YES2021 - Architecture - Comprehensive Design Studio - 5/5 (Vandermey)

Museum of the City

muse o th cit

eum of he ty

A museum in the city of Calgary about the city of Calgary but not the whole city.

Not its entire history, shape, organization but one issue or type or question of this particular city.

An essence of the city, or maybe a part in order to better understand the entire thing.

MUSEUM OF THE CITY

University of Calgary School of Architecture, Landscape, and Planning (SAPL) Master of Architecture EVDA 682.04 - Comprehensive Design Studio

MUSEUM OF THE CITY Philip Vandermey (Instructor) Adam Achtenberg Jennifer Choi Rebecca Choi Evan Dodds Daniel Howard Thisura Kehelpannala Cindy Nachareun Jian Vern Ng Parisa Rafat Erika Sieweke Sasha Simic Vivian Ton Brendan Webb Robin Vindum-Whitteker

Cover: Still from The Picture of Dorian Gray (1945), Map of Calgary by SPECTACLE

“ […] the “imagination” represents not just a yearning for change, but also a controversial, powerful device with which to reveal something already embodied in the present situation.”

Gabriele Mastrigli, Rem Koolhaas and the Bourgeois Myth of New York

“To articulate what is past does not mean to recognize ‘how it really was.’ It means to take control of a memory, as it flashes in a moment of danger.”

Walter Benjamin, On the Concept of History

Table of Contents 012

070

Museum of the City - Philip Vandermey (Instructor)

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Museum of Extraction - Adam Achtenberg and Erika Sieweke

036

Archive of the Commons - Cindy Nachareun and Vivian Ton

The Canopy: Museum of Civil Disobedience - Thisura Kehelpannala and Jian Vern Ng 108

The Red Bin - Jennifer Choi and Rebecca Choi

130 158 178

The Void - Parisa Rafat and Sasha Simic

Meandrian - Daniel Howard and Robin Vindum-Whitteker Museum for Dialogue - Evan Dodds and Brendan Webb

SPECTACLE - New Manchester 12

Studio Introduction We are less interested in the past and the future than we are in the fascinating and terrifying present. The city provides great complexity and many contradictions. The Museum of the City will be a particular reflection on the city as it is. In the course of revealing the city, uncovering what is hidden, and amplifying what is subtle, it will force a reckoning. It will be a forum for debate, a brutally honest mirror, and a mechanism for change.

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SPECTACLE - Water Whirl 14

Project The Museum of the City is a radically flexible exhibition machine for understanding the city. It is more closely related to a cultural center than a museum; rather than a backwards-looking repository for historical objects, it is a forum for the invention of the culture of tomorrow. The Museum of the City combines a small semi-permanent and frequently rotating exhibition with a larger space for temporary and / or traveling content. It is a significant public space in the city, a space for public and semi-public events, and provides all of the infrastructure and service spaces necessary for supporting these activities. Each student team created a detailed program interpretation on an assigned brief with a total area of 2500m2.

Site The project is located in a transition area at the west edge of the city center of Calgary between the central business district, a residential neighborhood, and a cultural and park campus on the south bank of the Bow River.

The project site is bounded by the Kerby LRT station to the south, 11 Street SW to the west, the lane to the north, and a residential building to the east (The Hat at 1116 7 Avenue SW). The site is approximately 91.6 meters wide east to west and 37.6 meters deep north to south.

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SPECTACLE - Border Lands 16

APPROACH Urban Realism Architecturally, we are interested in normalcy and replication over innovation, anonymous and global contemporary urbanism rather than regional impulses, and a totality of design that allows the capacity to interrogate political, economic, and social models in addition to architectural ones.

This architecture is less concerned with form and ideology than with the shaping of extant forces, logics, and technologies of our metropolitan condition. It manages the city as it is, and responds to real inputs and conditions rather than ignoring or denying them with a focus on something new, different, and external.

Urban reality is ugly, not beautiful; chaotic, not visually rational. We inhabit the Non-places of Marc Augé - we are in them but we do not experience them. The contemporary city is a montage rather than an innovation. Our projects will visually simulate the present while programmatically envisioning a utopian vision of a better world.

