ULTRA JOURNAL
ISSUE 01
REALSCAPE / DREAMSCAPE
15/16
E D I TO R S Blake Costley Kaitlin Dale ACK NOW L E D G M E NT S Dr. Brian R. Sinclair Zoe Lewis Dan Silver Graeme Haunholter Faculty of Environmental Design University of Calgary Western Canadian Digital Imaging sinclairstudio inc.
AB ST RACT The practice of architectural drawing is the practice of abstraction, operating in a fictional space that is neither a perfect picture of what exists nor a precise model of what is to be. Drawings act not simply as representations but as operative agent, tools that inform and shape the production of the real. Drawing then operates as a spectrum between speculative and real, probable and improbable, realscape and dreamscape. This
journal
explores
the
spectrum
of
speculative paper architecture, asking the reader to examine the work both as individual and as a body of architectural thought, a continuum of architectural abstraction.
R E A LSC A P E S A drawing of the realscape operates in a condition closest to that of reality. The constraints that inform the design simulate that of our own context, and the realscape offers the reader a picture of what could be with the least possible suspension of disbelief. Realscape offers representation as a road map to creation, detailed and accurate descriptions of the world as it conceivably could be. The realscape is an exercise in a domain of architecture focused on the creation of object, fragments of reality closest to production.
1 FOUNDATION EVDA 580 CATHERINE HAMEL + MATTHEW KNAPIK
Mapping The Immaterial
Sarah Klym
The aim of this project was to explore an ephemeral aspect of a given site that may not be captured at a singular moment in time. One of the most striking elements of the sloped site, found near Crowchild Trail in Calgary, Alberta, is the initial view. This viewshifts and evolves as one descends, oscillating the focus of the observer between the scale of the site to the scale of the city. The final outcome of this project, a physical site model, seeks to map this scale along transects at significant changes in elevation to explore how this dynamic focus changes with descent through the site, and throughout the day. To achieve this, a series of images was captured at even intervals along three transects. This process was repeated at 7:00 AM, 12:00 PM, and 7:00 PM. These images were then reduced down to their essential elements, isolating the central focus of each frame. Foci were further abstracted into a composite image, generated to map a lateral understanding of each elevation’s curated view. Clear patterns emerge as the observer’s focus shifts from site to surroundings in rhythm with time of day.
2
FOUNDATION
EVDA 580
CATHERINE HAMEL + MATTHEW KNAPIK
3 M.ARCH 1 EVDB 613 MAURICIO SOTO-RUBIO
79 Wooden Dowels Graeme Haunholter + Zoe Lewis Utilizing the bed of nails principle, surface area is increased allowing even weight distribution across the structure. The more force is distributed, the less the less force is exerted on any single point
4 M.ARCH 1
EVDB 613
MAURICIO SOTO-RUBIO
5 M.ARCH 2 EVDB 697
Cold Coffee + Copenhagen Spires
Noah Jarvis
RAFAEL GOMEZ-MORIANA
This is a short, illustrated diary of my time spent documenting a quality of place in the City of Copenhagen over the course of five days. I was in search of a quality within the heart of the city that breathes an atmosphere unique from other cities. Upon arrival the answer to this search did not come so quickly. On my first day I was intrigued by the subtle details of the city; the variety of ground patterns, formed concrete textures and patient wood joinery. But I was looking for something grander, an example I could look back on and instantly be reminded of Copenhagen. On the second day, after winding my way to the top of Rundetaarn Tower, it just hit me. The view tumbled around in my head and an idea quickly ensued. From the vantage point on top of the lookout, I could view the city as a sum of the parts I had been observing on the ground. The drab, wet air made the low lying cityscape blend into the dreary sky. This emphasized the spires piercing the horizon, acting as both backdrop and focal point. It was obvious; the great spires are what gives Copenhagen its Genius Loci, its spirit of place.
6
M.ARCH 2 EVDB 697
RAFAEL GOMEZ-MORIANA
7 M.ARCH 2 EVDS 723.03
Cigarette Chair
Edward Whitley
BARRY WYLANT
Conceptually the chair was founded upon the juxtaposition of throne and bench. High regard, and self-deprecation; the chair was to sit at the meeting point of both these qualities. The interior and exterior appearances of the chair were contrasted to generate the formal strategy. On the outside, a simple form is presented, but on the interior, the experience of the user promises an interesting, even sinuous formal surface. The gentle recline of the seat situates the user in a comfortable position with the head held high in a natural position. The strategy for creating this surface was developed through building a model out of rolled-up paper, and positioning the pieces based on their top profile. The strategy developed like a puzzle, involving the placement of each uniquely cut tube with specific profiles on an off-axis orthogonal grid, and adhering them one to the other. Each profile had a specific coordinate within the grid. The final product is an organized chaos of upright tubes forming a strong, doubly curved surface providing maximum comfort to the user.
8
M.ARCH 2 EVDS 723.03
BARRY WYLANT
9 M.ARCH 2 EVDS 783 JASON JOHNSON
SculptChairs
Logan D. Armstrong
Developed for use within the RB Miller Biological Research Cabin for the University of Calgary, SculptChairs attempt to address an increasing prominent design problem: spatial constriction vs. programmatic adaptability. As the world population increases, the amount of domestic space per person decreases, putting pressure on furniture designers to add versatility. Reconciliation between the necessity for multi-use domestic space and furniture needs to be found: insert SculptChairs. While in use, an intriguing negative space art piece remains on the wall, beckoning their return. When the program of the space needs to be altered or the chairs are no longer required, simple take-down hardware facilitates a quick disassembly, allowing the chairs to be returned to their artful storage positions on the wall. Aesthetically intriguing, digitally crafted, and functionally versatile, SculptChairs can be employed as the primary seating arrangement within a small domestic space or as integrated guest seating. Simply stated, regardless of whether they are in use or in storage, SculptChairs add style and versatility to any space without sacrificing valuable floor area.
10
M.ARCH 2 EVDS 783
JASON JOHNSON
11 BLOCK WEEK EVDB 697.77 MAURICIO SOTO-RUBIO
Noah Jarvis, Jordan Polanski, Cassandra Milford, Anne Gorsalitz, Amanda VanderZee, Kaitlin Dale, Alex Raymundo, Janine Law, Alexis Hausemer + Hunter Lee The University of Calgary hosted a design build ‘block-week’ seminar/competition that includes the design, fabrication and installation of a full-scale intervention. This year’s seminar placed the behavioral and structural properties of construction materials as the driving factor in the creative process. 4mm birch plywood was the chosen element, which was then manipulated in a series of small-scale models that demonstrated a solid construction logic. A team of nine students constructed and installed the ‘experimental pavilion’. The plywood pavilion was displayed at the University of Calgary campus until the end of the year.
12 BLOCK WEEK
EVDB 697.77
MAURICIO SOTO-RUBIO
13 M.ARCH 2 EVDA 782.09
Hexy
ALYSIA BENNETT
Alex Raymundo Hexy uses the concept of rhythm in order to achieve a much improved, dynamic and interactive urban space. The idea is to use modular hexagons as the driving force of the design. The design is made up of regular and irregular patterns of hexagonal objects which are used to define the flow of movement directing pedestrians into the site. Hexy will also aim to bridge and enhance the experiential transition between the built form and the urban environment.
14
M.ARCH 2 EVDA 782.09
ALYSIA BENNETT
15 M.ARCH 1 EVDA 682.02 BRANKO KOLAREVIC
The Fifth Season Hotel
Callum McClure
The Fifth Season Hotel is a mixed use building designed with the intent to include, exhibit and encourage urban farming. This is achieved by the duel design of the building which houses two main functions, a hotel and an urban vertical farm. Most of Calgary’s fresh fruits and vegetables come from California, Mexico and South America which significantly contributes to CO2 pollution via transportation. Through the implementation of the Fifth Season Hotel it will be possible for Calgary to reduce the amount of greenhouse gas emissions caused by food transportation, generate local jobs in the urban farming market and create an interesting and unique hotel experience. The Fifth Season Hotel will allow the urban core of Calgary a venue to purchase food that is both independent and self sufficient in food production and a beacon for future sustainable projects.
