Warehouse Journal Volume 14 by Warehouse Journal

REMINDER TO THE STUDENTS OF THE RUSSELL BUILDING: The Russell Building Envelope Project is beginning April 25, 2005 Please make sure you have removed all materials prior to that date.

Warehouse #14

cost: $20.00 CND

Project Manager: Jennifer Antoniuk & Hope Gunn Project Editor: Jennifer Antoniuk & Hope Gunn Assistant Editor: Andrea Kennedy DVD Author: Sean Radford First published in Canada in 2005 by Warehouse, a non-profit student effort at the Faculty of Architecture, University of Manitoba. Warehouse Faculty of Architecture 201 Russell Building University of Manitoba Winnipeg, Manitoba, Canada R3T 2N2 http://www.umanitoba.ca/faculties/architecture/site/warehouse.php The students of the University of Manitoba, Faculty of Architecture, publish warehouse once a year. It is devoted to the critical pursuit of design discourse and the greater application to various collective communities. It attempts to reflect, engage and extend the ideas inherent within the various departments that fall within the interdisciplinary vision of the Faculty of Architecture at the University of Manitoba. Warehouse is a not-for-profit student effort that relies on the support and financial patronage of industry, academics, professionals, faculty, students and all others associated with its production and sales. If you would like to suggest projects for inclusion in our next publication, please contact us at: warehousejournal@gmail.com Comments and good wishes may also be forwarded to this address. We have tried our very best to contact all copyright holders. In individual cases where this has not been possible, we request copyright holders to contact Warehouse. ©2005 Warehouse ©All contributors ©Jennifer Antoniuk & Hope Gunn All rights reserved. No part of this book may be reproduced in any form without the written permission of the copyright holder(s). Printed in Canada National Library of Canada Cataloguing in Publication Warehouse (Winnipeg, Man.) Warehouse. Annual. Vol 1, no.1 (Oct. 1992)ISSN 1708-5888 ISBN (not assigned

Warehouse #14 is made possible by*: The Dean’s Ofﬁce, Faculty of Architecture, University of Manitoba for the Dean’s purchase, answers, moral support and guidance;

The General Ofﬁce and Adminstrative Staff,

a stellar group of hard-working, caring, and dedicated pepole, at the Faculty of Architecture for help every step of the way;

The Faculty of Architecture Endowment Fund

for providing an

$11 000.00 salary to the members of Warehouse Journal;

The Proliﬁc Group of Graphic Arts Companies for providing excellent support and emmense knowledge for printing and software use at an affordable price; Polar Bear Productions

for helping create Sprout 2 efﬁciently and economically with the best quality possible;

The Partner’s Program,

for arranging a tour of The Proliﬁc Group of Graphic Arts Companies and maintaining a place for Warehouse on the Faculty website;

The CADLab for computer support; Ace Art Inc, University of Manitoba Bookstore, McNally Robinson Booksellers Grant Park for offering consignment; Prairie Stained Glass Ltd, Oxfords Salon Spa, Hilton Suites Winnipeg Airport, Colours Lewis Art & Framing, Bosch Power Tools, and The Proliﬁc Group of Graphic Arts Companies for providing gift-in-kind;

Corbett Cibinel Architects for buying-a-book-for-two-students; AGB Architecture Inc, BridgmanCollaborative Architecture Limited, Gaboury Prefontaine Perry Architect.es, Number Ten Architectural Group, Supra Builders Inc, Superlite Lighting Limited, and Loewen for becoming a third-level sponsor; Hilderman Thomas Frank Cram Landscape Architecture & Planning, University of Manitoba Bookstore, and an “anonymous” alumni for becoming a second-level sponsor; L M Architectural Group for becoming a ﬁrst-level sponsor; And our Major

Sponsors: Raymond S C Wan Architect Inc

EQ3

*acknowledgements as of December 1, 2005

THE DEANâ&#x20AC;&#x2122;S OFFICE

WAREHOUSE 14 032-033

April 2005 Pre-Renovation

Head of the School: 1913-1929 1930-1946 1946-1964

Dr. Alexander Stoughton Milton Smith Osborne John A. Russell

Dean of the Faculty: 1964-1966 1967-1972 1972-1974 1974-1979 1979-1984 1984-1988 1988-2001 2001-present

John A. Russell Roy J. Sellors John Graham (Acting Dean) John Anderson Harlyn E. Thompson Thomas Hodne Michael G. Cox Dr. David R. Witty

This journal is dedicated to John A. Russell and to all who knew and loved him. JOHN A. RUSSELL, (1907-1966)

Edited by Jennifer Antoniuk and Hope Gunn WAREHOUSE #14 Faculty of Architecture, University of Manitoba Winnipeg, Manitoba 2005

FROM THE PROJECT EDITORS: Allow the work to speak for itself. The current student body, generally, does not know the J. A. Russell building as an open space, where disciplines were able to see and interact with all of those who occupied the second floor. Most students remember the “shanty town” of the second floor, its towering walls of plywood scraps and found materials that divided, segregated, and isolated students from the opportunities of the designed open spaces; an isolation which has been reflected at many levels of scale within our faculty. This upcoming year (2006) we will be re-introduced to the space that was intended to evoke interaction amongst the students, the disciplines and the professions.

It will be interesting to see if the walls are rebuilt, reinforced, fortified, or forgotten. Our faculty is now spread over several buildings: the J.A. Russell, C.A.S.T., Arch-2, the “Tin Bin”, a few rooms in the Continuing Education building, the Tache auditorium, and several studio spaces rented out in downtown Winnipeg. These spaces which we have appropriated evoke very different interactions between the students, their surroundings, and their ability to design. We are spread into spaces that are not designed for us in the way that the second floor of J. A. Russell building was designed for us. While the J. A. Russell building had notable environmental deficiencies prior to its renovation, the intention of its original design was to create beauty that did not overwhelm the imagination and allowed the students to create freely. The spaces were transparent and open to encourage free action. People could see each other’s actions and interact with their ideas. This sharing, open community fostered strong design development and strong community commitment; qualities which were founded by John A. Russell himself.

Current students know J.A. Russell as the name of a building and as a bronze plaque on a wall. But this name belongs to a person, to whom and from whom, such respect, care, and affection grew for all the students, staff, and related communities. Under the direction of Dean Russell, students became involved in outside organizations, such as the Royal Winnipeg Ballet creating stage set designs. Their involvement, as designers in the community, was about ﬁlling a need. Warehouse 14 aims to share this knowledge. Uncle Jack, other wise known as Dean John Alonzo Russell, inspired the essence of what our school values. Warehouse Journal 14 is a renovation of this essence, presenting student work in a format where one idea feeds into another. In most cases, the work is presented without distinction of discipline or program year. It is the intention of this journal to engage our readers in the founding of our school, in the current body of work being produced, and in the path ahead.