Heterotopia Modernity is characterized by differentiation. The Museum of the City is a radical container, and a neutral, contingent structure tailored to create ongoing internal contestation, contamination, and infinite programmatic instability. The neutrality of the system will create the laws that will allow for unlimited interior and exterior freedom. Rather than a stand-alone object, the Museum of Truth will engage its neighbors, invite them in, and encounter them in the spaces in-between.

Mirror / Amplifier We test architecture’s capacity to interact with and transform hidden or embedded shaping forces. Projects in this studio are projective of an optimistic future - a proposal - while simultaneously unmasking an existing condition, reflecting it, and in perhaps even amplifying it. The mirror does not entirely disappear into its context, it is political in its dissidence and antagonism while appropriating themes towards strong formal and cultural reaction.

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MUSEUM OF THE CITY

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MUSEUM OF EXTRACTION Adam Achtenberg, Erika Sieweke We have a complicated relationship with our surroundings. We continue to extract from the earth to build up the spaces around us. The extraction processes that give us the materials we use on a daily basis are intertwined in the political, social, cultural, and economic fabrics of the city. Society finds itself at a hinge in time where these methods of extraction, which once flourished, are now being increasingly questioned. The museum of extraction further explores these questions in the Calgary context. The exhibitions explore extraction processes, the economic and technological developments, and the environmental implications. The Museum of Extraction stands as an urban monument, representing our present reality that may one day be a bygone era. The Museum of Extraction aims to inform visitors of social, cultural, economical, and environmental implications surrounding extraction by providing spaces to educate, interpret, and discuss these topics.

The user experience begins as one enters the site from the west side. The landscape uses five different natural materials as it steps towards an inaccessible pit located in the middle of the site. The vast space acts as a countermonument to the thousands of excavation sites found throughout Alberta. As a museum visitor your journey would begin in the lobby where you enter a tunnel that brings you underground, circles the pit, and back up into the permanent exhibition space. You continue to wind through the second level of permanent exhibition and up through the 3rd and 4th floors which house the temporary exhibition. Occupants have a choice to then exit using the central elevators or take the exterior ramps down which pass through outdoor exhibition spaces. These ramps also allow for a closer look at the different facades on the building. The outer facade is smooth and regular while the inner uses the brick to create a perforated screen. We have put in great effort to use as much reused or recycled materials as possible. On the facades we’ve used re-purposed Alberta #1 Red Brick. The different colours of brick on the inner facade are meant to represent geological layers of the earth. This concept allows for mismatched brick to be reused from multiple buildings.

Massing Diagram: Beginning with a solid mass, material was removed layer by layer to imitate the subtractive nature of extraction.

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Buffalo have been over hunted and are considered extinct

Young fire prone forests that are close to the productive prairie soils create a unique ecological stage for homesteading

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18 75 60 00 BC

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Plains Indigenous Tribes constructed tipi's out of wood and buffalo hide to support their semi-nomadic lifestyle

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More than half the tradesman in the city were stone cutters or masons, many of Scottish origin with generations of family experience

CPR begins quarrying sand stones from Shaganappi Point to be used in government buildings in Regina

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Gypsum is transported to Calgary to be manufactured into gypsum lath, tile, wallboard, and plaster

Canada Cement is established west of Calgary

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The Great Fire devastated the mostly wood town of Calgary, giving motivation to find a fire resistant building material

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Fort Calgary is established

Calgary is called the “Sandstone City” This stone is part of the Paskapoo formation, a geological layer that dates back to the Paleocene era.

The Wm. Oliver and Co. or, Bankview Quarry is established. These stones are used in the Construction of City Hall

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The number of car owners has doubled in a decade and the 1st Canadian company predominantly based on paving is established

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Calgary begins manufacturing plastics and resins

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A boom in the plastics industry occurs due to Covid 19

Canada Cement merges with LaFarge

Extraction Time line: Political, social, cultural, and economical events influence and effect extraction methods in Calgary over time.

