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Relationship Series /// Maybe /// Untitled /// Syria In Ruins /// Biblioteque Nationale de France Library Studio /// High + ordinary /// Automatic Drawing /// Automatic Generator /// Ward’s Island Ferry Terminal /// Featuring students projects from Fall 2015 to Winter 2016 Presented by Shift Magazine at the John H. Daniels Faculty of Architecture Landscape & Design University of Toronto
Hortus Palatinus \\\ Untitled \\\ Untitled \\\ Untitled \\\ Untitled Collage \\\ Still Points in a Turning World \\\ Oysters and Boxing \\\ Metabolism at CIAM \\\ Lobster \\\ Marshmallow\\\ Untitled \\\ Untitled \\\ Landscape
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SHIFT16 Letter from the editor
Undergrads at the John H. Daniels Faculty of Architecture, Landscape & Design are still moving fast. Boundaries have blurred even more between Architecture and Visual Studies students as our experiences continue to overlap. Whether we are in our own reality, a collective reality or a virtual reality, our reactions have become more pronounced, more critical and more diverse. Constantly being exposed to images/ representations/symbols have extended us beyond our immediate surroundings. These objects have been inputted into our (un) consciousness. Emotional responses and physical impulses generated from these images/representations/symbols have been combined to create the unique work in Shift’s third issue. Although we’ve been rushing through the everyday, our actions have started to glitch the system. Grappling with the meanings and processes behind these objects have brought together the collection of work on display. We ask you to interpret these works with your own language and experiences to develop new responses and impulses. Welcome to Shift16 + glitch away.
Alexia Hovis Editor
STILL POINTS IN A TURNING WORLD LINDSAY WU
1/3 Collages in a series: Anologue collage, paper on musuem board
This collage explores the associative nature of imagery through subverting the oringal content and meaning to form a new narrative. The vertical assmeblage generates a cinematic motion that allows the viewer’s eye to create a story between the juxtaposed images.
Tawny Stoiber
Landscape
Ink wash on Yupo 11’’ x 22’’ 2014
MAYBE
by Josh Silver These fragments appear as moments of an experiment in studies of the “infra-ordinary,” a process of pulling out moments of everyday life into flashes of intense presence. Through interacting with literary constraint, as exemplified by Georges Perec, Anne Garréta and the OuLiPo, these inventories reorganize into snatches of narrative or sketches of place or a memory from where I have never been. These themes of the everyday along with investigations into formal constraint are the focus of my work in general.
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There might be drawings accompanying the writing. The writing might be in translation or translated many times throughout the book. The writing might be translated into its own opposite halfway through. Here they might lose interest, or decide to stop pursuing the subject all together. The object might be outside of their interests or deal with an area in which they are unfamiliar. Perhaps they see the object as junk or some false antique. They leave the object on a bookshelf or in a drawer and begin to prepare dinner.
This house could just be an empty shell. The flooring could be moulding and cracking under racoon occupation while the plastered walls reveal their asbestos lining. It could be a wreck, off-limits by a construction fence in its own territory or it could be boarded up, a mothballed artifact looking over the neighbourhood from its position of security. They are there now looking down or out: down from the roof tiles and out from every crack in the concrete foundation. There they manipulate walls placing one here and yet another, moving this by a half inch to the right or that ceiling upwards by a foot to give the place more air. Around there each event circulates as they play [with] the space, looking for a certain foothold from which to begin.
The maze could become the map when viewed from a certain perspective (they know the path already, each street is engrained in their mind. Their place of residence appears, their place of birth appears) and the map could become a maze in turn when viewed from a certain perspective (fresh eyes). The wood or brass walls of the maze could become buildings, regularized with standard roofs at identical heights. On one side of the pathways, an inconsistency could signify some object in the world at large. In this way, they could follow a trace from inconsistency to inconsistency, around the block past the corner store (an accidental cut in the sidewalls) to a dent, where an iron fence forms a boundary and on towards the centre where there is only the ruin.
automatic autom automatic autom poem poem drawing drawin automatic autom automatic autom drawing drawin poem poem automatic autom automatic autom poem poem drawing drawin automatic autom automatic autom drawing drawin poem poem automatic autom automatic autom poem poem drawing drawin automatic autom automatic autom Urbanize vegetal territories, to integrate permeable strata. Reintermediate scalable communities, &bundle cross-platform urbanisms. Intensify malleable thresholds, &mesh end-to-end agents. Optimize successional grids, to inhabit post-fordist mappings.