The greatness of our future, of our faculty, and of our memory is not held in isolation. WAREHOUSE 14 JENNIFER ANTONIUK & HOPE GUNN A RENOVATION: ren·o·vate P Pronunciation Key (rn-vt) tr.v. ren·o·vat·ed, ren·o·vat·ing, ren·o·vates 1 To restore to an earlier condition, as by repairing or remodeling. 2 To impart new vigor to; revive. [Latin renovre, renovt- : re-, re- + novre, to make new (from novus, new. See newoin Indo-European Roots).] reno·vation n. reno·vative adj. reno·vator n. source: dictionary.com

TABLE OF CONTENTS

PLAN..........................................................042 J. A. Russell

John

Siemens

045

Landscape Lookout

Maggy

Lehenbauer

076

ELEVATION..................................................74 Cubes and Rods

Spencer

Tromblet

078

Cubes and Rods

Mike

von Tiesenhausen

078

Backlane Mobile

Ryan

Epp

079

David

Girardin

[Quasi] Meditate, the

Stephanie

Yeung

080

To Play is to Learn

Yu Ping

Hsieh

084

C.A.S.T. Building Analysis

Heidi

Cantalejo

086

Anita

Green

Lindsey

Lamoureux

Mike

von Tiesenhausen

Extended

Kyle

Bradshaw

087

Design, Studio + Lifestyle

Priscilla

Mah

088

Turning a House Into a Home

Matthew

Emek

091

Edinburgh Sketches

Erin

Ediger

097

Modus Operandi

Evan

Marnoch

098

Zach

Pauls

Living/Space

Andrew

Edge

100

Fusion Building

Michael

Heibert

101

Kapyong Urban Reserve Site Analysis

Tian

Dai

102

Marilyn

Gould

Meaghan

Hunter

Mike

Klassen

Adrienne

Perry

Wei Ching

Sun

lifePOD

Steve

Isfeld

104

Urban Intervention

Matthew

McFetrick

106

Trails End Camp

Andrew

Harvey

108

Hi_Cube [Studio]

Evan

Marnoch

110

Midplane

Adrienne

Perry

112

The Dynamic of Decay

Rachel

Tennenhouse

114

jak

Julie

Dunford

116

Amanda

Wormsbecker

Kasey

Clarke

Body Mediation Device

Natalie

Rogers

118

Metropolitan Slice

Michael

Klassen

120

Transformed Fiction Into Architecture

Abby

Meuser

122

Annerito [Blackened]

Jamie Lee

Anthony

124

Suburban Development in an Urban Setting

Kirk

Malanchuk

125

Just Another Run-Down Neighbourhood

Kristin

Ross

126

SECTION....................................................128 Vivisection

Meaghan

Hunter

132

Railmarket

Andrew

Harvey

136

Design Build

Eduardo

Aquino

138

Esplanade Riel

Guy

Prefontaine

138

Design Build

Mike

von Tiesenhausen

142

Design Build

Christiane

Pham

144

Design Build

Cedric

Boulet

146

Kyle

Bradshaw

Cameron

Bradshaw

Andrew

Workman

Carbon Copy

Kristin

Ross

147

Monopoly Reailty

Jac

Comeau

148

E.A.M.E.S.

Ansam

Abdulhardh

150

William Steve

Boulton

David

Thomas

Jiameng

Zeng

Geng

Zhang

Truth About Wallpaper, the

Maya

Cochrane

154

Seoul Trip

Andrea

Braun

160

Exchange Studio

Lisa

Kasprick

162

Temporality vs. Permanence

Kyle

Morphy

164

Night Club Design

Miranda

McVeigh

168

Design in Canada

Allison

Murray

170

Berlin Studio

Darcie

Watson

172

Berlin Studio

Kim

Wiese

174

Aboriginal 21st Century Habitation: A Spiritual Rebirth

Audrey

Marcinco-Jerris

176

Winter Cities + Movement

Meaghan

Henke

178

Light as an Experiential Phenomenon

Adrian

Benoit

182

Craig

Dorward

David

Gordon

Pamela

Ritchot

Matt

Roper

Kristin

Ross

Menningarhus a Akureyri

Cloin

Herperger

186

Library Reclaimed: an Annexed Relay

Michael

Banman

188

Zach

Pauls

Johan

Voordouw

Gary

Andrishak

Anne

Cholakis

Jeff

Chou

Alec

Katz

Sam

Lanterman

Chito

Pabustan

Warren

Rempel

Catherine

Scanlan

Evan

Spence

Les

Stechesen

Jeremy

Sturgess

Damian

Surasky

Todd

White

Tat-Liang

Cheam

Lisa

Kasprick

John

Melo

Human Rights Museum

Professional OfďŹ ces- 240 Kennedy Street

191

192

Professional Ofﬁces- 240 Kennedy Street

Screen Casting

Josef

Nejmark

Colin

Neufeld

Don

Reimer

Michael

Banman

Lisa

Kasprick

Marshall

Kirton

Melissa

McAlister

194

Dan

Petrak

Lag2 Interstitchal

William Steve

Bouton

198

Refugee Project, the: Exhibiting Exhile

Monique

Gougeon

203

Sanctuary

Lindsay

Nesbitt

206

Lag2 Urban Habitation

Geng

Zhang

208

*Construction Kit System*

Romy

Krautheim

212

Urban Soft Vessel

Bin

Chen

214

/A New Facility for Collaborative Research, Production, Exhibition and Performance in Music, Art, and Design/’

Ken

Borton

221

Herb

Enns

Sean

Radford

Michael

Banman

Kelly

Doran

Andrew

Harvey

Katie

Hylnski

Zach

Pauls

Micheal

Williamson

Kelly

Wojnarski

Facial Expression

Stephanie

Neimiec

229

Spiritual Space

Crystal

Wall

230

Spiritual Space

Sonya

Kohut

232

Spiritual Space

Joshua

Rudd

233

Spiritual Space

Ryan

Forster

234

bill eakin house: living ﬁction

Becky

Hui

236

Process

Przemek

Pyszczek

238

Hundert Jahriger Platz

Winkler Odd-itorium

222

226

School Ground as Game Board

Kristina

Nordstrom

240

Electric Museum

David

Penner

244

Prairie Tide

Matthew

Horch

246

Glow

Chelsea

Mueller

257

Living Fiction

Danielle

Whitley

258

Powers of Ten

Meaghan

Henke

260

Joshi

Christa

Jacobucci

Joshi

Allison

Lazaruk

Leah

Ross

Kim

Unger

Christa

Jacobucci

Jennifer

Jenkins

Joshi

Allison

Lazaruk

Spatial Analysis

Intervention

262

264

DETAIL........................................................268 Dramatic Contrast