Surface Mining

Overburden

Material excavated by large machinery to expose coal seams.

Mining method when coal is less than 200 feet underground

Transportation

Deforestation

Accounts for 80% of carbon emissions in surface Coal Mining

Industrial and Resource Extraction accounts for 8% of Canada’s deforestation

>1% Amount of Coal Mines in Alberta that have undergone remedial work

4 -12x Coveyor belts energy efficentcy compared to truck transportation

CH BEN

ES ACC

ST CRE

9 The amount of Coal Mines in Alberta, currently in operation

AD S RO

˜ 2100

FACE

Abandoned Mines in Alberta

PIT BOTTOM

Physical and Chemical Tests PE

SLO

Very few abandoned Alberta Mines have been tested.

Alberta

VISTA COAL MINE, ALBERTA, CANADA

Produced 35% of Canada’s Coal

Vista Coal Mine: Terminology, data, and forms of coal mining greatly influenced the form of the Museum of Extraction.

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LEGEND

TREATY 6 TERRITORY

STONEY NAKODA NATION

CALGARY CITY LIMITS BUFFALO JUMPS CPR TRAIN LINES CN TRAIN LINES AREA IMPACTED BY THE FIRE OF 1886 FORMER SANDSTONE QUARRY GYPSUM MANUFACTURER HEAD CREEK GYPSUM DEPOSIT ASPHALT MANUFACTURER PLASTICS MANUFACTURER TURNER VALLEY DISCOVERY WELL LAFARGE CEMENT PLANT HIGH VOLATILE BITUMINOUS COAL

TSUU T’INA NATION

LOW & MEDIUM VOLATILE BITUMINOUS COAL

SIKSIKA NATION

STONEY NAKODA NATION

Extraction in the Calgary Area: Places and events related to extraction in the Calgary area.

Exterior Axonometric: The solid edges of the north, east, and south sides of the site encourage people to approach from the west.

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GROUND FLOOR N 1:100

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Ground Floor Plan:The column grid and program layout radiates around the central pit.

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Third Floor Plan: An open floor plate to provide the flexibility required for the temporary exhibition space.

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2ND FLOOR N 1:100

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Second Floor Plan: An open floor containing permanent exhibition space that visitors must wind through.

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Fourth Floor Plan:Contains the remaining temporary exhibition space and administration in the back of house.

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East-West Section: The stepped language of the exterior continues through the interior.

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North - South Section: Provides three cuts through the tunnel, most importantly, the southern portion which provides views into the pit.

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2% SLOPE ON PRE CAST CONCRETE CAP

R3

INSULATION SLOPED 2% TOWARDS DRAIN PRE CAST CONCRETE CURB LOOSE LAID

W9 GALVANIZED STEEL SHELF ANGLE

SEE CONNECTION DETAILS

PRIMARY STRUCTURAL CAVITY

F1

DOUBLE STUD WALL WITHIN PRIMARY STRUCTURAL CAVITY FAULTY CEILING SUPPORTED BY 92mm FRAME METAL MESH MECHANICALLY FASTENED TO GWB

W3 PARKING GARAGE

Green Roof Detail: The green roof above the top floor is inaccessible to represent the untouched earth before extraction begins.

TECTONIC MODEL - STRUCTURE 1:20

SECONDARY STRUCTURE - METAL DECKING PRIMARY STRUCTURE - W460 x 144 BEAM PRIMARY STRUCTURE - W460 x 144 COLUMN SECONDARY STRUCTURE - HSS RAILING SYSTEM TERTIARY STRUCTURE - CORBELS

PRIMARY STRUCTURE - HSS 20 x 18 x 1/2

SECONDARY STRUCTURE - INTERMEDIATE BEAM SYSTEM

TERTIARY STRUCTURE - BRICK TIES TERTIARY STRUCTURE - 92mm STUD WALL SECONDARY STRUCTURE - METAL DECKING WITH CONCRETE FLOOR SLAB TERTIARY STRUCTURE - 92mm DROPPED CEILING FRAME

Tectonic Model: The structure and building systems are hidden behind the monolithic forms.