Th
16
M.ARCH 1 EVDA 682.02
BRANKO KOLAREVIC
17 M.ARCH 2 EVDA 782.01 FRANCISCO ALANIZ URIBE + GRAHAM LIVESEY
Waterfront Urban Design
Lindsay Fischer
Portland Paradigm is the final component to a larger group urban design scheme in Portland, Oregon. The project was to develop a sustainable community on an existing brownfield site located along the Willamette River. This individual component focused on the development of a high density residential complex with commercial space and a daycare on the main levels. It is comprised of a series of 3 shifting buildings which take cues from the existing topography as one moves towards the river’s edge. The residential program also transforms slightly as one moves west to east (larger building to smaller) in that the units begin as studios and one beds (building 1), one and two beds (building 2) and finally, family size units (building 3) located on the waterfront. The facade also reflects this transformation of program. The amenity spaces of the complex are located along the main level and the tops of each building and specifically connect above grade between buildings 2 and 3 - here a swimming pool floats above the street below. The formal qualities of the buildings lend themselves to maintaining existing views and maximizing new ones – two key drivers of this project and the overall community scheme.
18
M.ARCH 2 EVDA 782.01
FRANCISCO ALANIZ URIBE + GRAHAM LIVESEY
19 M.ARCH 2 EVDA 782.17 RAFAEL GOMEZ-MORIANA
Book House
Cassandra Milford
The programmatic requirement of my work component, being a bookstore, required vehicular access for the off-loading of books, as well as, pedestrian and vehicular access for patrons, thus necessitating its proximity to a vehicular roadway. Given the narrow dimensions of my site, the live component attempted to reduce long runs of circulation as a way to reclaim the site for living space. Careful considerations needed to be paid to privacy of private at-grade patio spaces and their connection to living and dining functions of the home. Pedestrian and vehicular access also needed to be considered based on practical needs of specific live and work programming.
20
M.ARCH 2
EVDA 782.17
RAFAEL GOMEZ-MORIANA
21 M.ARCH 2 EVDA 782.17 RAFAEL GOMEZ-MORIANA
Recorrer Patio House
Carson Long
Recorrer patio house was designed for two permanent residents who are active silk screen artists. These two artists generate a majority of their income by operating an artist residency utilizing the additional two living spaces in their house as well as the print studio located on the top floor of their home. Engagement with the public realm from the work spaces was enhanced through moments of interaction with the pathway such as seating areas and openings. Meanwhile, privacy was created for the resident’s portion of the program by utilizing low walls along the pathway. Two patio spaces were created as a result of the triangular lot shape. Both patios flank the living room, dining room and kitchen creating the possibility to have varying options of sun or shade during different seasons depending on what user would prefer. This also allowed the opportunity to open up the entire main floor to the outdoors if desired.
22
M.ARCH 2
EVDA 782.17
RAFAEL GOMEZ-MORIANA
23 M.ARCH 2 EVDA 782.17 RAFAEL GOMEZ-MORIANA
Live/Work Patio House
Kalie Widmer
The primary project intention was to provide a seamless transition from public circulation to a publicly accessible art gallery while maintaining the necessary connections between the neighboring plaza to the east and the city to the west. Challenges arose when attempting to define boundaries between public space, the gallery, and the private residence. Borders needed to be defined; however, they had to be permeable to allow for public access yet not compromise the privacy of the residence. A repetitive slat system was developed to frame the gallery space yet still allow for continuous public circulation and views to the city beyond the building; they were intended to define, not enclose. The function of the slat system was further explored and became a means to provide privacy to the residence, a shading device for the rooftop restaurant seating and patio, and a primary component of the building structure.
24
M.ARCH 2
EVDA 782.17
RAFAEL GOMEZ-MORIANA
25 M.ARCH 2 EVDA 782.17 RAFAEL GOMEZ-MORIANA
A Model for Collective Living
John Ferguson
Labour in our society is becoming increasingly immaterial. The city itself is now a cognitive factory; no longer defined by the 9-to-5 workday, work transcends the traditional separation between living and working. Office space today is being increasingly “domesticized� through domestic furniture and functions, with the goal of concealing the workaholic ethos of post-Fordist production. How can, and should architecture try to accommodate this less hermetic relationship between live and work? In addition, the model of private ownership and individual living is no longer totalistic - new approaches to domestic space should be explored. What would a model for more collective and collaborative living space look like?
26
M.ARCH 2
EVDA 782.17
RAFAEL GOMEZ-MORIANA
27 M.ARCH 2 EVDA 782.09
Tactile Melbourne
Kaitlin Dale
ALYSIA BENNETT
Tactile Melbourne is focused on brinigng a material personality to the non-descript area of Docklands, in Melbourne, Australia. The pavilion, located in a new interconnected park at the end of pier. The park is designed to have a high point that provides views onto the pavilion and the Yarra River. The pavilion itself is sunk onto the water and set out on its own pier to provide views out onto the water, back down to the city and of the sky. The intervention takes into consideration the role of viewpoints in creating place. The pavilion is split into two, a smaller spiritual space and a larger gathering space for bigger groups. The material pallet will increase the tactility and distinctness of the site, it consists of materials that are a combination of both colour and texture. Slatted wood, concrete, brick and aged steel work together to help create a new identity for Docklands.
28
M.ARCH 2 EVDA 782.09
ALYSIA BENNETT
29 FOUNDATION EVDA 580 JASON JOHNSON
Alzheimer’s + The Great Horned Owl
Vienna Braux
The geometric properties and spatial relations between the two program requirements for the clients, create converging spaces of interest. These spaces display and represent a fluidity within the program and overall structure of the house. The clients for this project consisted of a married couple and the husband’s mother as well as a Great Horned Owl. The mother, Marilyn, age 78 has been battling Alzheimer’s disease, a form of dementia for roughly 12 years. She is currently in the middle stages of the disease. One of the conceptual ideas for the layout of this house was to consider past homes Marilyn had lived in and incorporate some architectural aspects and elements into the new home to create a sense of familiarity for Marilyn. The idea is to help Marilyn feel more comfortable within spaces that are reminiscent of her past to ease fears of being lost in an unfamiliar place.
30
FOUNDATION
EVDA 580
JASON JOHNSON
31 FOUNDATION EVDA 582 CATHERIN HAMEL & MATT KNAPIK
Crevice
Oluwaseyi Arole
Crevice is a speculative project that exists in a time where there has been devastating water damage to the west side of downtown Calgay.The damage has left a crevice that splits the 9th street region into 2 parts. The project inhabits a site at the end of the crevice and stitches the two sides of the crack with a bridge. The bridge is a social space that serves as the main circulation path, connecting a heritage plaza through programs in the architecture, to a community garden at the end of the bridge. The residential program contains 14 apartments, while the enterprise program consists of a road-side food stall, a cafe, a grocery store and an exhibition gallery, the two programs are built upon the existence of the bridge. The process of moving from the heritage plaza, through the programs, to the community gardens, represents the remembrance of a past damage, and moving through the present life to a possible future. In addition the project encourages a form of social connectivity through the use of translucent walls between the interior residences and public spaces, that blurs the boundary between public and private spaces and creates a degree of contact between everyone.
32
FOUNDATION
EVDA 582
CATHERIN HAMEL & MATT KNAPIK
33 M.ARCH 1 EVDA 682.04
Black Box Center for Architecture + Urban Design
Charlea Greig + Cody Kupper
ALAN COLLYER
Architecture and Urban Design are traditionally seen as a protected practice, existing within a “Black Box”, hidden out of sight until a final product emerges for public consumption. The Black Box Centre for Architecture and Urban Design is an intermediary between production and presentation, physically manifesting as an intersection between public and private, allowing the products of the space to interact with the public sphere. It aims to both encapsulate and reveal architecture as two separate entities of production and presentation, which collide to create a processional gradient of experience for the public. The programme of the Black Box Centre exists across a false dichotomy of public vs. private. The public exhibition, as the most open and transparent aspect, occupies the ‘presentation cube,’ highly glazed, promoting visual connection with the interior. The program moves to the studios and workshops, within the black steel clad ‘production cube.’ Although private, the studio and workshop spaces are completely glazed to allow visual connection to architectural design, research and production. The lecture theatre mediates between the public and the private. It facilitates the presentation of ideas developed by lecturers and presenters, and creates the opportunity for the audience members to produce ideas of their own, leading to new ways to think about architecture and urban design,
34
M.ARCH 1 EVDA 682.04
ALAN COLLYER
35 M.ARCH 1 EVDA 682.02
Topographic Relief
Jordan Demer
VERA PARLAC
This site can be seen as a microcosm of Calgary’s downtown, a breeding ground for a way to overcome the issue of an intensely private, completely built-up site. Whereas site is traditionally viewed as a two-dimensional concept, here site embraces its three-dimensionality. The built-up private structures present a mass to carve into, through which a new topography can emerge. This new landscape can begin to link seemingly disparate elements, creating a whole greater than the sum of its parts. This cohesion element can be seen as an archetype for a different way to construct space, one that completely embraces the intertwining of circulation and programmatic elements. The contours emerged as a way to rationalize this new topography that came through the carving of these buildings, a way to navigate the terrain. The contours can be manipulated to carve out spaces for the programmatic elements, which can then be embedded within this circulation. The overarching programmatic element is a library, a highly-public and elastic space that maintains room for these other program elements and can provide for them.