Brent

Cotton

270

More than just the Building

Pamela

Ritchot

272

Kristin

Ross

A Conversation Piece

Radana

Trubka

274

Span

Candace

Barton

276

Dirk

Blouw

Cameron

Bradshaw

Sylvia

Castillo

Anastasia

Derkson

Vance

Fok

Andrea

Sosa

Megan

Yetman

Campus Community Call & Response

Andrew

Edge

278

Prairie Essence Captured

Angel

Tolentino

280

New Light

Stephanie

Neimiec

282

Living Fiction

Danielle

Whitley

284

Inclusive Juxtaposition

Andrew

Edge

286

Pop Couch

277

Suspended Inertia

Nathan

Kasten

288

1:50

Justin

Wiebe

290

1:50

Ryan

Epp

292

1:50

Kristin

Ross

294

Traces: Kitchen Study

Jane

Gelhorn

296

Chris

Gilmour

David

Girardin

Self-Realization

Candace

Fempel

300

Wall at Storm King

Andrea

Kennedy

302

Material Encounter: Full-Scale Model Construction

Scott

Field

308

Pawanpreet

Gill

308

Colin

Herperger

Sonya

Kohut

Chelsea

Mueller

Concrete Lamp

Brent

Lauman

312

Around the World with a T-Square

Alaina

Prokopchuk

313

Haman Project

Layne

Arthur

318

Span

Christiane

Pham

320

Martina

Riva

Brad

van Schie

Aileen

Zubriski

355 Days + 10 Days Celebration

Bin

Chen

321

Canopy and Ground Construction

Matthew

McFetrick

326

Just a Suggestion

Spencer

Tromblet

328

Bio-Help: Biodegradeable Shelter for Disaster Relief

Todd

Blackman

332

Cassandra

Hryniw

Matt

Vodrey

Darcie

Watson

Lollipop

Matt

Vodrey

338

Vimy Ridge Memorial Park Public Art Competition Proposal

Eduardo

Aquino

342

Jia

Liu

Karen

Shanski

PL AN

044-045

John A. Russell was an intensely spiritual man, who was a dedicated student of Christian Science, a religion founded by Mary Baker Eddy in New England well over 100 years ago. Russell’s daily regime included an hour every morning studying the Bible and Science and Health With Key to the Scriptures, a textbook for Chrsitian Scientists by Mrs. Eddy. Russell taught a college age Sunday School class of students, every Sunday, for years. In the opinion of his son, if his Father were here today, he would say unequivocally that his intelligence, capabilities, success and his sensitivities to the needs of others were driven by his spiritual studies and putting into daily practise his relgion. Students and staff would walk into Russell’s ofﬁce distraut above some issue, or even ready to quit, and they would leave with renewed inspiration and dedication to their work. John A. Russell was a unique man with a gift to carry a workload far beyond the capabiulities of an ordinary man, and the same time to be able to calm the waters when needed. Barry Russell

John A Russell

by J. Siemens October 1997

1.0 Introduction Perhaps no other person has influenced education at the University of Manitoba more than John Alonzo Russell. He taught at the University for 38 years and directed the architecture program for 20 of those years, first as Department Head, then Director, and finally as the Dean of the program when it became a Faculty in 1964, 51 years after its inception. He was the Dean of Architecture for only two years before his sudden death at the age of 59 during the Christmas break of 1966. Like so many others, John Russell arrived in Manitoba intending to stay only a couple of years. By 1948, however, he had been there twenty years, become department head of architecture and was well entrenched in the university and civic communities, playing active leadership roles in each. John A Russell was born in Hindsdale, New Hampshire, on October 28th, 1907 and grew up in Brattleboro, Vermont. His father, Harry Hamilton Russell owned a paper mill in Vermont. John Russell received his Bachelor of Science in Architecture from the Massachusetts Institute of Technology with honours and came to the University of Manitoba’s Department of Architecture when he was still twenty years old. At the time the school consisted of one other staff member, the school’s founding Department Head Arthur A. Stoughton, and 37 students. Professor Stoughton left the department the following year, 1929, and was replaced by Milton Smith Osborne. John Russell served as an assistant from 1928 and then associate professor from 1938 until 1946, when he became head of the department, replacing Osborne who had accepted the position of Department Head at Pennsylvania State College. John Russell returned to study at M.I.T. in 1932 and received his Master of Architecture degree. His thesis project was completed under the guidance of Jacques Carlu. As a result of his Master’s work, he won a scholarship to study at the Fontainebleau School of Fine Arts in France that summer. He received a Diploma from the Fontainebleau School of Fine Arts for his work. Hyman (Izzy) Richman, a member of the class of ’33,

recalled that his classmate sent Russell a telegram while he was at Fontainebleau. Izzy described Russell as “one of the boys”, and remembered spontaneous matinees paid for by Russell.

John and Shirley Russell circa 1960.

On August 31, 1940, John Russell married Shirley Beatrice McKinnon, a former student of the School of Architecture at University of Manitoba. Shirley had earned a Diploma in Interior Design. The Russells adopted two children; Michael Barry and Nancy Juna. Milton Osborne, head of the Department of Architecture at Manitoba for seventeen years from 1929-1946, was a signiﬁcant role model for John Russell as a teacher, administrator and community leader. Professor Osborne was ten years Russell’s senior and received his education at Ohio State and Columbia Universities. Osborne demonstrated the importance of continually broadening one’s knowledge and experience of architecture through extensive travels and through sketching in pencil, pastel and watercolour. The Library of Congress in Washington holds a collection of nearly two hundred of Osborne’s sketches. Along with his intellectual and artistic pursuits, Osborne sat on the Board of the Winnipeg Art Gallery, was a member of the Housing Committee of the

Council of Social Agencies of Greater Winnipeg, and an active member of a number of professional associations, and in 1944 was elected First Vice-President of the Royal Architectural Institute of Canada (R.A.I.C.). In addition to the many positive qualities of character Milton Osborne displayed, he also showed a concern for adequate physical accommodation to house the Department of Architecture. In his first report to the president, Professor Osborne was relatively brief and succinct, only once straying from the direct objective reportage to comment that the “laboratory and class-room space has been exceedingly cramped”1. This concern was to be adopted whole-heartedly by John Russell and bore out until 1959, when Manitoba became the first school of architecture in Canada to have its own building. In 1946, John Russell’s first year as department head, the staff of the department swelled from six to thirteen plus eleven student demonstrators. A special AprilSeptember session was conducted that year to help accommodate the influx of World War II Veterans. In that same year, feeling the need to become active in planning research, John Russell was instrumental in initiating the Prairie Regional Research Programme. Above all else, Russell was a man committed to serving his community with humility. He believed that the cultural and social life of a community was essential and was not interested in fame or recognition. He is remembered as a very decisive and hard working individual who spent long hours at the school after hours yet always remained young at heart. He always acted with honesty, integrity, and responsibility and was a gentleman at all times with respect to others. Denis Carter, of Smith Carter Architects in Winnipeg, claimed John Russell was always “a protector of the best in people”. And Kathleen Richardson, of Winnipeg’s influential Richardson family, reflected that he was, “So kindly, you couldn’t have wrung a harsh word from him.” Inheriting money from his father’s business ventures, Russell was a man of modest independent means, who often financially backed initiatives and projects that he had a personal interest in. One of his few shortcomings may have been that he too often used his wealth to personally resolve difficulties in order to avoid conflict.

After being in Winnipeg for twenty years, John Russell wrote the following in an article discussing the vocational opportunities of recent architecture graduates: Unfortunately, the present aim of many of the students and younger graduates in architecture is to ﬁnd a job, which will yield the greatest monetary return as well as provide them with varied and stimulating building projects to design. Such young practitioners have yet to learn the all-important fact that an architect’s role is primarily one of service to mankind. Those who are willing to accept the challenge will ﬁnd that less glamorous beginnings in smaller centres will lead to very solid positions of true responsibility in the community of tomorrow.2

Whether the above question is a reflection upon his own beginnings or a clear vision of the opportunities and growth in Canada’s smaller urban centres during the 1950’s, it voices John Russell’s personal belief in commitment to community through service with humility. 2.0 Teaching Staff As the Head of Architecture in Manitoba, John Russell was very well respected by his staff. He was able to command a discipline of promptness and respect from his staff, which was rooted in mutual respect. The recognition and appreciation, which he bestowed upon his staff, is uncompromised in each annual report he filed to the President of the University. He always supported his staff and in turn was able to expect a high level of professional conduct and performance. One staff member recalls that if interest was shown in a book in Professor Russell’s office, it would not be uncommon for a new copy of the book to show up in his own office shortly after. The book would have most likely been a personal gift from Russell and the staff member would be fully accountable for a full understanding of its contents.

John Russell did not delegate tasks well and often took on too much work himself. When a staff member was asked to teach a course, they often had free reign to develop their own ideas knowing that they had Russell’s full support and conﬁdence.