Design invasive peripheries. Strategize visionary applications.
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Automatic Drawings By: Rupa Morzaria
Generated Poem By: Valerie Marshall
Bibliothèque DOMINIQUE PERRAULT
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nationale de France CASE STUDY
BY: ABBY YU & BO ZHANG & KATHY ZHONG & DANNI ZHANG
Pompidou Center
Tuileries
Champ de Mars
Invalides
Grande Arche
Musée d'Orsay
Arab World Institute
Opéra Bastille
Pyramide du Louvre
Central Yard
Bibliothèque Nationale
Parc de la Villette
Topography Modification
Ministère des Finances
Volume Creation
S
Invalides
Champ de Mars
Courtyard
Central Focus
Movement
Tuileries
Acces
Public Private
Pompidou Center
Public Space
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DRAWING BY JOSH SILVER
Volume Creation
Surface Accessibility
Underground Accessibility
Vertical Visuality
Visual Experience
Accessibility
Public Private
Public Space
res HORTUS PALATINUS A STUDY BY ALEXANDRA KALMAN
The Hortus Palatinus garden began its life in 1614 when the Elector Palatine Frederick V commissioned Salomon de Caus to work on new gardens at the Heidelberg Castle The garden consists of multiple hidden tiers that only certain people have access to. The more time the individual is allowed to inhabit the garden, the deeper their understanding of the space becomes. The garden can be seen from three distinct scales of experience, wonder and entertainment. While family and close friends are elevated to intellectual contemplation the strangers and guests are only allowed to inhabit peripheral spaces. The garden is comprised of four distinct terraces which are arranged in an L-shaped formation. The upper terrace wraps around the perimeter of the garden and consists of a gallery with a small grotto and houses a statue of the Elector Frederick. Along the shorter edge of the garden, an intermediate terrace breaks up the space horizontally and leads to the main terrace. The overall impression of the garden is one of the domination of the patron Frederick over both, nature and society. From a distance, the garden’s terraces had a strict hierarchical order with its pyramidal form. The puzzle representation demonstrates how the multiple hidden experiences found in the Hortus Palatinus contribute to the understanding of the garden as a whole.
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CONSTRUCTION The second level of experience in the garden was one of technological wonder and entertainment. These were only open to guests and friends of Frederick who were invited. Spaces like these would have employed the latest innovations in technology meant to amaze. The most inimate experience of Hortus Palatinus invited guests to engage in intellectual reflection and contemplation. These spaces would only be granted to the patron’s inner circle as it required guests to stay and observe the passing of time in the garden.
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Deconstruction
DESTRUCTION
Deconstruction
The destruction of the model begins to reveal each level of experience based on the guest’s relationship with Frederick. As the model breaks apart, more intimate spaces are revealed and only then can the individual fully understand and appreciate all the components that hold the garden together.
R
E L A T I ON S H P S E R I E S by Charlene Lo
These drawings translate the natural movement of two individual’s bodies onto paper by making them travel the same distance side by side. The five relationships outlined in the series depict a range of relationships and the outcomes generated by their systems. On its own, each drawing reflects the character of each individual, however when combined these drawings illustrate the relationship between the two individuals.