36
M.ARCH 1 EVDA 682.02
VERA PARLAC
37 M.ARCH 1 EVDA 682.02
Inter(action)
Adam Poole
VERA PARLAC
Inter(action) is all about addressing the absence of public space currently on the site in question on 10th Ave. This is made particularly evident when an observation of the saturation of private parking space is made in relation to this lack of the public. Therefore, the project aims to bring the street up and through a building in order to facilitate and engage the public sphere. The public street is rerouted and incorporated into a new and exciting communal center where performance, interaction and habitation overlap. The programmatic elements of public park and performance spaces are employed to draw people to the site. The performing arts center includes a more formal auditorium space as well as moments along the public park where spontaneous performances can take place. As well, the park space strategically wraps up and around the auditorium in order to allow those walking on the path to observe performances taking place below. Finally, the residential units of the building are nested around the park space for both residents and the public to engage and interact.
38
M.ARCH 1 EVDA 682.02
VERA PARLAC
39 M.ARCH 1 EVDA 682.02
Playtonics
Zoe Lewis
JOSH TARON
Playtonics is about how specificity facilitates a condition of under specification in both the urban and architectural context. It is the exploration of working against the controlled hierarchies of zoning laws which, through their explicit nature, disenfranchise the users of the city to less desirable fragmented parts of the urban fabric. The city is understood as a banal prescriptive landscape in which the pregnance of the underspecified nature of play begins to flourish. The project explores, through form, program and techniques of prefabrication, and the possibility of dynamic, user defined spaces. It asks how can an underspecified architecture work against an over specified city? Can a condition of urban under specificity create a landscape of place and occasion where space is not measured and assigned? Where function is dictated by users of the city and not a rule book; how does play facilitate this condition? What is it about the formal and programmatic nature of play which allows a dynamic and ever changing condition?
40 M.ARCH 1
west elevation
east elevation
EVDA 682.02
north / south section 1:200
5 th floor plan 1:200
JOSH TARON
east / west section 1:200
41 M.ARCH 1 EVDA 682.02 GRAHAM LIVESEY
Strata 12
Stephanie Karpuk
Strata 12’s initiative is to capture and contain human movement providing a destination within the Macleod corridor in attempt of reinvigorating the circulatory area. The parking lot is reclaimed by the public while drawing in people from the downtown core. The concepts of layering and embedding intertwine public program amongst the typically private office space. The movement and activities of each group vary in visibility by using a range of transparencies and opacities. During the day, the office is the audience to the public domain and at night, the glass facade allows the surrounding city to become the audience. Varying programs are layered adjacent or embedded into other programs, such as the cinemas protruding into the exterior public realm or into the office space. Main circulation stairways exist on the perimeter of the building before cutting into the center creating both an interior and exterior cinematic experience.
42
M.ARCH 1 EVDA 682.02
GRAHAM LIVESEY
43 FOUNDATION EVDA 541 JASON JOHNSON + MATTHEW PARKER
Stealth Pavilion
Wei Zhang
The purpose of this project is about managing different techniques to create an interesting form from a simple paper made geometry. By using modern technologies, now we can transfer a physical model into a digital 3D mesh by taking numerous photos. The exploring of the geometric transformation is an intriguing process, various methods are involved to generate a series of new geometries (a 5x5 Grid). These approaches include rotation, scale, sine, twist, and tweak. After that, one shape is chosen from this grid for the next stage of transformation. Eventually, the shape is converted from a curved object to a more architectural shape. Techniques involved in this sequence of transformation provide a new possibility to create new forms of architecture.
44
FOUNDATION
EVDA 541
JASON JOHNSON + MATTHEW PARKER
45 M.ARCH 1 EVDA 682.04 MARC BOUTIN
The Living Gallery Cassandra Milford + Anne Gorsalitz Art and architecture is appreciated solely in its physical manifestation, as a final product. Rarely considered, is the design process which breathes life into the completed work. The Living Gallery acts to rectify this disconnect between process and product. The Living Gallery exhibits the process of design as it has evolved through time and technique. The gallery itself allows for an interactive learning environment through which, the public is exposed to the process of design, from conception to completion. Through the exposure to the process of design, the public acts to gain an understanding of the process itself, thereby substantiating the value and investment of design and its implications on the built form of our cities. In the spirit of the Living Gallery’s dedication to an exposed and accessible education of the design process, the building itself is symbolically open to the city via a large facade cut away, highlighting the winding public circulation path beyond. At street and outdoor auditorium level, the facade invites the public to observe and take part in the intensity of activity contained within.
46 M.ARCH 1
atrium
TPO ROOF + GLASS ATRIUM
gallery
presentation space
EVDA 682.04
design development
DOUBLE FACADE SYSTEM INTERIOR GLASS CURTAIN WALL EXTERIOR POLYCARBONATE PANEL FACADE - TRANSLUCENT + TRANSPARENT viewing space
ALUCABOND ALUMINUM CLAD FRAME heavy manufacturing
light manufacturing
design / assembly
200 MM RADIANT CONCRETE SLAB
process gallery
podium
lobby
presentation space
kitchen
loading dock
500 MM PREFAB STEEL I-BEAMS ANGLED TO TRANSFER CANTILEVER LOADS STEEL JOISTS + BEAM FLOOR PLATES
office
cafe
industrial lift
SHALLOW FOUNDATION WITH 200 MM CONCRETE SLAB ON GRADE, WATERPROOFED CONCRETE BEARING WALL TO GRADE, + STRUCTURAL REINFORCED CONCRETE CORES
underground parking
MARC BOUTIN
MEP
47 FOUNDATION EVDA 580 CATHERINE HAMEL + MATTHEW KNAPIK
Fracture
Sarah Klym
With daily life so defined by unspoken spatial cultures and codified environments, it is easy to see how the urban dweller can become numb to their surroundings. Sticking to the right side of the path, passing cars on the left, sitting at a distance from strangers on the train... We live within a rigid social organization of space that ensures predictability and transforms patterns of movement into unconscious routine. This project seeks to challenge predictable spatial practices by introducing flexibility, appropriation, and surprise to a highly-traversed space. Flexible architectural elements offer the potential for a site that is never the same twice. Folding and collapsible lightweight forms, shifting staircases, and fluid partitions introduce a malleability and potential for surprise. This allows visitors to the site to become spatial practitioners if they so choose, reclaiming a degree of individual autonomy often lost in urban life. The negotiation and appropriation of space that follows is undetermined; from shelter to showcase, pathway to roadblock, the unprescribed nature of the space fractures rigid physical and social structures of the built environment to reveal an uncertain, transitory space in the heart of the city.
48
FOUNDATION
EVDA 580
CATHERINE HAMEL + MATTHEW KNAPIK
49 M.ARCH 1 EVDA 682.04
Deviant
Carolyn Andrews, Brady Horner + Jordan Polanski
BRIAN SINCLAIR
Deviant is a centre for design divergence. The Centre is a space for divergent thinkers and innovators to come together to collaborate and research in tandem with the public. A Curated gathering of world-class innovations in architecture and design is then exhibited to the public in spaces throughout the building. New exhibitions are shown in the main floor gallery with rapid turnover which creates a culture of change and invention. Commuters have the opportunity to see new, exciting things in the world of design every week as they go to and from their work. The idea behind divergence is the exploration, understanding and discovering of new paths and perspectives. With that in mind, we curated certain views, not to enforce a certain ideology or lead observers to a certain realization, but to frame a view and allow the viewer to come to their own conclusions. By exposing the users of the building to specific views, we hope to make them confront a new perspective of what they are seeing.