John Russell believed his staff had an obligation to participate in the civic community and encouraged them to practice and volunteer their time and expertise to the performing arts and other community activities. His example in such matters was sterling and very persuasive. The staff that he assembled over the years had a unique and international flavor. The nationalities of staff were: American, Argentinean, British, Canadian, Chinese, French, German, Polish, and Turkish. Professor Peter Forster recalled being interviewed by Professor Russell in Montreal. Professor Russell was in Boston and contacted Peter on the phone from Cambridge, Massachusetts. They arranged to have lunch the next day at the Queen Elizabeth Hotel and Professor Russell took the train that night. Russell never liked flying and preferred traveling by train whenever possible. They sat down for lunch at noon; their discussion was so intense and continuous that they hadn’t noticed the time until their hostess asked if she might set their table for dinner. At the end of the day Professor Russell offered Forster a position at the university. 3.0 Promotion of the School John Russell may have been a humble man, but he understood the importance of promoting the school of architecture and its activities. He believed in cross-fertilization of the arts and promoted architecture and the work of the school to this end. The most significant event to do this was the annual architecture Open House. At its height, the event attracted more than 1 500 people from the university and the civic communities. In 1954, in addition to the student work on display, the Open House exhibited a fullsized Japanese Tea House. In 1964, the Open House received national coverage in the Canadian Homes Magazine Supplement of the Southam newspaper chain. In the spring of 1961, the Canadian Broadcasting Corporation televised a series of four, fifteen minute programs made in the studios of the new architecture building demonstrating the scope and variety of work carried out in the school. The programs were aired on a program named Three’s Company3.

Ofﬁcial OpeningSchool of Architectrue, University of Manitoba 08-Nov-1959 1. President H.H. Saunderson, and Professor John A. Russell, Director of the School, cutting the ribbon. Michel J Sym- photographer

2. Dr. H.H. Saunderson, President of the University of Manitoba, speaking at the opening. In the background, left to right, Hon. Stewart L. McLean, Minister of Education; James E. Searle, Dennis H. Carter, Ernest J. Smith, the Architects; Arni Bjornsson, North American Buildings Limited; George Richardson, ViceChairman Board of Governors; W. J. Condo, Comptroller of the University; John A. Russell, Director of School of Architecture.

Jack A Blett- photographer

3. Dennis H. Carter, representing the architects Smith Carter Searle Assoc., presenting the key to George Richardson, Vice-Chairman Board of Governors. Michel J Sym – photographer

PAGE 53: 4. Roy Sellors, Architect, Professor, predecessor as Dean, and best-friend of Dean Russell dressed up for the Beaux Arts Ball with Uncle Jack. 5. The student lounge, 2nd ﬂ. J. A. Russell Building

John Russell was also very active in bringing world-class art and architecture exhibits to Winnipeg. He demonstrated that Winnipeg’s physical remoteness need not isolate it from the artistic endeavors of the rest of the world. His efforts undoubtedly inspired conﬁdence in his students to compete on a global scale as we see through their participation in a number of international design competitions and the diversity of places where graduates have gone to practice. 4.0 Campus Involvements During his tenure at the University of Manitoba, John Russell was, beyond his regular duties, very active in both administration functions, giving lectures in the community on the ﬁne arts and helping to produce many of the university’s cultural activities. John Russell became involved with the university’s dramatic and Glee Club productions almost immediately upon arriving in Winnipeg in 1928. His interest in theatre and music was already well established at M.I.T., where he had written and played the music for student productions. Russell designed the sets for no less than fourteen theatrical productions between 1928-1940, in which year he received one of six awards from the Governing Committee on Drama Awards in Vancouver for “his work as a lecturer on theatre art and his work in keeping alive artistic projects among students”4. In the architecture curriculum, Russell taught theatre design to fourth year architecture students. In the late 1930’s, he was responsible for the Sunday afternoon broadcasts of the University Music Hour. He was very active in the University’s Adult Education Committee going out into the community to lecture on architecture and theatre design, as well as contributing to the Prairie Call-Boy, the University Drama Department publication. In 1941, along with Edith Sinclair, John Russell prepared, presented and published a radio series entitled “Consider the Play”. Kay Rowe, Vice-President of the Brandon Little Theatre described one of his visits in a 1942 issue of Prairie Call-Boy, Professor Russell arrived laden with lights, curtains, costumes, coloured gelatins, a suit of armour and a sword, and met with the Stage Manager, Roland Kitchen, and his crew. By sketches and a certain amount of ladder climbing and real hammer-and-nails work, he showed them how

054-055

to suggest mood by lighting effects and how one suggestive prop or bit of scenery is more stimulating to the imagination than a cluttered stage5.

He was a Faculty Advisor to Creative Campus, a student publication of literary and visual art, from 1947 until 1951. He was a founder of the University’s Festival of the Arts, which is still an annual event to this day. 5.0 Community Presence “Paradoxically, Prof. John Alonzo Russell’s name is more familiar to the public at large, because of his hobby than because of his workday activities”6. It is rumored that John Russell’s true desire was to become a stage designer, but due to family pressures entered the more conservative and respected ﬁeld of architecture. He went on to have only one building to his credit, his own house, yet designed numerous stage sets. In Winnipeg, he found a budding performing arts community to contribute his skills to and explore his passion for the stage. John Russell’s association with the Royal Winnipeg Ballet (RWB) in Winnipeg dates back to his ﬁrst contact with Gweneth Lloyd and Betty Hey in 1938, the Ballet’s founders. When there were sets or designs required, John Russell was always available. Russell designed sets and decorations for at least seventeen productions between 1939 and 1956. Russell held the title of artistic director of the Ballet along with Dorothy Phillips in 1942. Artistic direction, at the time referred to the design of the visual presentation; the sets and costumes, not the content or choreography of the productions. He was always an active member of the production committee and for some time served as the production manager. He was appointed a member of the board of directors in 1949, upon the incorporation of the Ballet and was President in 1951 and 1952. He went on to chair the advisory committee subsequent to his period as president. In 1954, John Russell was named honorary president of the Royal Winnipeg Ballet and held his title until 1964; Kathleen Richardson followed Russell as honorary president, a title she holds to this day.

Russell was an instructor of stagecraft at the Banff Centre School of Fine Arts in the summer of 1952 and accompanied Gweneth and Betty when they first were there. John Graham replaced Russell in 1953 and continued to teach at the Banff Centre until 1983. John Graham produced the stage sets for the Ballet’s performance during the Royal visit to Winnipeg in July of 1959, twenty years after John Russell had designed the street decorations for the 1939 Royal visit. Russell’s support of the Ballet often went beyond providing design services and recruiting students to help build and paint sets. The Russells often opened their home for Ballet parties and social events. He also gave much needed financial support in times of need, at one point providing a new floor for the Walker Theatre stage when a flood in 1948 rendered the Playhouse unusable. Russell stayed up all night that Thursday with a crew laying the floor so that it would be ready for the Friday opening of the First Canadian Ballet Festival. As mentioned earlier, John Russell encouraged many of his students and staff to donate their time to institutions like the ballet. This had great influence on the quality of the stage productions and also greatly influenced the lives of these students and staff. Grant Marshall, John Graham, Joseph Chrabaszcz and Roy Izen all worked with the ballet closely. John Graham went on to become the president of the Royal Winnipeg Ballet. Winnipeg’s drama community also benefited from John Russell’s interest in stagecraft. In addition to designing sets for university productions, he was also very active in Winnipeg’s Little Theatre and in 1956 was elected the first president of the Winnipeg Summer Theatre Association, at Rainbow Stage, in Kildonan Park. Professor John Graham was also elected to the Summer Theatre’s first board as Production Chairman. The use of columns in John Russell’s stage designs is a theme, which is repeated throughout a number of stage productions. The interest in columns causes one to wonder how much influence Professor Russell had on the selection of the program of plays the year St. Simeon Stylites, the story of a man who lived on top of the capital of an Ionic column, was produced. The stage set consisted entirely of a single column and its capital.

