ.FORMAT.COM
PATRICIA DASZKOWSKI
CONTRIBUTORS ASSISTANT STYLIST: ANANNA RAFA HMUA: ANDREA ESPINOZA MODELS: ABRIANA, RISA NEWMAN SET ASSISTENT / BTS: SOFIA GUEVARRA, ZEPHRA NAVARRO
LES DEUX FEMMES / PHOTOGRAPHY
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LES DEUX FEMMES / PHOTOGRAPHY
ARTIST STATEMENT Drawing inspiration from textiles and their relationships and origins with nature, Les Deux Femmes is a symbolic representation of how art and beauty are rooted in nature and the growth around us. It is reminiscent of bright summers that captures the epitome of an everlasting summer paradise. Two models styled in colourful and airy clothing choices, this editorial explores the beauty of textiles and fabrics through the perspective of the female gaze.
LES DEUX FEMMES / PHOTOGRAPHY
LOST AND FOUND CASSIE TON
Cassie Ton is a third year Creative Industries student at Ryerson University. As a Vietnamese international student, she hopes to work in the creative field or fashion industry after she graduates.
@23._.04 HAIANHTON@GMAIL.COM
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CONTRIBUTORS PHOTOGRAPHER: CON RANK CON STYLIST: MAI ANH NGUYEN MUA: SUCHII PARK
LOST AND FOUND / FASHION
CASSIE TON
ARTIST STATEMENT
Lost and Found is a conceptual photoshoot, experimenting with interweaving the styles of harajuku and kidcore. The concept revolves around the girl that finds herself lost and trapped in “her own little world” learning to face and accept her deepest fears and desires.
LOST AND FOUND / FASHION
THE GREENHOUSE JUDY ZHOU
Judy Zhou is a second year student in the Ryerson School of Interior Design (RSID). Her mission is to mix technology, sustainability, and design. Prior to RSID, she worked in the public financing sector while collaborating with engineers, architects, and designers. She often draws inspiration from not only what the users need, but also what people will need in the future. She believes that the future is not through just a screen but through space, the environment, and interaction. Currently, she is investigating generative design’s role in optimizing and revolutionizing interior space and furniture design. @LZHOU_JUDY JUDYLZHOU@OUTLOOK.COM
JUDY ZHOU
THE GREENHOUSE / INTERIOR DESIGN
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ARTIST STATEMENT Designed as an experience-centered space for post-pandemic retail, the Greenhouse (Juice Co.) concept provides a customers with brand connection, emotional engagement, and customer experience using the approach of community and shared passion. Strong connection is re-established between human wellness and nature, brand and customers, and the community. The space is a whole new lifestyle initiated to share passion, express a true modern unity, and act as an opportunity for people to seek circular balance with themselves, other people, and nature.
THE GREENHOUSE / INTERIOR DESIGN
ARTIFICIAL LANDSCAPE ANDREA LEE
Andrea Lee is in her fourth year in Ryerson’s Fashion Design program. The Artificial Landscape mini-collection was an experiment to push the boundaries beyond her typical design work. She has explored her Asian-Canadian heritage and historic workwear through previous projects. She plans to use her knowledge in textiles and costume history to continue her education into artefact conservation and management. Her current thesis collection takes inspiration from her love of historical research and references 60s design elements. You can view her process work for her final collection, as well as outtakes from Artificial Landscape via her Instagram. @3Y3EYE ANDREAELAINELEE@GMAIL.COM
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ARTIFICIAL LANDSCAPE / FASHION
ANDREA LEE
ARTIST The mini-collection, Artificial Landscape, is a visual exploration into a digitally-created nature of sorts. This collection takes a step further towards wearing our digital identities on our bodies using manual techniques, which is already possible through the use of wearable technology and virtual reality. The collection takes cues from Ruth Asawa’s wire mesh sculptures and the re-emerging Y2K digital aesthetics. The process work and documentation were as important if not more critical than the final garments.
ARTIFICIAL LANDSCAPE / FASHION
STATEMENT
ARTIFICIAL LANDSCAPE / FASHION
AKIN COLLECTIVE NAUTICA HOLDIP
Nautica Holdip is a multidisciplinary designer based in Toronto, Ontario, studying at the Ryerson School of Interior Design (RSID). Having always felt like the odd one out, she invariably turned to the arts to express herself. The fluidity within the world of interior design allows her to explore much more than just interiors, and instead, a solution to everyday functions. Her goal as a designer is to create space and products that enhance one’s human experience on a day-to-day basis through intentional execution. Nautica fosters new ways in which one interacts with built environments, thus designing a world that encapsulates her vision of utopia. She is passionate about making and working with her hands and body to understand functionality and physicality as it allows her to derive a deeper connection to the human experience. @NAUTIIICAAAA NHOLDIP9@GMAIL.COM
NAUTICA HOLDIP
AKIN COLLECTIVE / INTERIOR DESIGN
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ARTIST STATEMENT AKIN COLLECTIVE / INTERIOR DESIGN
Akin Collective is a Toronto-based arts organization. They offer affordable rent to artists as well as art exhibitions and workshops open to the public. Using the proposed site of 238 Harbord St, the building consists of a playful contemporary interior with subtle nods to the neighbourhood’s history. The new space offers semi-private to communal work spaces with storage, a kitchenette, kilns, an outdoor sunk-in patio, and artist residencies on the second and third floor. Located in the center of the crisp white interior is a glass gesture that is floor-lit with colourful LED lights that allows for a sleek, unique ambiance. The gesture separates public and private functions, yet brings all the artists together to pin-up their work, give feedback, and be Akin with one another.
AKIN COLLECTIVE / INTERIOR DESIGN
OMW
TEAM CREATIVE DIRECTOR: ALEXANDER LA BUYER: ZERLINA LAC PHOTOGRAPHER: ARCHIE SANDALL STYLIST: JESSICA AUGURUSA MODEL: AMANDA TRAN VIDEOGRAPHER: MANUEL HARIMAN SET ASSISTANT: WINNIE LEE
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OMW / RAD ORIGINAL
ALEXANDER LA
OMW / RAD ORIGINAL
“Mirror check.” “10 minutes away.” “We’re already inside.” All tied to the motion of work and play; casual dialogue preserved as a relic. We are creatures of motion, forced to reevaluate our relationship with our private space. While before, social tensions were left at the door, work and play now take turns interrupting one another. We are not working from home but enduring public and private tensions while attempting to work at home. Sectioned interactions are now on the table. OMW (on my way) welcomes you to indulge in your sanity and space because in an economy of compromise, both are necessary for our survival.
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