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Charlene and Charmian 17 x 22 inches Drawing; permanent marker on mylar; permanent marker on paper
RRR
EEEL L R E L L R E LL EAL R EL EA A A A A TTTIII TTTIII O N O N S H P S H P O N O N S H P S H ONS ON O N NS ONS ON O N NS S SH H P PO S SH H SSSEEE RRRIII SSSEEE RRRIII E E RRR EEEL L R E L E L R E L EALSE R EL EALSEE SS SS A A A A TTTIII TTTIII O N O N S H P S H P O N O N S H P S H ONS ON O N NS ONS ON O N NS S SH H P PO S SH H SSSEEE RRRIII SSSEEE RRRIII RRR EEEL L R E L E E L R E L E EALSE R EL EALSEE A A SS SS A A TTTIII TTTIII O N O N S H P S H P O N O N S H P S H P ONS ON O N NS ONS ON O N NS S SH H P PO S SH H S RI S RI Matthew and Charlene 17 x 22 inches Drawing; permanent marker on mylar; permanent marker on paper
R E L R E L R E L R E LL L R EL EAL R EL EA A A A AI A A I T T I I T TT I T IP T O N O N S H P S H O N O N HH PO PO P S H P S HH ONS ON O N NS ONS ON O N NS PO P S SH H P PO S SH I S R I S R E E I S R I S E E REI RS EELREI RS EELRR LL EE RR EEL LL LSEE RR EEL EA E S A S S A AS A A S AI S AS A A I T T I I T T IPONSHT IPONSHTT NNS O NNS SSH HH PPO SSH HH ONS ON O N ONS ON O N HI PPO PSO S P S R I S R E E I S R I S E E REI R S EEL REI R S EELRR LL EE RR EEL LL EE RR EEL E E A A S S A A S S AS A A S TTTIII TTTI II O N O N P S H P S H O N O N P S H P S ONS ON NSH NS ONS ON NSH NS H PO PSO SRHI PO PSO SRHHI SHIFT16
Steve and Branson 17 x 22 inches Drawing; permanent marker on mylar; permanent marker on paper
Untitled
Acrylic on museum board
Aisha Ali
SHIFT16
Mindless and seemingly innocuous actions caused by humans can have profound impacts on the surrounding environment.
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Sebastian L.
by Tala Alatassi
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In the summer of 2012, my parents decided that it was no longer safe for my siblings and I to continue attending school in Syria, so they decided to move us to Lebanon and then to Canada. Ever since we moved, a lot of my artwork has been inspired by the war; therefore I immediately knew what my series was going to be about. However, I didn’t quite know how to link my ideas to create a cohesive series, until my grandmother sent me pictures she had taken when she visited Homs. The painting process included destructing the canvas (with splatters, applying paint then wiping it off, or hitting it with a towel to remove some of the paint, and pouring water on it) then painting parts of the photographed buildings, and then destructing it more. I also left parts of the painting unfinished, as a reminder of the fact that the war is still going on. I tried to express a lot of my frustration with the war into the work, hoping that the end result could inspire and provoke emotions. Having experienced the war has taught me a lot about appreciation and gratitude. I wanted my series to be a reminder of some of the simplest things in life that are taken for granted, like the mere pleasure of being safe in one’s home.
MEGAN
iTL
TAN
UnT ” ed
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SHIFT16
Site Installation Ziploc Bags filled with artist’s breath
Preservation is a major theme of modern life, and commodities such as Ziploc bags have epitomized this type of living. However, there is a conflict within the phenomenon of Ziploc bag and the idea of preservation. While they are designed to make things last, they are cheap and disposable themselves.
In the present age, there is a pressing desire for preservation with the mentality of keeping everything: like a hard-drive full of bad photos, a freezer full of meat that are no longer fresh, thousands of Facebook friends that you will never meet. I used Ziploc bags to explore the tension between preservation and temporality. The air-filled Ziploc bags represent the desire for storage, yet we know that the bags will eventually deflate.
inflate a spare capsule for grandma BY: SEBASTIAN L.
JAPANESE
shift16
grandma bailed
METABOLISM
Photos by
SHIFT16
Marienka B-K
AR
ORDINARY
UG
gure 2 – Venturi and Scott-Brown.
he photo-caption sequence seems like train-of-thought scrapb ersonal use with no discernible argument, yet there is. The ch ymbols, appearing first in an anonymous house, is nourished b rown’s favorable gaze and climaxes in a Proper Noun instance ot a photo because it is the distilled essence of material cond s such it earns a complete sentence as caption.
HIGH DESIGN
AR
he text’s most legible message –that symbolism is alright, af ulture” architecture more “sympathetic” to the lowly public– shes of a straw man. That “involuted” architecture does not Venturi, Robert, Denise Scott Brown, and Steven Izenour. Learning from Las Vegas: The Forgotten Symbolism of Architectural Form. Cambridge, MA: MIT, 1977. Print.