The graphic arts community in Winnipeg also received John Russell’s support. He was a member and exhibited watercolors with the Manitoba Society of Artists. He was a member of the Federation of Canadian Artists and a board member of both the Winnipeg School of Art and the Winnipeg Art Gallery. He was the president of the Art Gallery in 1965 and 1966. Among many public lectures John Russell gave in his lifetime to various community organizations in Winnipeg, he gave at least three lectures to the Antique Arts Club of Winnipeg. His talks were on the history of furniture, the use of antiques in contemporary settings and Winnipeg’s heritage architecture of the Exchange District and Armstrong’s point. The talk on heritage architecture was given in 1952 and was a plea to recognize the ﬁne examples of excellent architecture that the city of Winnipeg enjoyed and to ensure their preservation. In April 1960, the Royal Architectural Institute of Canada Journal (RAIC Journal) published “The Mid-Continent Mosaic, Arts and Letters in Winnipeg,” an article edited and commentated by John Russell. The article consists of contributions from Manitoba Theatre Centre director John Hirsch, Kathleen Richardson, president of the Royal Winnipeg Ballet, James C Reaney of the University of Manitoba’s English Department, S. Roy Maley, the music editor of the Winnipeg Tribune and Dr. Ferdinand Eckhardt, director of the Winnipeg Art Gallery. The article is a demonstration of John Russell’s breadth, involvement, and commitment to the cross-fertilization of the arts in Winnipeg. His appointment to the Canada Council is another testament to his well-respected position in the arts community. 6.0 Canada Council John A Russell is one of the original members of the Canada Council. He was a member of the council from 1957 until 1961. The Canada Council was a novel and provocative government initiative at the time of its inception in 1957. Artists and arts organizations did not fully understand the potential of such a government institution and Russell encouraged many people to apply to the Canada Council for funding. Two notable and successful applications were the ﬁrst request made by the Royal Winnipeg

Ballet and the application made by the University of Manitoba’s School of Architecture for funding toward the construction of a new architectural building. Kathleen Richardson recalls sitting on her front veranda writing the grant application for the RWB with John Russell and Betty Sparling. Not knowing what amount was appropriate to ask for, they eventually settled upon $15 000. They received $15 000 in full and later discovered that the Winnipeg Symphony had gone through a similar quandary, but only asked for $5 000, which they also received. The School of Architecture received $500 000 from moneys of the Canada Council allocated to university capital expenses. This amount represented up to half of the entire construction cost of the building. In 1959, the Faculty received a $15 000 Canada Council grant to host an exhibit of Le Corbusier’s work from Switzerland. The show toured Montreal, Toronto, Winnipeg, Calgary, Vancouver, and San Francisco during AIA convention before it went on to Tokyo. Numerous other Canada Council grants were received by members of the Faculty throughout the 1960’s. 7.0 Professional Involvement

Left: This rendering by John A. Russell currently hangs in the board room of MMP Architects.

John Russell was set to begin work at an architectural firm in Philadelphia before being invited to the University of Manitoba. His time in a professional office was limited to a couple summers with Moody and Moore Architects in Winnipeg. There are two renderings done by Russell at that time still in existence; one at the office of MMP Architects and one in the Provincial Archives. He was also credited as a designer for Wartime Housing Limited7. The nature and quantity of work he carried out at Wartime Housing is unknown. But his many other contributions to the practice of architecture in Canada were not significant as he contributed through his membership and leadership of professional associations, his work in planning research, and as a professional advisor to a large number of institutions and design competitions. His work as the professional advisor to Winnipeg City Hall competition came full circle from his first published article in Winnipeg in 1933, “A Modern City Hall”. The competition brought

Top Right: First meeting of the Canada Council for the Arts April 30, 1957 Fist row, from left to right Eugène Bussière, Mrs Angus L. Macdonald, Sir Ernest MacMillan. Mrs Arthur Wait, T.R.P. Georges-Henri Lévesque, Brooke Claxton, Mrs Vida Peene, Norman MacKenzie, Andrée Paradis, A.W. Trueman, 2nd row James Muir, E.P. Taylor, Eric L. Harvie, Jules Bazin, Frank MacKinnon, W.A. Mackintosh, John A. Russell, Frank Leddy 3rd row Douglas Fullerton, L.W. Brockington, J.G. Hungerford, Fred Emerson, Dr.Eustache Morin, general Georges-P. Vanier, Graham Towers. Not in the photo, Samuel Bronfman and David Walker also members of the Council. Bottom Right and Opposite Page: Stageset Designs by John A. Russell.

Russell’s professional views into the civic spotlight during this formative period of Winnipeg’s downtown. Over the course of his life, Russell contributed several articles to the RAIC Journal on topics ranging from Stage Design to Campus Planning. The professional associations to which Russell was a member: o o o o o o o o

Boston Society of Architects American Institute of Architecture Royal Architecture Institute of Canada (RAIC) Manitoba Association of Architects (Life Member) Community Planning Association of Canada Winnipeg Town Planning Commission Director of the Planning Research Centre, U of M Dean of the College of Fellows (1957-1959)

Russell was a Professional competitions:

Advisor to the following institutions and design

o Winnipeg City Hall Competition o Olympic Games Centre proposed for Banff (1968) o Fine Arts Advisory Committee on International Airports for Toronto, Winnipeg, and Edmonton o Fine Arts Advisory Committee Canadian Building at Expo ’67 o Architectural Advisory Committee for Wascana Centre Development, o o o o

Regina, SK University of Saskatchewan Campus Development, Saskatoon, SK The Saskatchewan Technical Institute, Moose Jaw, SK Nova Scotia Technical College, School of Architecture National Building Code of Canada- Building Research Division, National Research Council

As well, he was a jury member for the following: o Fathers of Confederation Building Competition, Charlottetown, P.E.I. o Mendel Art Centre Competition, Saskatoon, SK o Massey Medals for Architecture, Chairman

In 1957, John Russell and Roy Sellors designed and built the Russell family house. The house is located at 740 South Drive. Designed to accommodate both entertaining and family activities, the plan is open with large formal spaces leading one on to another. The ﬂoor construction is unique for a residential building being made of precast concrete joists and concrete slabs. This is the only building Russell designed on record.

2 1. 740 South Drive, November 2005 Photos 2- 14 courtesy of Nancy LeBlond (nee Russell) circa 1959. 2. Entry 3. Backyard walkout 4. Home OfďŹ ce 5. View from top of Stairs to Foyer 6. Dining Room 7. Bedroom 8. Bedroom 9. Living Room 10. Bathroom 11. Foyer and Atrium Space 12. View from Living Room into Dining Room 13. Nancy Russell at top of Stairs 14. Dinner Party at Russell Home.