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Terrace Image: Different coloured bricks reused from multiple buildings give the illusion of geological layers on the inner facade.

Foyer Image: To the left you see the entrance to the tunnel and centrally, the tiered exhibition spaces.

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Ramp Image: Instead of just having railings, the screen actually extends to the floor above, again to give more of an enclosed feeling.

Exhibition Image: To reinforce the monolithic atmosphere all interior finishes are the same.

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Exterior Image:The inner facade uses brick to form a perforated screen for a rougher appearance, imitating the subtractive nature.

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ARCHI THE COM 36

IVE OF MMONS 37

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ARCHIVE OF THE COMMONS Cindy Nachareun, Vivian Ton Situated in Calgary’s downtown west end, The Archive of the Commons is designed as a museum that reconsiders death care infrastructures within the contemporary city. Through challenging existing conventions and cultural perceptions about end-of-life processes, it proposes a vision of an urban typology which reconnects meaningful ways of civic remembrance and celebration with a radical and ecological approach to funerary practices.

While societies are becoming increasingly cognizant of their environmental footprints in life, post-mortem ecological impacts have, in comparison, been examined with less scrutiny. Consequentially, mainstream funerary customs have created an unsustainable and toxic infrastructure of death tethered to chemical preservation (i.e. formaldehyde embalmment), materially-intensive ground burials (i.e. in the construction of massive quantities of steel and hardwood caskets, and concrete grave liners), and emissions-heavy cremation, contributing to widespread landscape contamination all in the face of a large aging demographic and depleting global resources. Rejecting the ecologically damaging, financially burdensome, and oftentimes emotionally unfulfilling customs that shape the modern funeral industry, the project proposal looks to natural or “green” burial as a means of deep investment into urban ecology, drawing on principles of conservation, regenerative design, energy-efficiency, and eliminating unsustainable building materials when possible to produce a holistic and productive architecture.

The architectural proposal expresses a deep approach to ecology while creating a culturally meaningful public experience that is simultaneously a building, an urban place, a park, a repository for knowledge, and a regenerative ecosystem. Digital archives, exhibition halls, multifunctional event and ceremonial spaces, extensive memorial gardens, an intensive living roof and tree nursery, as well as a regenerative after-death facility that promotes the rapid decomposition of human remains into soil comprise the programmatic functions of the museum between two levels with robust public rooftop amenities. The building form is described by a prefabricated heavy timber wall with permeable transitions that reinforce the presence of the museum and allowing for the integration of interior and exterior systems to the user experience of the facility.

Concept Diagram: A monolith containing informations and histories with central void

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childhood bedroom

tomb ossuary

columbaria

unmarked graves casket

Program Identity Diagram: A heterotopia of rooms

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b public square

mausoleum

mass graves urns

cemetery

s - architectures of death and the celebration of life.

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anonymous unmarked grave, one of thousands in canada belonging to former residential school students

Temporary Crematory Urn

Columbarium Niche

4.5” x 6” x 8”

12” x 12” x 12”

Casket

84” x 28” x

lenin’s mausoleum at red square, moscow

A Room of One’s Own: Taxo

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t

Private Mausoleum

x 24”

varies, depends on number of crypts

mass grave site

ossuary at san cataldo cemetery, by also rossi

onomy of Rooms, After Death

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before

death

after

Addressing the program through the understanding of life and death as a continuous cycle rather than a definite start and end questions western modes of addressing the loss of loved ones.

Temporary exhibitions are broken up with permanent exhibitions in order to anchor physical objects of memory with intangible ways of remembering.

Program Concept Diagram:

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Providing a continous circulation path along the exterior and central zone creates opportunity for communal and independent mourning. Multiple connections between the two create a sense of wandering.

Utilizing gardens and internment to cut through layers of program connects physical and spiritual understandings of death.