shift16
cHITECTURE LY&ORDINARY The photo-caption sequence appears as train of thought scrapbook notes jotted for personal use with no discernible argument, yet there is. The characteristic of the symbols applied (an anonymous house) is nourished by Venturi and Scott Brown and climaxes as a Proper Noun instance. The third image is not a photo because it is the distilled essence of material condition that precedes it. As such it earns a complete sentence as caption. The text’s most legible message – that symbolism is alright and makes “high culture” architecture more “sympathetic” to the lowly public – arises from the ashes of a straw man. That “involuted” architecture does not address social issues does not mean the formal language of building shall. Also obscured is the cynically of “jester” architecture, the flippancy of which is reinforced by the crass direction of “ugly-architecture” in the heading and oblique absurdity of the duck. Although it seems to reject Corbusier’s self-referential architecture, the Venturi and Scott Brown text-image is almost a carbon copy in technique and exchange. The argument is coloured in an eternal universality as it fraternizes the architectural practice of the Ancient’s with the present’s “African Militias,” “middle class conservatives,” and Las Vegas. Like Corbusier, there is no nostalgia, only false lineage. The net argument for the present, derived from the “objective” photos reflexively naturalizes the present as depicted in the photos.
CHITECTURE
Text by: Jessie Ji Huang Commentary on Learning from Las Vegas by Denise Scott Brown, Robert Venturi & Steven Izenour
Untitled
etching
Aisha Ali
SHIFT16
Aisha Ali
Untitled
marker on paper
The implications of globalization have merged cultural relics from a vast array of geographies, which has created a new intricate and intriguing image. Yet, this image has been robbed of its meaning in the process.
Lyndsay Wu linsday wu 2015 2015
Looking up at the dome, Sandy was shocked by the view she sees: there is a rabbit jumping in slow motion, chasing a deep-purple bow. She saw a sparkle somewhere on her left. “It looks like a bridle”, she thought to herself. Sandy remembered in seventh grade, Linsay gave her a rabbit shaped candy of cinnamon flavor; that was her favorite candy. It’s been so long that she can’t remember the taste any more. The dome is reflecting the light from the bridle. Sandy quieted down.
I’m tall when I’m young and I’m short when I’m old. What am I? There was a pile of white paper on the ground in front of Mr. Gimpson. “Twist and deconstruct!” This is his manifesto. He rolled up his sleeves and he adjusted his glasses.”My building!” He shouted aloud. Mr. Gimpson entered a room. He pulled out his pile of model and put it on the table next to him. He smiled. It all worked out. In a prison far away, the guy in the guard tower laughed, looking down at the gate.
4.08 -7.07. 2012 If you could If you turn any could turn building into a any person buildingand have into asex person with it, and whichhave sex within building it, what would would you you choose? choose?
analogue collage Parrot no.1 keeps talking. Parrot no.2 is always hungry. No.3 has this dream to fly over the moon. When it happens, it will work.
shift16 Peach says to Albers: What are you going to do with orange? Albers says: It’s not about Orange. It’s about orange. Carrot enters. “What about me?”
But it’s not about orange. The answer is in the ground, the water, the nutrients, that worm, the rain. It goes back to the leaves that help float across the sea. When storms hit, she sinks into the deep ocean. There was light and blue. Albers picks the shell that tells the story.
Nothing moves. Sand is all over Nothing the place. moves. Sand A ring shis all over the aped hole place. A ring appears. shaped hole We are appears. We standing are standing on the veon the veneer, neer, anticipating. Je anticipatpense, donc ing. Je je suit. pense, donc je suit. “The painter is standing a little back from his canvas. He is glancing at his model; perhaps he is considering whether to add some finishing touch, though it is also possible that the first stroke has not yet been made. The arm holding the brush is bent to the left, towards the palette; it is motionless, for an instant, between canvas and paints. The skilled hand is suspended in mid-air, arrested in rapt attention on the painter’s gaze; and the gaze, in return, waits upon the arrested gesture. Between the fine point of the brush and the steely gaze, the scene is about to yield up its volume.”
paper, Paper, pencil pencilon on musuem museu board m board
The collage is a commentary on the constant construction and development driven society; Against a monotonous underground backdrop, uniformed figures gaze upon a suspended installation. The installation, composed of pencil etchings and foam core, represents the constant need to build upwards and inverts the process by building down. Everything within the collage in “in-the-process-of”, from the unfinished installation to the void spaces of landscape.
There was a hidden treasure inside the cave. The treasure was a key. A topaz will be everything you ever need.