50
M.ARCH 1 EVDA 682.04
BRIAN SINCLAIR
51 M.ARCH 1 EVDA 682.04
SECTION ORDER 1:200
FIGURE GROUND
Center for Architecture + Urban Studies
PEDESTRIAN FLOW
Hunter Lee + Jubril Idowu
MARC BOUTIN
The Centre for Urban and Architecture Studies is a project that creates an infrastructure designed to bridge the gap between the general publics understanding of the architectural design process and the reality of the design process. The project is a catalyst that draws people in and gets them involved with what the building has to offer. By addressing the scales of the urban, the architectural and the human scales, the project aims to act as a centre of engagement for all of Calgary. Architecturally, the building emphasizes its continuous exhibition space that features seminar spaces that punctuate the field of exhibition. Through circulation the flow of people will be able to weave through and around the seminar spaces, creating a sense of understanding of how architecture is made from design inception to completion. SOLAR ANALYSIS
The building material features a continuous surface that connects inside from outside that also finds its way into human scale proportions for engagement. The exterior seating arrangements are pulled naturally out of the organic structure allowing the participants to physically engage with the building.
52 M.ARCH 1 EVDA 682.04
13
12
11
96 14 9
A
A
B
15
B 4
5
6
7
8
10
MARC BOUTIN
MAIN FLOOR PLAN
1:100 0
1
2
5m
53 FOUNDATION EVDA 580
Excessive
Jiffany Wong
JODI JAMES
The house concept revolves around a vice and virtue and where the architecture is formed by gluttony and abstinence. Abstinence is always surrounded by gluttony and gluttony begins with abstinence. In order to be one or the other, they both must exist. From this came the idea of excessiveness; extreme space, program, light, and material, whether too much or too little. Extreme excessiveness and extreme nothingness are on opposite spectrums of the scale. But because they are both extremes, they essentially are the same idea. Extreme excessiveness of program, light and materials (copper plated plates) become an overstimulated experience, while an extreme nothingness comes from the excess of space and material (white acrylic). Upon entering the house, the only thing visible to the eye is the staircase. It is the neutral point that bridges the gap between extreme nothingness and extreme excessiveness. The procession through the program always ends up in an extreme. There are spaces that are overstimulating and spaces that are minimalist. The architecture itself is an embodiment of the juxtaposition between reduction and excess.
A
54
B
A
B
EX
A
FOUNDATION
UPPER LEVEL 1:100
SITE PLAN 1:500
B
A
B
1 EXTERIOR COPPER PLATED PANEL BLOCKING INTERIOR COPPER PLATED PANEL INTERIOR WHITE ACRYLIC WALL
MAIN LEVEL 1:100
2
A
EVDA 580
COPPER PLATED PANEL (FLOOR) FLOOR JOISTS COPPER PLATED PANEL (CEILING)
B
B
A
TECTONIC SECTION 1:25
LOWER LEVEL 1:100
EX
SECTION B 1:100
JODI JAMES
55 M.ARCH 1 EVDA 682.04
Captive Landscapes
Blake Costley + John Ferguson
ALAN COLLYER
The collective perception of Canadian natural landscapes is one that is deeply entrenched in the idea of the remote, the untouched, and the expansive. Canadian cities are perceived as islands within the untamed landscape; the urban captured within an uninhabited expanse. But the relationship between the city and its hinterland is far more complex, as the city is formed in both conjunction and opposition to its natural surrounding. The ideal grid of the North American city collides with its geographic plane to create a dynamic field of inhabitation. Architecture and landscape traditionally become archipelago in the form of parks and buildings enclosed within the urban network. Captive Landscapes seeks to distill moments of collective landscape experience through architectural encapsulation, questioning the manner by which architecture situates itself in relationship to both the landscape and the city.
5.4 m
16.3 m
0.6 m
5.2 m
0.8 m
EVDA 682.04
0.8 m
3.5 m
0.8 m
5.4 m
16.3 m
0.6 m
5.2 m
0.8 m
M.ARCH 1
3.5 m
56
+ 12. m
+ 6.0 m
- 4.3 m 0.0 m
+ 12.0 m
+ 6.0 m
0.0 m
- 4.3 m
ALAN COLLYER
57
REALITY TO SPECULATION FRANK PETRISANO The notion of reality is provocative. It evokes feelings of confusion, selfreflection, and a level of examination of fundamental givens that exist within our world that reaches far beyond the confines of any single discipline. It is difficult enough (or impossible) to analyze our surroundings outside of our own preconceived biases or perceptions influencing what we are seeing. If our experience as humans is governed by the innately anthropocentric lens, then realness itself can be considered a construct. Something we have conceived that has a list of qualifiers associated with it. If we can touch, hear, smell, or see a thing, then it is qualified as being real. For architecture, the concept of the real has been stratified to wrongfully represent an end of a spectrum with speculation contrasting it at the other end. To speculate is therefore considered ‘unreal’ when the two are situated in opposition of one another. Before we tackle the issue with that, I will attempt to establish a real architecture, or an ‘architecture of reality’ that will hopefully close the proverbial gap between these two concepts. Architecture governs the reality in which we live in, but does that necessarily mean its real? Is there a spectrum of realness that architecture does or can fall within? Does it only achieve that status when the level of intentionality to go after the real is executed by the architect? Michael Benedikt, in his essay For an Architecture of Reality, establishes four components of realness in architecture; presence, significance, materiality, and emptiness. I will interpret these four categories of realness and attempt to explain how architecture can manipulate the notion of reality to being an absolute when characteristics fundamental to its existence in fact rely on falsification. Presence – in its trivial sense, presence can be understood as a things physical inclusion within your environment. Think back to when your teacher took attendance, you were ‘present’ when in the room, able to hear your name being called. For a building to have presence, it extends beyond its physicality to its position within its environment, its stance, its expression of its right to be there. Presence is closely related to the autonomy of the architecture, or its ability to live both within and outside of its surroundings. The balance between being a product of the social, political, and economic climate it was designed in, and it being an expression in and of itself devoid from omnipresent factors that may or may not have even influenced its manifestation. To be present, a building must have a personality of its own. Significance – significance is steeped in historicity, or a building’s rise to widespread importance based solely on its life. With that being said, a building can gain significance as a means of inspiring an association with itself that makes it significant to someone, rather than being significant of something. We view historically important buildings as being more real based solely on the experiences and moments they have been the backdrop to, or even have facilitated. Materiality – for something to be real, it has materiality. This extends beyond the physical world when viewed as the structure in place that acts toward the creation of any given thing. The process behind its inception. Materials
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of objects are an easy way to think about this. We associate a level of realness to objects made of materials that have a comprehendible origin and subsequent manufacturing process. ‘Natural’ materials such as stone are perceived to have a higher degree of realness than plastic because we instantly associate the conception of the latter to be completely contrived by our own doing. Stone is natural, made by god, harvested by humans to produce real products. This is obviously not the case, and I believe that the only thing that makes plastic less real than stone is our own perception of what constitutes realness. For another example lets take what some might (wrongfully) consider the realest aspect of any architectural education, the wall assembly, as a complete object. A wall is a tool of representation. It represents a clean, smooth surface that can divide space internally, or separate us from the exterior. Additionally, it represents a wholeness, a finishing that masks the layered complexities behind it. The final layer of gypsum that we see is what we associate a wall to be, yet it occupies the least amount of wallness. It is in fact purely aesthetic, its only purpose is to conceal what is behind it. Gypsum lies to us. Emptiness – the search for realness through emptiness is an exercise in the emulation of the relationship nature has with us. Nature happens to not care about humans directly (yet we filter the concept of nature through our own lenses and can even believe its existence is dependent on us) and therefore achieves an effortless level of emptiness in association to us that architecture may never get to but should strive toward. A nonhuman architecture, one empty of rhetoric, social agenda, pretension, or even ego, is not as radical as it may sound. It is an architecture that attains an aesthetic feeling without needing to read the architect’s description of what the building is doing, or how it was conceived, or what it most likely wrongfully represents. If architecture is deduced to a median of communication for an architect, and their building’s are required to convey something, then is the realness of the object dependent on how effective it is portraying itself? And, if communication is the delivery of an idea that then must be filtered through layers of perception from each individual who happens upon the building, how can one ensure that the message is getting across and is consistent? Forcing a narrative into an object that doesn’t need one isn’t real. If the notion of reality is so easily questioned, then it is evident that the gap between speculation and the real is wrongfully established, especially within the realm of academia. I want to conclude this with the inclusion of a quote from Liam Young, an architect who has challenged the notion of the real vs. speculative his entire career through the application of fiction to re-frame our vision of the world we occupy. For Liam, “a better way to describe [my] speculative projects is not [as] ‘the future’ at all, but as a kind of ‘visionary present’, a re-framing of the present that allows us to see it in new ways.” There is nothing more real than the present.