: Programmatic Interactions

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Before the Threshold

The Thre Japan South Korea United Kingdom

80 years

World

70 years

India Ethiopia South Africa

60 years

50 years

40 years

30 years

1543

1600

1700

1800

1900

birth

MOKSHA/ NIRVANA

liberation from cycle of existence

2015

death

mortality

Saṃsāra Found in Sramanic religions such as Buddhism and Jainism, and various schools of Hindu philosophy.

THE SPA UNDERSTANDI The Space of Death: Und

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eshold of Death

Beyond the Threshold

Living-Dying Interval (Pattinson, 1977) Heaven

An Afterlife?

y salience

Purgatory

Hell

ACE OF DEATH ING THE THRESHOLD derstanding the Threshold

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Exterior Render: A labyrinthine

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monolith, with ghostly cladding.

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spiritual

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MAIN EXHIBITION HALL

immaterial

material

body

Program Relationship Diagram: Immaterial/Material Forms of Memory vs. Bodily/Spiritual Attachments to Life/Death

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PERSONNEL

RR1

RR2

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MAIN EXHIBITION HALL

Program Relationship Diagram: Nesting Program Relationships

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LECTURE HALL

Program Massing and Circulation Diagrams

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CENTERED IMAGE

Program Massing and Circulation Diagrams

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Site P

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Plan

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Level 1

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1 Plan

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Level 2

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2 Plan

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Site axonometric from the SW corner

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Elevation south

Elevation west

Elevation north

Elevation east

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Interior Render: Main exhibition hall

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Section A

Section B

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Recomposition process adapted from Katrina Spade’s recomposition model

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Interior Render: Soil bank ceremonial space

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Interior Render: Two people in a readin

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ng room located within the tree nursery

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Wall Section: Amphitheatre, Main Exhibition, and Tree Nursery

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FULL PAGE GRAPHIC WITH BORDER

Wall Section: Soil Bank, Ceremonial Area, and Outdoor Exhibition Area

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THE CA MUSEUM DISOBE 70

ANOPY OF CIVIL DIENCE 71

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THE CANOPY - MUSEUM OF CIVIL DISOBEDIENCE Jian Vern Ng, Thisura Kehelpannala The Museum of Civil Disobedience is an institute that seeks to build up and inspire future generations. Important protests, turmoil, and obstructions from the past should not be forgotten, and the idea of peaceful, yet forceful, disruption is needed to keep the government and law enforcement in check. This project brings four key ideas to the table. The first is to accommodate and provide a place for public amenity and occupation. The second is to educate about past and present cases of civil disobedience. Third, to provide a platform for people to motivate one another. Finally, fourth, to allow them to appropriate the building and site for events. The building is lifted off the ground to create an open plaza and allow for maximum public inhabitability. Bollards have been placed around the entire property to create a safe zone for protesting - an anti-law enforcement measure. The program layout of the building is split sectionally into four levels. The service and office areas are at the bottom, then the plaza, exhibition, and then a meditation garden above. Having all the service and office areas below ground frees the spaces above ground for public occupation and exhibition use. Fire-retardant treated pallets are embedded into the plaza on the ground level, heaped up into small hills. These pallets can be removed by the public and can be used as creatively as the public’s imagination.

Civil disobedience is about taking a stand against systematic oppression and injustice. It allows people to rise up and breach through for the betterment of society. This idea inspired a building form of a solid mass punched through with vertical elements. The canopy above, which houses the exhibition spaces is highly adaptable and flexible, and promotes permeability of interior spaces. With movable partitions, lighting, and even ducting, it allows users to be the architect, planner and designer. Spaces can transform from informal setting to formal setting and formal setting to informal setting. The user can manipulate the exposed mechanical and lighting systems according to programmatic needs.

Parti: Breaching through the ceiling of systematic oppression and injustice.

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Site Analysis: Historical and contemporary

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acts of civil disobedience around the world.

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Site Analysis: Calgary’s historical protests and riots - both violent and civil.

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The Missing Balance: Calgary’s City Hall and the Museum of Civil Disobedience.