8.0 Development of Architectural Ideas One must recognize that John Russell considered the task of being an architect to be, foremost, one of responsibility and service to his fellow man. This commitment and sense of responsibility did not waver throughout the development of his architectural ideas. Secondly, it must be noted that although Russell was the leader of a school of architecture, he was not primarily a theorist. Trained in the Beaux Arts tradition of architecture, John Russell went on to lead a school renown for its promotion of the Modern style. This section is devoted to tracing the development of John A. Russell’s architectural ideas as they have been evidenced in the publications over the course of his career. John Russell studied under Jacques Carlu at the Massachusetts Institute of Technology for both his undergraduate and graduate degrees. Though Jacques Carlu had a background in the Beaux Arts tradition, he was very progressive. The content of his design problems were very modern in their functions and even industrial nature. Being an advocate of utilizing the most current materials and technologies, he set one design problem for his students, which was entirely a lighting problem: how to light a restaurant properly using electric light. His students’ work also seems to demonstrate a certain attention to regionalism employing regional motifs, materials and colours. His own designs were in the Art Moderne style. John Russell executed a design for a monument to Thomas Edison under Carlu (the MIT Museum holds a plan, section and elevation of this project). The selection of this subject matter of Edison may be indicative of a certain modern spirit that Carlu brought to the school and that Russell had embraced. The traces of Beaux Arts tradition were most evident in the planning of the design projects and the process of their execution, while the content and issues being addressed were very contemporary and modern. The ﬁrst written record of John A. Russell’s architectural ideas is a two-part article on the hypothetical “Modern City Hall”, published in the Winnipeg Tribune on December 23rd and 30th, 1933. In this article, John Russell reveals four signiﬁcant issues, which he addresses: the functional accommodation of the building versus its aesthetic composition; the design process; the urban context; and the artistic expression of

the building. In regards to the building’s function, Russell is very direct, “utility must take precedence over dignity in modern designing”8. Russell was very interested in resolving the practical problems of circulation, accessibility, and servicing of the building. Regarding the design process, he was progressive in promoting the collaboration of the design fields, recognizing the “combined abilities of architect, city planner, landscape architect, and engineer to design and build an efficient structure expressive of the city’s personality”9. Russell goes into considerable detail regarding the appropriate location of such a civic building, discussing traffic congestion, its relationship to the specific districts of the city, the pragmatic considerations regarding accessibility to utilities and upon creating a symbolic and monumental presence in the city. Finally, as already noted, John Russell gives so much greater attention to the planning of a building than to its visual appearance that he goes to the point of almost taking for granted the building would “be brought to its crowing expression by an artistically designed enclosure enhanced by appropriately landscaped surroundings and approaches”10. This superficial treatment of the ‘enclosure’ of the building indicates the incomplete development of his modern thinking which still treated the plan relatively separate from the building’s exterior expression. In 1937, Milton Osborne contributed an essay to a commemorative book marking the University of Manitoba’s sixtieth anniversary. In this essay, we find Osborne beginning to discuss the expression of the structure on a building’s exterior when he notes that the Gothic tradition has been used very successfully in several business buildings in Winnipeg, the vertical lines logically expressing the vertical supports of the steel framework”11. This interest in the expression of the structure of the building is a significantly modern notion. Osborne uses much of the essay to criticize the use of foreign styles and focuses on the use of local materials, concluding with praise for the emerging modern movement. At first his criticisms come from a very rational basis as he writes, “we find Winnipeg being built as a new city in a style of architecture almost entirely alien to its racial traditions and to the logical requirements of climate and available building materials”12. Yet he becomes somewhat romantic as he writes that:

The so-called Modern Movement of the past few years has brought a style of architecture which seems most expressive of the ﬂat plains as well as processing the simplicity and functionalism so essentially a part of the pioneer work in this community. The plain wall surfaces, the simple masses and the horizontal lines of the Winnipeg Civic Auditorium seem to be a true expression of a country where the horizon is unbroken and where distances are so great that small scale and needless detail are incongruous13.

In the conclusion to his essay, Osborne justiﬁes the recent emergent trend of functionalism to be appropriate to Manitoba in its potential to represent the spirit of the local pioneer culture. He also espouses the use of the Modern style as the best style to exhibit the qualities of the local building materials as well as being suited to the austerity and horizontality of the landscape. It is quite possible that the grain elevator with its simple, unadorned and functional forms and the landscape with its unbroken horizons may help to point the way to an architecture and an art in Western Canada that may have a character expressive of the prairies and even suggestive of the dignity and the progressive spirit of the people themselves. Our local building materials are most beautiful and effective when used in the plain, broad wall surfaces of the modern style. We are unhampered by the tight and uncompromising bonds of local tradition. Our country is young. Our possibilities for artistic expression are limitless. It is to be sincerely hoped that our works will be worthy of the prospect that lies before us14.

In contrast, John Russell writes more directly and frankly four years later, in 1941, “Today most architectural designers recognize that the acceptance and studied application of the doctrine of functional design- that much abused and misunderstood formula- do not involve the exclusion of those principles of sensual beauty which long have been associated with classic design, and which will always be required to make a complete, beautiful expression of function and form”15. Throughout his career, it

seems that Russell never lost sight of the artistic quality of architecture and a need to strive toward beauty and emotional response. In 1949, he articulates a clear statement on the purpose of art: “The purpose of art, then, is to create a response, on the part of the spectator, to the line, form, pattern, color, and plastic effect of its medium of expression. Literally, this becomes the ‘work’ of art”16. John Russell’s concern for the performance of design to communicate and emote is exempliﬁed in these observations on the stage designer’s task: The designer’s one aim should be to eliminate and to keep on eliminating, unnecessary details, which only tend to complicate the stage and distract the audience. The hardest lesson in design is to learn how to be simple, and, at the same time, to use suggestive form effectively and logically17.

This appreciation for the power of live performance to communicate with an audience must have inﬂuenced Russell’s judgment of successful architecture to be based upon its ability to perform. Does the architecture communicate its stated technical and emotive intentions? Russell was able to hold a holistic vision for design without succumbing to the latest fads or trends. He was able to do this even to the extent of criticizing some of the leading theorists of the day as the following quotation illustrates: The best architecture today is characterized by clarity and order in its design, by sound structural expression, by simplicity of inner spaces (the fundamental architectural commodity), by dignity of proportion and by unity of the whole. It no longer has to struggle to free itself from the curious academicism of the early years of our century when much of the art on this continent was suffering from an eclectic “hangover” induced by too many stylistic revivals in the nineteenth century. At the same time, architecture today can aspire to the greatest only as it avoids the manneristic adaptation of clichés. Too often we detect evidence of an unthinking, uncritical acceptance of expressive motives,

which have been developed by the organic naturalists (the Frank Lloyd Wright disciples) or by the functional purists (the Mies van der Rohe disciples). In recent years hero-worshipping adulation of these great architects often resulted in the exclusion of human values18.

John Russell was involved in a number of discussions concerning the possibility of a Canadian architecture throughout his career. In 1955, he published an excellent commentary and survey of architecture across Canada in the Queen’s Quarterly. At one point, Russell earned the name ‘The Weatherman’ because of his belief that the nation’s geographic regions were too varied to support a common architecture. He was not only concerned for the climate of a region, but also recognized the speciﬁcity of a region’s culture and the will of its people: The only way to avoid the uncontrolled spread and adoption of architectural mannerisms, or fads in stylistic appearance from coast to coast, is to make the people aware of the potentialities of their own regions and to dissuade them from the illusion that good Canadian architecture is necessarily ALL-Canadian19.

Russell called for the development of good architectural criticism for the common person and suggested that, “It isn’t his taste that needs educating; rather, he needs to gain an understanding of what architecture can do for him… The combination of understanding, appreciation, and intelligent criticism will ensure an architecture not only of the people and by the people, but for the people of Canada”20. In response to a statement about the beneﬁts of scientiﬁc research on design by Richard Neutra, John Russell chose to emphasize the importance of the less tangible psychological or spiritual effects of the designed environment; “the physical wellbeing of man is only accessory to the basic controlling element of his total well-being - namely his peace of mind – a state of harmony, satisfaction, ease. To create a human environment that will induce and maintain peace of mind is the real challenge to the architect – his opportunity to demonstrate real creativity, or the unfoldment and crystallization of ideas21.