59 M.ARCH 1 EVDA 682.02 PHILIP VANDERMEY
Flux
Anthony Schmidt
Flux, or a state of flux, is about continual change, passage and movement. It is the embrace of instability and the celebration of transformation. It is the reinvention of space through collective agency. The project is a conceptual response to the Rem Koolhaas publication “Whatever Happened to Urbanism,” which suggests that urbanism reinvented will require the cultivation of uncertainty, of enabling processes, and of infrastructures that lend themselves to interpretation and manipulation. Artist’s have traditionally sought these infrastructural conditions, and thus represent a microcosm of urbanism reimagined. Artists create place in the otherwise placeless. Flux seeks to cultivate the flexible, collaborative and inspiring aspects of industrial artist’ space in concert with synergistic programs to encourage new creative outcomes that will positively contribute to the vibrancy and sustainability of Calgary’s urban fabric. The provision of a structural framework promotes the authorship of creative processes both within, and to the infrastructure itself. By creating an infrastructural field that can be endlessly interpreted and manipulated, Flux will challenge market forces and empower through a new model of user-defined artistic space.
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M.ARCH 1 EVDA 682.02
PHILIP VANDERMEY
61 M.ARCH 1 EVDA 682.04 BRIAN SINCLAIR
Centre for Urban Identity
Jayde King + Carson Long
The purpose of The Centre for Urban Identity is to create an architecture that embodies the identity of Calgary. In a city of constant change, defined by opportunity, innovation and resilience, an architecture that can embody these traits is one of agility. Architecture often represents identity through the form of the monument, which can be seen in such examples as the centennial planetarium or the Calgary Tower. However, a challenge this typology creates is that as the needs of the building change the users are responsible for adapting to the architecture. The centre for urban identity believes that through creating an architectural system that users can respond to, it is now the architecture that is responsible for adapting to the users needs and therefore creates a sustainable relationship between user and building. This project acts as a catalyst for user authorship within architectural environments and explores the opportunity to approach architecture as a framework that interacts with the surrounding context and supports the environment within. Monumentality can work with agility in the stability a building requires to function, however exploring the relationship between the two is an effort to act as a catalyst for a more sustainable architectural approach.
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M.ARCH 1 EVDA 682.04
BRIAN SINCLAIR
63 FOUNDATION EVDA 580
Gallery House
Marilla Wiley
JODI JAMES
The design for Gallery House began with exploring the dichotomy between pride and humility and how these characteristics manifest in people’s relationship with architecture. It was realized that these characteristics become apparent when the architecture begins to create a question of belonging in the occupants. How occupants respond to this question evokes ideas of humility and pride. As one moves through the space, a sense of belonging is either augmented or suppressed. Open to the public, Gallery House is an unconventional home, with features such as a public plaza, art displays, and a communal kitchen. Interlaced among these more obviously public areas are more intimate spaces such as a small study, bedroom, and a small courtyard. When members of the public come across these more intimate spaces they may question if they are supposed to be there. Gallery House provides a unique experience for members of the community, and for the owners of the home, by blurring the traditional boundaries between public and private space questioning one’s sense of belonging in the architecture.
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FOUNDATION
EVDA 580
JODI JAMES
65 M.ARCH 1 EVDA 682.02
Requiem
Blake Costley
GRAHAM LIVESEY
What role does death play in the contemporary city? Death once played an integral role in shaping our urban context; a constant presence in the physical form of our cities. Monuments and chapels stood as the centering points of our urban centers. Now in the modern city the forms of death have been institutionalized and pushed to the periphery. The city hides death from its citizens, passing the tasks once reserved to the family behind walls of institutions. To challenge these established notions the building itself is wrapped in a columbaria. The building facade is composed of individual wooden urn holders and circulation occurs on a series of ramps that move through the columbaria. The rest of the building program exists on the inside, in this way death become an ever present part of the daily activity. Requiem seeks to question the role of death in the contemporary city, and propose new ways of existing alongside death and the departed.
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10
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GRAHAM LIVESEY
67 M.ARCH 1 EVDA 682.02 JOSH TARON
Alloy
Oluwaseyi Arole
The city is planned using zones and districts that group and specify the land-use of city blocks. The current logic of planning is based on a two dimensional strategy that produces conditions with an overlap between zones. An example of this overlap occurs on the project site on along the intersection of 1St SE and 10 Avenue corridor, where two zones ‘CCX’ (City centre mixed use district) and ‘DC’ (direct control district) both exist on a block. With their adjacency, there is no way to account for the two land use requirements if a single building were erected over the block. The proposition for Alloy is based on the idea that zones could be understood and planned in volumes, like spaces in a building, to create a more dynamic relationship between adjacent zones. If the city of Calgary is zoned using a three dimensional and volumetric logic, the requirements of separate zones can be accounted for by nesting the zones within the building and programing the spaces based on each zone requirements.
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M.ARCH 1 EVDA 682.02
JOSH TARON
69
Research Studio M.ARCH 2 EVDA 782
Space to Breathe
Vuk Filipic
VERA PARLAC
This work speculates on the capacity of architecture to sympathize with the complexities of the contemporary age. Rather than design from a perspective that opposes the natural and human made forces that intensify global issues, this work aims to place architecture in sympathy to those very forces - leveraging their functional capacity towards instrumental ends. Focusing on air pollution, this project proposes to situate industrial air filtration methods within architectural elements. In so doing, it speculates that this assembly may participate in alleviating air pollution through strategic placement within prevailing wind patterns. The strategy is then tested in programmatic context through a proposed office complex in Beijing that at once provides a public gathering space and a zone of clean air for the city’s population.
Research Studi
ARCH STUDIO SI
70 M.ARCH 2
sp
Stud Instu
space to breathe Student: Instuctor:
Vuk Filipic Vera Parlac
Project Description: This work speculates on the capacity of architecture to sympathize with the complexities of the contemporary age. Rather than design from a perspective that opposes the natural and human made forces that intensify global issues, this work aims to place architecture in sympathy to those very forces - leveraging their functional capacity towards
Focu indu In so in all prev prog in Be and VERA PARLAC
M . A rc h
EVDA 782
Proje This sym Rath natu this very instru
71 FOUNDATION EVDA 580 CATHERINE HAMEL + MATTHEW KNAPIK
Spatial Structure
Laura Whittingham + Melissa Christenson
Situated in an empty lot in between Crowchild Trail and the Shaganappi Golf Course, along the Bow River: with no official name, the lot itself is a bit of a forgotten space within Calgary. The site has a couple city benches, but is unkempt, otherwise. However, an asphalt bike path winds down the west side of the hill and is heavily used for commuting and exercise. To gain a better understanding of this area, this analysis specifically studies the spatial structure of the space; taking into consideration the types of passers-through at various points of time (day and season), also investigating possible destinations. The analysis explores the deviant uses of the site, focusing on the unconventional paths straying throughout and leading to places of potentially unorthodox activity.
72 FOUNDATION
nalysis AL STRUCTURE: ONVENTIONAL ANT
onal Path Path
melissa christenson + laura whittingham
EVDA 580 CATHERINE HAMEL + MATTHEW KNAPIK
73 BLOCK WEEK EVDB 697.65 VERA PARLAC + CHRIS SHARPLES
Element
Kailey O’Farrell, Max Senini, Ryan Turner + Grace Thiel
Element is a slice of a hypothetical city block that embodies a high density, mixed use typology. The project draws formal and experiential inspiration from the Italian Hill Town of Assisi and the Brazilian Favelas. Borrowing from these precedents, the building emanates their explorative nature, encouraging users to meander throughout the building in order to experience a number of interesting architectural spaces. Programmatically, the building functions as a spa which creates a calm space away from the bustle of the surrounding urban context, thereby contributing to the overall wellness of the city. The project can be described as a series of layers that include the dimly lit underground grotto containing a number of cascading spa pools. On grade, the building is lifted one storey to encourage circulation and air flow which makes the translucent modules appear weightless in its timber lattice. Finally, the spa program above contains sleeping quarters, health and wellness rooms and meditation spaces.