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Massing Diagram: A solid box, punched through by ve

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ertical and diagonal cores, extended to form a canopy.

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Site Axonometric: The building, situated at th

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he intersection of 11th Street and the C-Train.

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Exterior View: A cloud-like canopy raised above the ground,

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, providing cover while still allowing light to reach the plaza.

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Plaza Design: An open, accessible public space

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filled with fire-resistant pressure treated pallets.

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Plaza Layouts: The wooden pallets embedded into the plaza can be reconfigured into a stage, seating, or playground.

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Plaza View: Public appropriation of the plaza is welcomed and encouraged.

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Site Plan: The plaza canopy stretches over the LRT station to the south, th

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he plaza itself surrounded by bollards to protect against law enforcement.

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Lower Plan: The lobby, administration, and service areas are located on the lower floor.

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Ground Plan: The elevator and stair cores are the only structural elements holding up the building.

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Upper Plan: Other than the columns and cores, the upper floor is an open, flexible space.

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Roof Plan: The trees at the edges of the building block views down to the plaza.

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South Elevation: The perforated metal facade covers all sides and bottom of the building.

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East Elevation: The extreme cantilever of the building stretches over the LRT.

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Long Section: The service and office areas at the bottom, then the plaza, exhibition, and garden at the top.

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Short Section: A core supporting the building canopy and green roof above.

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Interior View: Flexible meeting and resource areas with adjustable ducting and lighting above.

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Interior View: Light tube and concrete cores punching through the exhibition space.

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Wall Section: The ducting and lighting can be seen hanging from the exposed ceiling.

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Wall Section: The wooden pallets are embedded into the roof system of the level below.

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Facade Assembly: Typical wall facade assembly.

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Facade Assembly: The roof canopy assembly.

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Building Structure: Concrete cores hold up vierendeel trusses in both the X and Y axis.

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Building Structure: The different layers within the structural system.

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RAIN/SNOW COVER

SUN SHADING

SOUND/LIGHTING

Integrated Systems: The various integrated public re

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GREEN ROOF

RAIN HARVESTING

PV SOLAR ARRAY

realm and sustainability systems within the building.

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THE RE

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ED BIN

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THE RED BIN Jennifer Yeeun Choi & Rebecca Eunjin Choi Waste is the by-product of human activities; how we live and interact with our surroundings creates the spaces we live in. Unfortunately, the concept of waste as a growing crisis is not evident to many in the world. People foolishly turn a blind eye to this crisis, believing that they are “not as bad as someone else.” Due to the lack of attention paid by larger organizations, such as governments and large corporations, the general public pays little attention to the amount of waste they produce, unaware of the mountains of garbage that continue to grow every day. Since these mountains are no visible nor hinder our everyday lives, they are not our problem – like the saying goes, “Out of sight, out of mind.”

Our project, the Red Bin, pulled this uncomfortable yet needed conversation to the center of downtown Calgary. The building will serve as an icon for the constant reminder of waste produced across the world, and particularly in Calgary, providing a place of dialogue and learning. The museum offers a journey for the visitor, allowing them to experience realities that the current world can head towards, a literal trash bin or a place of healing and revitalization. Our project aims to enlighten the city with the concept of the “cradle-to-cradle” mentality rather than the normative “cradle-to-grave.”Our project, the Red Bin, pulled this uncomfortable yet needed conversation to the center of downtown Calgary. The building will serve as an icon for the constant reminder of waste produced across the world, and particularly in Calgary, providing a place of dialogue and learning. The museum offers a journey.

Concept Diagram: Fork in the Road

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Conceptual Design: Massing Diagram

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Site Analysis: Urban Relationship Diagrams

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Main Entrance: Under West Cantilever

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Exterior View: South - along the Downtown West–Kerby Station

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Ground Floor Plan

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Second Floor Plan

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Building

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Sections

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Interior View: Resource room looking at the Waste

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collection room below and the workshop to the left

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Interior View: Interactive Mezzanine

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Structural Axonometric: Exploded View of Structural Systems

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Tectonic Assembly: Exploded Facade Assembly

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Tectonic Perspective: Spacial Quality in relation to Assembly Details

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THE

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VOID

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The Museum of the City must confront the void left by colonialism.