VINCENT YUNG & ANDREW KEUNG
terminal architecture recipe
WARD’S ISLAND FERRY TERMINAL
1. GATHER 1. gather MAINS M AINS SIDES SI DES GARNISHES G ARNISHES
c ho p 2.2.CHOP
por t ion 3.3.PORTION
W AS H&+DRAIN, D RAI NARRANGE , ar r an g e 4.4.WASH
shift16 5.5.COOK c ook
6.6.SEASON seas on
7.7.POUR P OU R
8. SERVE
SEASONING SEASONING
shift16
Ward’s Island Ferry Terminal is inspired by the relationship between different foods and their arrangement on a plate. The spatial organization of the Terminal is determined by the flavours on the plate and broken up into three program types: mains, sides, and garnishes. These ingredients were further differentiated by the atmosphere created in each space. Depending on the program, materials and textures would vary to ensure a dynamic experience. The result is a terminal that takes the user through a space dictated by their tastes.
LOBSTER
shift16
Working with food in a commercial kitchen reveals a variety of textures that are usually missed in the common use of food. These paintings explore how an everyday encounter with an object can expose intimate details and nuances of its form.
sunny kim
MARSHMALLOW
K D Z B T K R M O R H S F K G U T B Y B R E V I S S E R P X E H I G W F D K G Z K D Z B T K R M O R H S F K G U T B Y B R E V I S S E R P X E H
C C I D E N T L I X B O I C A N T S Z M O O W Z U H T L P C S K Z Y P V G Y O A C C I D E N T L I X B O I C A N T S Z M O O W Z U H T L P C S K
V W Z N R P J P N X F I V P B C O Y J X F H G L P T N G I A M G Z F H F J W L P V W Z N R P J P N X F I V P B C O Y J X F H G L P T N G I A M G
R Q G C L J Z S B X F T V L O O W N F L O H Z R J N M U V W K P C Y K T U C V U R Q G C L J Z S B X F T V L O O W N F L O H Z R J N M U V W K P
B I J Z I Z K Z X D T Y Q F Y X D U L M H O K A P U Q M T W E V O T T R M C J O B I J Z I Z K Z X D T Y Q F Y X D U L M H O K A P U Q M T W E V
T J C E I N X X F R T V Q K T W F Y O I V A T V U P A A N Q R F Z B X D X H O W T J C E I N X X F R T V Q K T W F Y O I V A T V U P A A N Q R F
U J S A N G W J E N H W I B W Q N Y P X T G N Y J Y L C U O U Z A F Q J U S T Z U J S A N G W J E N H W I B W Q N Y P X T G N Y J Y L C U O U Z
I T W K I S W B H Y Q J H F J M W A I P I E T S F O U Q T D T H Y F Z F O C I U I T W K I S W B H Y Q J H F J M W A I P I E T S F O U Q T D T H
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S I Z R I O V O M J T Z D D U L E G V S C U Q A L V N B G U N L V R X M Z N V Q S I Z R I O V O M J T Z D D U L E G V S C U Q A L V N B G U N L
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V W S E V M Q Y E Z J G W Z J L Z H L G E X A M A C C M Z K A H A B K M C O X A V W S E V M Q Y E Z J G W Z J L Z H L G E X A M A C C M Z K A H
S G M X T A H C I R N T U R P R Q F I N U L K B I H A T I K J R P M K W Y I H C S G M X T A H C I R N T U R P R Q F I N U L K B I H A T I K J R
S A D V G G S P T N E M O M J L K B D O L U O B Q D X L Z R U P Z R I L O E E G S A D V G G S P T N E M O M J L K B D O L U O B Q D X L Z R U P
R U R N V L G Y C N T K X G E B L V V Q W C R W F A I A Y A E C N D W X F V Y U R U R N V L G Y C N T K X G E B L V V Q W C R W F A I A Y A E C
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F M J Z V K S C V T G T S C R H Y T B X P P R D G W X B J X Y Z N E W N V L I L F M J Z V K S C V T G T S C R H Y T B X P P R D G W X B J X Y Z
X L U T G E C O J C B U R R N U W P Z C R C F K C B X N S C I H M M Z E U H K J X L U T G E C O J C B U R R N U W P Z C R C F K C B X N S C I H