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BLOCK WEEK EVDB 697.65
VERA PARLAC + CHRIS SHARPLES
75 BLOCK WEEK EVDB 697.65 VERA PARLAC + CHRIS SHARPLES
Bulding Block
Nicholas Heathcott, John Ferguson, Carson Long + Amanda VanderZee
Borrowing from the dense urban typologies of the Favela, Spice Market, and Riad; Building Block reimagines the overly simplified house typology redeployed in radical mixed use. By stacking and arranging this recognizable shape, Building Block was able to create new interesting and dynamic spaces while maintain visual connections to its generative geometry. The final design encompasses enough space to house 40 occupants, provide public amenities, and contain small scale commercial operations. The hyper dense massing means that traditional programmatic boundaries are blurred. A roof becomes a patio, a gap becomes a garden, circulation loses it linearity, and day to day life occurs in tight spatial adjacencies. As part of the design brief, a construction system also need to be proposed. In response, Building Block deployed a modular engineered timber frame that would minimize on site specialized labour, reduce material waste, and speed up the construction process. A limited kit of parts was proposed that could construct each instance show in the project as well as open up future possibilities of unit arrangement.
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BLOCK WEEK EVDB 697.65
VERA PARLAC + CHRIS SHARPLES
77 FOUNDATION EVDA 543 JODI JAMES & MATTHEW KNAPIK
Effervesce
Alex Wilton, Anthony Schmidt, Daniel Szymanski, Graham Jay, Joe Kaplan, Juan Camilio, June Ryan, Kristen Forward, Kristina MacKenzie + Winston Yuen
The project is derived by extracting point data from an image of Pluto by analyzing pixel differentiation and brightness. The data is then triangulated visually through a grasshopper script using a Delaunay triangulation algorithm. The physical form of the wall is derived from a series of CNC cut panels which are used as templates for vacuum forming. The degree of deformation of PET-G is controlled by a set interval and intensities are generated by the opening size in each individual panel. These are then assembled together to form the entire wall installation. To highlight the difference between Pluto and space the atmospheric horizon is highlighted with an LED strip.
Final Installation in G2 Gallery
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Frame generation
FOUNDATION
Point Cloud Based on Image of Pluto
Delaunay Triangulation
Scale
Final Product
Construction Logic
painted polyplastic and vacuum-formed 1/2” plywood 1/4” plywood assembled module structural strapping full frame
JODI JAMES & MATTHEW KNAPIK
Fabrication + Assembly
EVDA 543
screws
79 M.ARCH 2 EVDA 782
Tűr(b)
Edward Whitley, Byron Marks, Kyle Marren + Ronli Mak
JASON JOHNSON
Since reading the brief for the Ragdale Ring Competition, we sought to materialize the ambient nature of wind, or more specifically: turbulence. Wind is one of the most unique and evident ambient effects in the Chicago area of the United States. This provided ample room to craft not only a contextual effect and aesthetic for the project but a specific narrative as well. Seeking to not only provide an visual aesthetic experience of the band, many of our iterations embedded airfoils into the band shell in an attempt to gain a secondary sensory experience of turbulence. The challenge in our material explorations became integrating the airfoils with the aesthetic effect—which we had conceived of as separate pieces. Our material tests explored both ‘high tech’ and ‘low tech’ fabrication methods in which the aesthetic effects we sought could be achieved—from 3d printing and CNC milled panels to heated boat wrap and polypropylene fins. In the final iteration, both the aesthetic effect and foils came combined to create a relatively simple assembly metho and engaging narrative.
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M.ARCH 2 EVDA 782
JASON JOHNSON
R e s e a r c h S t81u d i o M.ARCH 2 EVDA 782
DEFE
Defensive Perimeter
Ashkan Ataee
PHILIP VANDERMEY
Militant urbanization can be described as an act of force against a city. These forces can be regarded as gestures of defense or destruction, and can manifest themselves in either literal or symbolic ways. When the force is physical, it usually accompanies a militaristic operation with casualties and mass displacement as cities now set the stage as battleground. A symbolic force can act as commentary or propaganda, where the force is used as either critique or to propagate an ideology. Since the closure of CFB Calgary, the remnants of the original site and base are slowly disappearing as new development infiltrates the land. As a method of producing a reactionary gesture to the incessant urbanization the project proposes using the expansion of The Military Museums as an opportunity to produce a defensive gesture against the city. This is accomplished through creating a perimeter surrounding the military museum site where the building is expanded in a segment of phases that eventually encloses the area. The museum then inhabits this wall with all the programs densely packed within.
SITE SECTION L 1:1000
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LOADING PARKING
ENTRY
M.ARCH 2 EVDA 782
EXPLORATION DRAWINGS OF REMOVAL
PHILIP VANDERMEY
rehensive Studio
LOOKING NORTH
URBANIZAT PROJECT S
83 M.ARCH 2 EVDA 782
Revelo
Jessica Hall
PHILIP VANDERMEY
The Military is a massive and far reaching institution, concerned with national security and protection that is sometimes fought for violently. It therefore wraps itself in a veil of secrecy, with information purposefully being kept from the public. Covert/hidden agendas shape what can be represented, and oftentimes only a fragment of the whole can be perceived, negating one’s ability to question both agenda and authority. The project, a military museum entitled Revelo, is built upon a methodology that aligns models of urbanization with militaristic themes and strategies in order to critically engage a system that manifests beyond what is readily apparent to the public. The design proposal subverts common architectural expression by placing the bulk of the project underground, reversing visitor experience while echoing the military’s unseen influence. This embeds a subtly critical layer into the architecture—of both the military as an unquestioned and opaque institution, and of urbanization as an accepted and widespread application. By revealing the depth of the project, Revelo exposes the interconnected nature mobilizing the military and urbanization.
84
M.ARCH 2 EVDA 782
PHILIP VANDERMEY
85 M.ARCH 2 EVDA 782.09
Cloud-Dori
Alex Raymundo, Michael Kwan + Melissa Pope
BRIAN SINCLAIR
As a physical manifestation of the interrelationship between solidity and immateriality, heaviness, and weightlessness, where the simple manipulation of tangible elements results in the creation of intangibility. We hope that this intervention, through juxtaposing interrelationships would gently intersect itself within the Toyko neighbourhood of Ginza’s urban fabric, since it is reflective of the surrounding vibrancy and diversity of Ginza. Additionally, imbued with the ideals of ephemerality, the intervention will create and bring intrigue, quality of space, and enhance the sensations found through the streets of Ginza. The intervention will become the catalysis Ginza needs. As the structure is elevated, the void space below will help facilitate pedestrian programs and movement. The then elevated structural lattice above will provide shade and protection from the elements helping improve and strengthen the pedestrian paradise of Ginza. Lastly, its sculptural and ephemeral quality will provide the intangible essence in which will foster the sense of place within Ginza’s urban fabric, bringing back once again, the intangible social qualities of Ginza.