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THE VOID Aleksandra Simic and Parisa Rafat We cannot talk about the city of Calgary without exposing the genocidal erasure experienced by Indigenous people and reveal the void left by colonialism. Thus, this project is a museum that leads visitors through the past, present and future of Indigenous experiences in Canada. Although the museum reflects on past and present issues, it also looks towards the future and gives a platform for Indigenous artists, storytellers and designers to present alternate narratives of the future, where Indigenous people reclaim their power and identity.

As visitors ascend the central double helix staircase, they are guided through the museum in chronological order, where they will experience exhibits about the history and present state of the erasure of Indigenous people, as well as exhibits dedicated to Indigenous Futurity. Once visitors have reached the top floor of the museum, they then descend directly to the basement of the building and enter The Void.

The center of the museum is anchored by the Void memorial space. Architecturally, the Void memorial is meant to evoke a sense of loss and suppression for all who enter it, symbolizing the loss and erasure that Indigenous people have experienced for decades. Phenomenologically, this feeling of loss is achieved through the conical, vortex-like shape of the space, where the only light streams in through an oculus located on the roof. The feeling of erasure is compounded by the use of hundreds of anechoic acoustic panels on the memorial walls, designed to acoustically dampen all noise within the space. The resulting space is thus intentionally designed to be uncomfortable for visitors so that they can consciously reflect on their experience within the museum. It must be noted that throughout their experience at the museum, the central Void memorial is always concealed from the visitor until the end of their visit where they descend the levels of the museum and enter the Void.

As visitors exit The Void, they then enter a sunken contemplation garden that is composed of a re-wilded landscape.

Instead of formal gathering places, the garden has a decentralized network of smaller spaces that can be used for temporary Indigenous structures or spaces of informal education and reconnection with the natural environment.

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Through the translucent facade of the monolithic mass, a ghoste

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ed conical subtraction draws visitors in from the re-wilded plaza.

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A memorial and contemplation space lies within The Void, which is covered in anechoic aco

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oustic panels where visitors phenomenologically experience the absence of space and sound.

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Indigenous reserve land networks have been left in a fragmented state.

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ANNEXATION OF LAND AROUND CALGARY, BY YEAR

The parasitic grid of progress erased already present Indigenous systems of life in Calgary.

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Massing Progression

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Like a vortex transcending time, the conical Void gives more space to the future than the past.

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Upon entry, visitors begin by going up the stairs around the hermetically sealed void, and only arrive inside The Void as they exit.

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Programmatic organization and layout of the museum.

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Level One

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Level Two

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Level Three

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Level Four

Level Five

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The sunken garden leads visitors from the memorial into the re-wilded plaza that reclaims space fr

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rom Calgary’s downtown grid, and encourages visitors to contemplate their relationship to nature.

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ESOURCE CENTRE - INDIGENOUS FILM SCREENINGS

The Resource Center showcasing contemporary Indigenous perspectives that can be highlighted through mediums like film.

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The Void acts an anti-program, and yet dictates the programming, experience and circulation of the museum.

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The museum is structurally, mechanically, and conceptually reliant on The Void, just a

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as Canada was founded on the genocide of Indigenous people, land, and ways of life.

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Facade Assembly: Typical wall facade assembly.

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East-West Section

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Tectonic Model of the double skin facade system demonstrating natural cross ventilation strategy

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Wall Sections

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MEAND

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DRIAN

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MEANDRIAN Robin Vindum Whitteker & Daniel Howard Truth is a challenging subject matter to work with. Our modern context is populated by so many belief systems it becomes hard to know what the truth really is, or if it even exists. Despite the nebulous nature of truth humanity is still compelled to search for it, despite its perpetually obfuscated nature. Meandrian strives to embody the obfuscated search for truth while providing a space for various ‘truths’ to exist simultaneously. The simultaneity of Meandrian makes it part of the obfuscation of truth as well as the illumination of it, allowing the building to exist as a conceptual paradox, like truth.