In 1959, at the conclusion of a report on Syndicate VI, “The Architect and Education,” in the RAIC Journal, Russell quotes a panelist’s definition of what the attributes of a well-trained architect are: “The architect must be an educated man processing a language by which he can express himself fluently in speech, in writing, and in visual media. The architect must be a humble man, who is both aware of his limitations and confident of his ability to design and to build. And finally, the architect must be an honest man, always conscious of his responsibilities to his fellow man; in other words, he must be a man of intellectual integrity”22. Above all else, John Russell knew he must educate students in architecture to become responsible human beings, to remain humble and to utilize the training they had received to the best of their ability to the aid of their community and society. The architect is not simply to be a professional, but also a community leader practising an architecture which is rooted in the needs and possibilities of their particular situation, not necessarily Modern architecture, but a performing architecture of its time and place. A review of John Russell’s life reveals an individual of the highest integrity and respect for humanity. His work and leadership in architecture, architectural education and the performing arts was and still is inspiring. He was a man of faith, committed to his ideals and actively involved in his community. A man of great optimism and perspective, the building named after him and the cultural institutions he poured his energy are still of the highest quality and bear witness to his achievements during his lifetime. Appendix A: Stage Set Designs by John A. Russell 1929 The Cradle Song (Little Theatre Company) ____ Peer Gynt – Hall of the Mountain King (excellent sketches) 1930 Submerged (U of M) 1933 Gondiliers (columns and basket capitals) 1933 Chelkash (minimalist) ____ The Mikado (Japanese Pavilion, massive columns, interesting bridge with tall thin columns supporting bridge, wooden proscenium arch details.) 1934 Tobias and the Angel (stone wall and arch) 1935 Lolanthn (crystalline forms and arched bridge, columns and platonic geometries) 1936 Ruddigore (Romanesque castle) 1937 Utopia (art nouveau – Neo-Egyptian, platonic geometries and draped fabric) 1938 And So to Bed (gothic) ____ H.M.S. Pinnefore (mast as column) 1939 Stage Door (by Ferber and Kaufman. University Dramatic Society)

Appendix B: Stage Designs for the Ballet by John A. Russell (writer and production) Ruthanna Boris 1956 Pasticcio (with John Graham) Gweneth Llyod 1939 Kilowatt Magic 1939 Wager 1940 Divertissements 1941 Les Preludes 1941 Façade Suite. 1942 The Wise Virgins (costumes design as well) 1942 Finishing School 1942 Queen of Hearts 1942 Through the Looking Glass (later known as Alice) 1943 An American in Paris (costumes by Shirley Russell) 1943 The Planets (costumes by Shirley Russell) 1948 Allegory (costume design as well) 1950 Shooting of Dan McGrew 1951 Rondel Arnold Spohr 1953 Children of Men Paddy Stone 1943 Zigeuner

Appendix C: J.A. Russell Committee and Organization Participation. 1928-1928 President, Phi Delta Theta M.I.T. Chapter 1948-1948 Member, Winnipeg Town Planning Committee 1950-1950 Prairie Rural Housing Committee – one of three Manitoba representatives 1950-1950 Executive Committee, Community Planning Association of Canada 1948-1957 Editorial Committee, R.A.I.C. Journal 1949-1950 Representative, Board of Governors Publications Committee, U of M 1949-1964 Board of Governors, Royal Winnipeg Ballet 1949-1953 Director, Planning Research Council, U of M 1949-1953 Advisory Committee, National Building Code – Building Research Division, National Research Council 1949-1957 Committee, Traveling Fellowship, U of M 1949-1957 Committee, University Library, U of M 1949-1964 Board of Governors, Winnipeg Art Gallery Association 1949-1964 Board of Governors, Winnipeg Art School 1949-1964 Chairman, Education Committee, Winnipeg Art Gallery Association 1949-1966 Committee, School of Music, U of M 1949-1966 Committee, Examinations, U of M 1949-1966 Committee, University Matriculation, U of M 1949-1966 Committee, Annual Convocation, U of M 1950-1953 President, Royal Winnipeg Ballet 1950-1966 Senate, U of M 1950-1966 Committee, Graduate Studies, U of M 1952-1953 Committee, 75th Anniversary, U of M 1952-1955 Committee, Exhibition, U of M 1952-1953 Committee, Community Planning Studies 1952-1966 Committee, School of Art, U of M 1952-1953 Council Member, Royal Architectural Institute of Canada 1952-1953 President, Manitoba Association of Architects 1954-1955 Exhibition Committee, The Winnipeg Art Gallery Association 1954-1955 Examining Committee, Manitoba Association of Architects 1956-1957 Chairman of Production, The Royal Winnipeg Ballet 1956-1964 Confer. Canadian Universities – Schools of Architecture 1957-1961 Member, the Canada Council 1958-1959 Professional Advisor, City of Winnipeg, City Hall Competition 1963-1964 Executive, Manitoba Arts Council 1963-1964 Registration Committee, Manitoba Association of Architects 1963-1964 Education Committee, Royal Architectural Institute of Canada 1963-1964 Research Committee, Royal Architectural Institute of Canada 1963-1964 Chairman of Massey Medals Committee, R.A.I.C. 1963-1964 Advisory Committee, School of Architect, Nova Scotia Technical Institute 1963-1964 Advisory Committee, Saskatchewan Technical Institute 1963-1964 Advisory Committee, Wascana Centre Authority 1963-1964 Advisory Committee, University of Saskatchewan Campus Planning 1963-1964 Professional Advisor, Competition on Olympic Games Buildings at Banff 1965-1965 President of Winnipeg Art Gallery