86
M.ARCH 2 EVDA 782.09
BRIAN SINCLAIR
87 M.ARCH 1 EVDA 682.04
Anthropeosis
Karolina Haunla + Stephen Holman
KEIR STUHLMILLER
Anthropeosis, the apotheosis of humanity, exists in response to questions about the future of humanity, and the relationship between people and technology. It holds as its rhetorical foundation two key points: the statement “we make our tools, and in turn, our tools make us” is true, and our machines will soon eclipse us, rendering flesh and blood humans functionally obsolete. The project argues for a broader consideration of humanity, not as bounded forms of meat and bone, but rather flesh and tool considered syncretically. To this end Anthropeosis seeks to invert the normative paradigm of creation, identified as being “man designs, machine makes.” Instead we have endeavoured to produce a condition where “machine designs, man makes.” Where ever possible the design decisions in this project have occurred by using computers to form things which the human mind cannot on its own devise, but with the end goal of producing a building that would be created entirely by traditional hand crafts
88 M.ARCH 1
69900
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12
4900
13
7800
EVDA 682.04
R1
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11
4900
F2
F2
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2000 - Loading dock
F1
0
7000 - Parking garage
KEIR STUHLMILLER
89 M.ARCH 1 EVDA 682.02
Pneumatic Symbiosis
Vanessa Hausman
VERA PARLAC
The body relies on various factors that evoke a specific functional reaction in an organ or tissue. This building developed in analogy to the human body, using water, air and light as its main indicators for spatial configurations and functionality. The pneumatic structure, operated by air and humidity, feeds off of the sources to enable it as a self-sufficient system, that connects itself to the larger network of Calgary. The building stimulates activity, energy and a spur of livability. Examining the existing conditions, in a format that takes the human body and its functions as a comparison to the layers and networks within a city. Integration of systems, services, infrastructure, circulation and movement are studied in a method that zooms into microscopic components of a city, to be dissected and revealed. The building begins to question ideas of human connectivity, understanding our bodies needs, by examining our existing networks. How can we take our existing urban landscape and make it grow into something that uses the output of one system as the input of another?
90
M.ARCH 1 EVDA 682.02
VERA PARLAC
91 M.ARCH 2 EVDA 782 VERA PARLAC
Organum Dorothy Johns + Thiago Bueno Architecture is perceived as and built as rigidly defined arrangements of programmatically prescribed, static spaces. What are the implications of generating soft, agile, and responsive spaces by utilizing material flexibility to choreograph program volumes and adjacencies based on user interaction and surrounding environmental conditions? How can these interactions become cyclical, allowing a dialogue between the users and the architecture to occur?
92
M.ARCH 2 EVDA 782
VERA PARLAC
93 M.ARCH 1 EVDA 682.02
Conspicuous Consumption
Christina James
Conspicuous Consumption explores the extension of our culture of consumerism into new territories, where the city itself is framed as an exploitable resource, re-presented to its inhabitants as a consumable object. The project examines the architecture that remains when the city is consumed, its image commodified and re-presented to its citizens.
JOSH TARON
The city is consumed as a fuel for the projection of itself. The architecture that remains after this process of consumption is a precipitated host for the projections of the lost city-that-was. This architecture is both a residue of the consumptive process and a harbinger of that process.
94
M.ARCH 1 EVDA 682.02
JOSH TARON
95 M.ARCH 2 EVDA 782
Seed Silo
Max Senini
JASON JOHNSON
The PACT B Seed Silo is a botany testing facility that generates a timeline for when plants seeds can be redployable based on projected environ-mental conditions. The facility subjects plants to pollution in order to find the limits of a plants ability to survive within projected environmental extremes. As such, the archive is ordered and categorized in a way that enables the graduated redeployment of the seeds stored within the facility.
EVA Light
Deployment Assembly Reels and Cables
Axial Docking Port Access Hatch
Solar Radio Noise Burst Monitor Antenna
Exothermic Experiment
Handrails
Infrared Spectrometer Viewfinder
D021/D024 Sample Panels
Atmosphere Interchange Duct
(Removed)
Area Fan
Clothesline (EVA use)
Cable Trays
Permanent Storage Container
Inverter Lighting Control Assembly
STA IVA Station
L-Band Antenna
Nitrogen Tanks (15 places)
Proton Spectrometer
Oxygen Tanks (15 places)
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EPS Radiator Panels
Molecular Sieve Electrical Feedthru Cover Electronics Module 1
Research Studio
EVA Hatch
SPS Engine
OWS Hatch
Scimitar Antenna
Nonpropulsive Vent Line VCS Mining Chamber and Filter
Running Lights (50 places)
Light Assembly
Docking Light Pitch Control Engines
Water Tanks (15 places)
Film Vault 4
Crew Hatch
VCS Fan Cluster (6 places)
EVA Handholds
Film Vault 1
EVA Light
SO82 (A&B) Canisters
T013 Force Measuring Unit
M512/M479 Experiment
WMC Ventilation Unit
Composite Casting
Emergency Egress Opening
VCS Duct (6 places)
TV Camera Input Station Temperature Thermostat EPS Radiator Panels
Deployment Assembly Reels and Cables
Axial Docking Port Access Hatch
Solar Radio Noise Burst Monitor Antenna
Exothermic Experiment
Handrails D021/D024 Sample Panels (Removed)
Area Fan
Clothesline (EVA use)
Cable Trays
Permanent Storage Container
Inverter Lighting Control Assembly
STA IVA Station
L-Band Antenna
Nitrogen Tanks (15 places)
Proton Spectrometer
Oxygen Tanks (15 places)
M509 Nitrogen Bottle Storage S019 Optic Storage Container S149 Particle Collection Container
M.ARCH 2
Infrared Spectrometer Viewfinder Atmosphere Interchange Duct
Scientific Airlock (3 places)
Molecular Sieve Electrical Feedthru Cover Electronics Module 1 EVA Hatch
Film Vault 4
M131 Storage Container
Film Vault 1
VCS Duct Heater (6 places)
SO82 (A&B) Canisters
Power and Display Control
M512/M479 Experiment
Trash Disposal Airlock
Composite Casting
OWS C&D Console
TV Camera Input Station
M131 Rotating Chair
Temperature Thermostat
M171 Ergometer Storage Lockers M171 Gas Analyzer Nonpropulsive Vent TACS Module (2 places) Acquisition Light Telemetry Antenna S054 Experiment Aperture Door
EVDA 782
PAC
PACT B Seed Silo connection for system
deploying plant filter as silo
final massing
deploying plant filter as silo
aethalometer
aethalometer
aethalometer component
plant filter
plant filter
Student(s): Instuctor:
connection for system
Max Senini Jason Johnson
final massing
housing component
aethalometer component
housing component
Image Description: The PACT B Seed Silo is a botany testing facility that generates a timeline for when plants seeds can be redployable based on projected environmental conditions. The facility subjects plants to pollution in order to find the limits of a plants ability to survive within projected environmental extremes. As such, the archive is ordered and categorized in a way that enables the graduated redeployment of the seeds stored within the facility.
Studen Instucto
Image D testing seeds mental in order projecte ordered ated red
JASON JOHNSON
97
Research Studio
M.ARCH 2 EVDA 782 JASON JOHNSON
A Blue Sky Inventory
PACT B | A Student: Ka Kailey O’Farrell Instructor: Ja
Understanding the current conditions of the environment through a data set allows explorationImage of Descriptio The PACT B Blue climate systems, pollution, in this case, the blueness of the sky relative to the region of Kananaskis. lens within the function of captu This project aims to explore how change and simultaneity drive architecture as archive. This archive sky. is to be viewed as a part of a continuously shifting reality rather than a static representation. The ability for this project to engage with the current and speculate/interact with the future drives a narrative of possible climatic/environmental conditions that may shape the way in which humans experience the sky. This project aims to observe, archive and simulate the blueness of the sky and the composition of the air. In the present this facility operates as an exhibition space that analyzes air quality and sky blueness. In a speculative future, where the sky is no longer blue this facility will allow visitors to experience the sky as it once was.
Los Angeles 2001
Mumbai 2015
Research Studio
Kananaskis 2015 forest fires
0m
Beijing 2015 0m
5m
10m
5m
10m
dee unusually
Kananaskis 2016
light blue slightly hazy
ob
M.ARCH 2
ARCH STUDIO SIX blue clear
98
Re
Beijing 2015
20m
20m
blue clear
03
Kananaskis 2015 forest fires
04
observatory
Los Angeles 2001
EVDA 782
Mumbai 2015
12 0m
5m
10m
20m
arc archive
Beijing 2015
observatory simulation
sim
observ JASON JOHNSON
99 M.ARCH 1 EVDA 682.02
Myomorpha
Janine Law
JOSH TARON
Myomorpha explores the notion of remoteness. How do you create a sense of remoteness within the city? Through utopian voids in a pastoral landscape, an isolated pocket is formed within the city.Canadian identity is perceived as landscape with its rolling hills, expansive skies, and bodies of water. With the identity changing into modern cityscapes, we find ourselves striving to reclaim the familiar, a place to escape the city. In projecting this idealized regional landscape, new relationships are created between form and context, allowing for occupation. The countryside has been elevated to the status of the city. Inverted relations are created as ground becomes building and building becomes ground. The relationship between figure and ground reveals a new understanding. Urban isolation is explored through compartmentalized attributes within a field. With their stark contrast to the regional aesthetic, the voids encourage users to enter the building. The juxtaposition in the form is carried further into the cinematic projections and the images which are projected. The outdoor cinema is projected onto the wall and can be viewed from all locations on the site. Projections are repeated throughout the interior circulation emphasizing the fact that one exists in a disordered city.