Program Concept Diagram: Spaces, interoven on a grid, create a matrix of potential areas for exploration

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Building Axonometric: Terraces and an ever increasing compl Building Axonometric: Terraces and an ever increasing compl 6162 6

lexity transition the wanderer into the archiectural experience lexity transition the wanderer into the archiectural experience 1637 7

Site Plan: Engaging the perimeter of the site enabl

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les Miandiran to invite investigation from all sides

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Sectional Axonometric: Complex geometry defines and divides space

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es throughout the building bluing the edges, creating layers of space

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Into the Labyrinth: West facing view of the public space

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Quest for Knowledge: View of Public Space

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Interior Render: Confusion and obfuscation abound in the search for ‘Truth’

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Exterior Render:The appeal of Truth lies in it’s mystery

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Parapet Detail: The curved accommodates the technical requirements of envelope design while mirroring the architectural language

Foundation Detail: Mechanical systems hide below the floor in the custom UFAD

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Tectonic Section: The complex geometry creates manifold spaces with singular materiality

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Interior Render: Consitent materials & finishes with complex geometry create disorientation by their nature

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Building Section: The curvalinear language helps deliminate space & define its qualities

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Building Section: Consistent language throug

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ghout bridges the interior and exterior spaces

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MUSEU DIALO 178

UM FOR OGUE 179

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THE MUSEUM FOR DIALOGUE Evan Dodds, Brendan Webb The Museum for Dialogue is inspired by the increasing social division that society faces. It is intended to be a landmark for public discourse in the city, at the collision between downtown and suburban Calgary where there are vast changes in urban scale, and socio-economic conditions. It is a place where the spectrum of opinions on divisive topics is explored through presentations, galleries, and sculpted areas for meaningful verbal interaction.

Underlying this museum is the idea that society can become stronger by understanding the diversity of opinions on topics, and be respectful of others within this spectrum.

A public to private gradient of public discourse within the museum exists through the distinction between the first and second floor on the interior, and through the terraced landscape on the exterior. Public plazas exist on the west and east portions of the site that have spatial gestures for discussion, but do not have any exhibits which would bring a certain topic to the forefront. A permenant gallery on the first floor of the museum acts to prepare individuals for entering the discussion space above, through its content on the background of the museum. The agora space inside the shell acts as a device which forces those with varied opinions on the displayed subjects together under one roof, thus creating formal and informal interactions between them. Through these interactions, the visitors to the museum can learn that those with differing opinions are not always the enemy.

The Museum For Dialogue is a is a building that strengthens society by encouraging personal engagement with others who we may not normally engage with.

Communication Breakdown: We lack physical space where we can talk it out and learn about one another

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Program Identity: The building uses the idea of the agora to create a forum for public discourse

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CRUSH SPACE LEARNING DIALOGUE PLAZA

SEMI - PUBLIC

PUBLIC BOH

Program Relationships: A gradient of public space exists on the exterior and interior

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Massing Diagram: The conceptual a

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agora becomes a physical landmark

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Site Plan: Orientation of long axis to train station

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Site Section North: Shared public space with Contemporary Calgary: the threshold of urban scales

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Agora Concept: the open interior of the shell can be put to multiple uses to advance public discourse

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Inside the Shell: Public discourse at work

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Main Floor Exhibits: Getting a

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acquainted with the museum

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Details: Through the shell

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ZINC METAL PANELS

75 mm TUBE STEEL PANEL FRAME & BRACKETS

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AIR / WATERPROOFING MEMBRANE 200 mm INSULATION 30 mm EXTERIOR GYPSUM BOARD

STEEL SPACE FRAME STRUCTURE

Exploded Detail: The simplicity of the shell form belies the complexity within

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Conceptual Render: Public discussion

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throughout all areas of the museum

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Details:

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: Offices

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The Museum of Dialogue: A public landm

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mark for enhancing Calgary’s social fabric

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Museum of the City

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