Q D Q A O H E J U E N H N A L X I H R V O O D Z X S Z A Y M J D T S C I J F M O Q D Q A O H E J U E N H N A L X I H R V O O D Z X S Z A Y M J D
K P R W L M U M E M N V C Z Q G W Q N O Y D T T F F E C Y N Y K K R D P A B V Z K P R W L M U M E M N V C Z Q G W Q N O Y D T T F F E C Y N Y K
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Tawny Stoiber
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T G G S D G V W V E J O L Q M F J Q V H R B U I P W J Y S S C N M B P C M R B Z T G G S D G V W V E J O L Q M F J Q V H R B U I P W J Y S S C
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M Y E C Y N X R M V Y F Z E M N O J N Z Q I X H L F C B S E U S P C L N M J S Q M Y E C Y N X R M V Y F Z E M N O J N Z Q I X H L F C B S E U
W A T W S U X P I S F O Y E O E E H S O W L N E J O U R O Q D L Q T C Z A T B U W A T W S U X P I S F O Y E O E E H S O W L N E J O U R O Q D
G A P E S S Y R C Z K X Q R Z P X H M M shift16 R Z C O M B Q O A F T H Y D J C R C T V V U C P B S X E K S G P J Z X K Z S K D M Y Z M L X S Y G S F K J B Q K A L Q L G H U I K D G B I U W M A X T Q R U Q Y Z D F S V A T R O M M A K Q K H N M E X B D H O R I P K N D M M Y E T X A K L K Z G Q U M C M R R V Q D N B W M Y D N K C U H F R V P Y M B I V T X C L B Y E X X X L Y B D K M Y B H U X C L N L H Z T G A P E S S Y R C Z K X Q R Z P X H M M R Z C O M B Q O A F T H Y D J C R C T V V U C P B S X E K S G P J Z X K Z S K D M Y Z M L X S Y G S F K J B Q K A L Q L G H U I K D G B I U W M A X T Q R U Q Y Z D F S V A T R O M M A K Q K H N M E X B D H O R I P K N D M M Y E T X A K L K Z G Q U M C M R R V Q D N B W
X Y C J V U M J Y B X I T P R U E G T J Q M V E Z M T M L A X V D X M U C G R N X Y C J V U M J Y B X I T P R U E G T J Q M V E Z M T M L A X
N N N Z Y Q M P C L X K W O A Q O H O E Z I O J W E F M B U J S G C G M I J O W N N N Z Y Q M P C L X K W O A Q O H O E Z I O J W E F M B U J
STOP DREAMING
YOU ARE ALREADY DEAD
NOTHING IS REAL. NOTHING IS REAL
MEET ME IN THE PALE MOONLIGHT
NIGHT AFTER NIGHT AFTER NIGHT
HOW TO BEHAVE LIKE A HUMAN BEING
emily suchy EDITOR
jayvee doroteo WEBSITE DESIGNER
COMMUNICATIONS REP.
monique lizardo
SHIFT TEAM najia fatima EDITOR
josie northern LAYOUT DESIGNER
alexia hovis EDITOR IN CHIEF
shift16 phat le EDITOR
valerie marshall ARCHITECTURE EDITOR
abby yu LAYOUT DESIGNER
isaac seah WEBSITE DESIGNER
ashita parekh EDITOR
SHIFT TEAM
gianina ramos COMMUNICATIONS REP.
HOW TO BEHAVE LIKE A HUMAN BEING
NIGHT AFTER NIGHT AFTER NIGHT
MEET ME IN THE PALE MOONLIGHT
YOU ARE ALREADY DEAD
NOTHING IS REAL. NOTHING IS REAL
STOP DREAMING
SHIFT16 Acknowledgements
We would like to thank the following people for their interest in the project and guidance throughout the process of creating Shift16. The Andora Graphics team for the wealth of knowledge they contributed with regard to the printing process, specifically Stan Morantz for putting up with our last minute procrastination. Jeannie Kim (Assistant Dean, Daniels Faculty) for her continued support, critical eye, attention to detail, and kick-ass attitude. AVSSU and the Daniels Faculty for their continued funding that made the publication possible. Keep it up!
Shift Magazine is the undergraduate publication of the John H. Daniels School of Architecture, Landscape, & Design at the University of Toronto. www.shiftmag.ca uoftshiftmag@gmail.com © 2016 Shift Magazine © All Contributors © Alexia Hovis All rights reserved. No part of this book may be reproducted in any form without the written permission of the copyright holder(s).