100
M.ARCH 1
4 4
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JOSH TARON
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3
3
101 FOUNDATION EVDA 543 JODI JAMES & MATTHEW KNAPIK
Collection + Transportation
Michael Kwan
It is year 30XX. The world has transitioned past its post-apocalyptic state of distress and decimation to one where nature has flourished. After the apocalyptic incident, the remaining human population had transitioned to live within underground shelters. Several decades later, after much use, the underground water supply started to deplete. In response, the underground colonies began to investigate solutions to help offset the reliance of underground water. Fortunately, due to the lack of human intervention above ground, an influx of oxygen occurred, turning the once thin and CO2 rich atmosphere denser and ultimately resulting in a wider degree of climate fluctuations. This means that large amounts of moisture are now suspended in the atmosphere, and with fluctuation of temperatures, condensation occurred more frequently, resulting in high levels of precipitation. Thus, these rain and moister collector and transporter units were implemented to support the underground water supply.
102
FOUNDATION
EVDA 543
JODI JAMES & MATTHEW KNAPIK
103 M.ARCH 2 EVDA 782 VERA PARLAC
Lahar Rumah
Ryan Turner
Can active volcanoes present an architectural opportunity? Rich soil created by volcanic ash ejected from one of the world’s most active volcanoes, Mount Merapi, Indonesia, has spurred the development of associated dense agricultural villages. As a result, local residents face the threat of losing their homes and livelihoods to the destructive impacts of lava flows. Lahar Rumah is a project that responds to these flows by either capturing or focusing the flow of lava over volatile terrain. Upon conducting a series of material analyses using analogue materials to lava, three modes of creating space were discovered. These tests confirmed that large bubbles, extruded walls and man-made lava tubes can be constructed out of solidified lava, producing functional spaces for residential habitation. Destruction from active volcanoes is universally assumed. Perhaps, as this project proposes, the shifting, dynamic landscapes created by lava flows offer an architectural opportunity, an opportunity based on utilizing the distinct physical properties of this molten material to create adaptive, reactive structures. React, adapt, live.
104
M.ARCH 2 EVDA 782
VERA PARLAC
105 M.ARCH 1 EVDA 682.02 JOSH TARON
Cavity Search
John Ferguson
Cavity search is the disembowelment of the form of the city, and the search for residual inhabitation. The project is concerned with two broad themes: interior and texture. The first is the hyper-internalization of the city, where private interest and profit-obsessed design has rendered the exterior condition of the city entirely sterile and abandoned. The city is understood as a manifestation of capital desire, where maximization and speculative economies have come to dominate the landscape. Architecture and the city have become liminal devices; fiscal imperatives of landscape production. The project isolates architectural experience from this aborted environ, creating new inverted islands of inhabitation. Public space is projected into the tower block, creating a network of spaces for cinema. The geometry of the void becomes an instrument for transmission and dissemination; a reverent monument to an irreverent system born out of myopic prescience. Depictions of economic futures are projected back onto the interior of the towers, providing occupants with ritual ratification. Crisscrossing and punctuating the terminal transept are a series of walkways, making reference to early attempts to internalize the city through the stratification and exclusion of public space.
106
M.ARCH 1 EVDA 682.02
JOSH TARON
107 M.ARCH 2 EVDS 683.53
4_25
Edward Whitley
JOSH TARON
The project encompassed the practice of hands off digital design to create a speculative architectural composition. The premise was to merge a past, present and future site into one formal object. The goal would be to perform different operations on existing architectural elements and maneuver them into a state of recognizable disassociation. Where the final product would create ambivalence with regard to its own formal strategies, but resonate with foreign audiences in an unknown manner of the familiar. The most useful tool in forming this object was the saturation of smaller gridded elements with out visible ends beyond the site. This tactic increased the visual complexity of the piece and juxtaposed the smooth surfaces holding the grid together. Overall the project grew from a complex grid system further into a familiar apartment block. The final progression, completed through physical modeling was revealing the insides of the object, and showing its structural system at one end. This facade of the building is probably the most successful in its anonymous endeavors.
108
M.ARCH 2 EVDS 683.53
JOSH TARON
109 BLOCK WEEK EVDB 697.66 JASON JOHNSON, ADAM FURE + ELLIE ABRONS
Casting Things
Cody Kupper, Stephanie Karpuk, Brady Horner, Christina James + Juan-Pablo Chinchilla
This seminar investigates interiors born from exaggerated solidity. Working through the medium of casting and photogrammetry, we will produce aesthetically experimental environments in series. Heterogeneous, massive aggregates will be mixed with concrete, plaster, resin, plastic, and rubber to produce objects with an amplified solid-to-void ratio and clunky part-to-whole relationships. These objects will be converted into digital meshes through photogrammetry then composited into interior renderings. Methodologically, the seminar uses casting as a means of engaging the materiality of things while simultaneously challenging their ontological fixity through investigations of their digital copies. Unexpected material mixtures will be cast (physically and digitally) as expansions on the constitution of architectural things.
110
BLOCK WEEK EVDB 697.66
JASON JOHNSON, ADAM FURE + ELLIE ABRONS
111 M.ARCH 2 EVDS 683.53
Vestiges
Christina James
JOSH TARON
Vestiges uses a process of chronological accretion to actualize the lost architectures of a given site. Each successive building that manifests on the site contains dissected fragments of past iterations within its form. This process of four-dimensional accumulation results in a new architectural form that incorporates and consists of the vestiges of past and potential future architectures. The bulk of each new architectural fragment encroaches on the voids defined by its successor, and in this manner is able to exert a force on future architectures and users from beyond the grave.
112
M.ARCH 2 EVDS 683.53
JOSH TARON
113 M.ARCH 1 EVDA 682.02
Blur
Nicholas Heathcott
JOSH TARON
Architecture is always presented in a concise series of diagrams, a diligently drafted set of plans, a well constructed model, or a beautifully curated render. These are the avenues that we show our work or pitch our sale; be it to professor, critic, jury, or client. And while the items listed above are representation of what architecture is, they hardly illustrate what architecture feels like. They do not express the sleepless night, the constant stream of ideas, and the general disarray that is design. The following set of images stems from the hardest semester of my formal education. They all represent different aspects of the design process. From site analysis to precedent research. From model building to finished product. They are the method. They are the madness.
114
M.ARCH 1 EVDA 682.02
JOSH TARON
DR EAMSCAPES The
dreamscape operates in a
condition of speculation. Worldly
constraints are removed
allowing
architect to
free
project a reality
context.
the
from
Instead of drawings
focused on the production of objects,
the dreamscape seeks to produce
artifacts of thought.
Dreamscape
notions of society
challenges our traditional
and occupation through the
medium of architecture.
An architecture instead
exercise in fiction,
exists as a
in thought
and
in abstraction.
A B ST RACT The practice of architectural drawing
abstraction, operating
that is neither
in a
is the practice of
fictional space
a perfect picture
nor a precise model
be.
of what exists
of what
is
Drawings act not simply as representations
but as
operative agents,
inform and shape
to
tools that
the production of the real. Drawing then,
operates as a spectrum between
real,
probable and improbable,
speculate
realscape
and
and
dreamscape.
This journal explores the spectrum
paper architecture,
asking the reader
of
speculative
to
examine the work both as individual and as a body of architectural
thought,
a continuum of
architectural abstraction.
ACK NOW L E D G M E NT S Dr. Brian R. Sinclair Zoe Lewis Dan Silver Graeme Haunholter Faculty of Environmental Design University of Calgary Western Canadian Digital Imaging sinclairstudio inc.
E D I TO R S Blake Costley Kaitlin Dale
ULTRA JOURNAL
ISSUE 01
DREAMSCAPE / REALSCAPE
15/16