Bibliography Wyman, Max. The Royal Winnipeg Ballet, the ﬁrst forty years, Doubleday Canada Limited, Toronto, Ontario, 1978. Lodge, R.C. Editor, Manitoba Essays, The Macmillan Company of Canada, at St. Martin’s House, Toronto, Ontario, 1937. (Osborne, Milton Smith. The Architectural Heritage of Manitoba.) Fraser, H., H. Barnett, E. White, Who’s Who in Canada 1966-68, International Press Limited, Toronto, Ontario, 1969. Wade, Jill. A Bibliography of Manitoba Architecture to 1940, University of Manitoba Press, Winnipeg, Canada, 1976. Various, Creative Campus, University of Manitoba Students’ Union, Winnipeg, Manitoba, 1947-1951. Various, University of Manitoba President’s Report 1960-61, University of Manitoba Press, Winnipeg, Canada, 1976. Newspaper and Journal Articles “Community Planning Meet to Open Here October 1” Winnipeg Tribune, September 11, 1948, p.20. “Home Economics Group Hears About Modern Ideas in Home” Winnipeg Tribune, April 5, 1949. “Charm of Lawren Harris Paintings Outlined for New Art Committee” Winnipeg Tribune, October 11, 1949. “’Visages’ Expected in common Ballet” Winnipeg Tribune, September 6, 1951. “Design Judge” Winnipeg Tribune, November 19, 1952. “A Provocative Valuable Study” Winnipeg Tribune, January 20, 1955 “Too Windy For Stilts?” Winnipeg Tribune, March 7, 1955 “Local Loan Exhibition Opens in Art Gallery” Winnipeg Tribune, September 17, 1955 “Canada’s Leading Architect Said to Be the Weatherman” Winnipeg Tribune, April 26, 1957 “Contest May Delay City Hall Start” Winnipeg Tribune, January 15, 1958 “An Energetic Artist” Winnipeg Tribune, September 11, 1948 “New Group Sets Summer Theatre Plan” Winnipeg Tribune, March 2, 1956 “The Member from Manitoba Talks About Canada Council” Winnipeg Tribune, April 17, 1957 National Contest Set for City Hall Design” Winnipeg Tribune, November 19, 1957 “$60 000 for City Hall Contest” Winnipeg Tribune, January 28, 1958 “Two Architects’ Houses in Manitoba” Royal Architectural Institute of Canada Journal, February 1958. “City Hall Delay Till ‘60” Winnipeg Tribune, February 14, 1958. “Extra $2 Million for City Hall?” Winnipeg Tribune, April 1, 1958 “Juba Adds an Ofﬁce for Mr.X” Winnipeg Tribune, April 12, 1958 “Opening of the New School of Architecture, University of Manitoba” Royal Architectural Institute of Canada Journal, December, 1959, p. 420. “Medical City Plans Aren’t Final: Prof” Winnipeg Tribune, June 23, 1959 “Prof. John Russell Non-Committal Over Search for City Hall” Winnipeg Tribune, September 23, 1960. “7 Already Suggested, But-Another Site Hinted for New City Hall” Winnipeg Tribune, January 13, 1961. Preston, Bob. “College Opposes Moving” Winnipeg Tribune, February 14, 1961. “This Show Continues to Stimulate” Winnipeg Tribune, November 13, 1961. Untitled announcement Winnipeg Tribune, January 18, 1963. Russell, Frances. “Dean Russell Envisions Art Centre as Centre of Life” Winnipeg Tribune, June 6, 1964. “U architecture becomes faculty” Winnipeg Tribune, May 22, 1964. “25 years of helping the ballet stay on its toes” Winnipeg Tribune, July 31, 1965. Obituary, Winnipeg Tribune, December 29, 1966 Obituary, Winnipeg Free Press, December 29 & December 30, 1966. Sellors, Roy. “John A. Russell Dedication”, Perspective, Student Architectural Society, University of Manitoba, 1966, p.89. Untitled Winnipeg Tribune, January 2, 1967. “News Nouvelles: Dean John A. Russell, FRAIC” Royal Architectural Institute of Canada Journal, January 1967, p.5.

“Spring Art Fair nets $5 879 for Gallery” Winnipeg Tribune, November 22, 1967. Page, Dr. John E. “Schools Ecoles: Farewell”, Architecture Canada, April 1967, p. 59-60. Publications by John Alonzo Russell “The Fontainbleau School of Fine Arts”. Bulletin Beaux Arts, Institute of Design, New York, March 1933. “Modern City Hall”, (in 2 parts) Winnipeg Tribune, December 23 and 30, 1933. “The University on the Air, Jan-April 1941 Program”, University Bulletin, University of Manitoba, Winnipeg, Manitoba, Vol. 5, No. 2, January 6, 1941. “Design for Acting” RAIC Journal, v.18, May 1941, p 79-82. With Edith Sinclair, Consider the Play; a Radio Series. The University of Manitoba Adult Education Committee – Drama Division, Winnipeg, Manitoba, 1941. “The Auditorium & Stage in Your Community Centre”, RAIC Journal, v.23, July 1946, p. 157-162. “An Appreciation: Milton S. Osborne”, RAIC Journal, v.23, August 1946, p. 193-197. “The M.A.A.” Tecs and Decs 1948, Student’s Architectural Society of the University of Manitoba, Winnipeg, Manitoba, March 1948-1965. “Vocational Opportunities for the Architectural Graduate”, RAIC JOURNAL, May 1948, p.139 “Department of Architecture”, President’s Reports 1948-1965, The University of Manitoba, Winnipeg, Manitoba, 1948-1965. With Wilhelmina Elarth and Joseph Plaskett, “After the Seven – What?” Creative Campus, University of Manitoba Students’ Union, Winnipeg, Manitoba, January 1949. “The School of Architecture at the University of Manitoba”, Western Construction and Building, July 1949. “Light and Colour in Design”, RAIC Journal, v.30, July 1953, p.183-186. “Life Begins at Forty”, Perspectives 1953, Students’ Architectural Society, University of Manitoba, Winnipeg, Manitoba, 1953, p.5-6. “University of Manitoba”, Perspectives 1953, Students’ Architectural Society, University of Manitoba, Winnipeg, Manitoba, 1953, p.11-12. “Architectural Education at the University of Manitoba 1913-1953”, RAIC Journal, v. 31, March 1954, p.63. “Obituary, Arthur Alexander Stoughton”, RAIC Journal, v.32, 1955, p.59-60. “Book Review: The Architect at Mid-Century”, RAIC Journal, v. 32, 1955, p.188-189. “Planning for the Future”, RAIC Journal, v.32, June 1955, p. 193-196. “The University and Architecture”, RAIC Journal, v. 32, October 1955, p. 361-364. “Canadian Architecture”, Queen’s Quarterly, Quarterly Committee of the Queen’s University, Kingston, Ontario, 1955, p. 233-242. “Architecture FOR Canadians”, Winnipeg Tribune, January 9, 1956. “Architect-Builder Teamwork” The National Builder, November 1956. p. 12, 24. Neutra, Richard J. and others, “Variations on a Theme opus 1956” (Variation number one – Professor J.A. Russell) Perspective ’56, Student’s Architectural society, University of Manitoba, Winnipeg, Manitoba, p. 8-11. A City Hall for Winnipeg, Conditions of Competition, City of Winnipeg, Winnipeg, Manitoba, 1958. “The University of Manitoba – A proposed Master Plan”, RAIC Journal, v.36, June 1959, p. 191-193. “Remarks by John A. Russell, Director of the School, on the occasion of the opening of the new School of Architecture Building”, RAIC Journal, December, 1959, p.421. “The Citations, Eric Ross Arthur”, RAIC Journal, December 1959, p. 423. “Foreword, November 8, 1959” Perspective ’59, Students’ Architectural Society, University of Manitoba, Winnipeg, Manitoba, 1959, p.1. “The Saga of City Hall”, RAIC JOURNAL, v.37, January 1960, p.35-38. With John A. Hirsch, Kathleen Richardson, James Crearar Reaney, A. roy Maley and Dr. Ferdinand Eckhardt, “The Mid-Continent Mosaic; Arts and Letters in Winnipeg”, RAIC JOURNAL, April 1960, p. 133-139. (commentary by John A. Russell) “Programming a School of Architecture Building”, RAIC JOURNAL, v.57, August 1960, p.325-328 “School of Architecture 50 Years”, Perspective 1963, Students’ Architectural Society, University of Manitoba, Winnipeg, Manitoba, 1963, p.1-3.

Interviews Dennis Carter September 28, 1996 Harold Cocker December 9, 1996 Claude de Forest John W. Graham July 8, 1997 telephone Bob Harwood September 28, 1996 Grant Marshall July 16, 1996 Jo McCrae September 19, 1997 telephone Carl Nelson July 17, 1997 Stan Osaka July 20, 1997 Kathleen Richardson September 19, 1997 telephone Hyman (Izzy) Richman August 30, 1996 Roy and Theresa Sellors September 27, 1996 James C. Stovel Thanks kindly to Kimberly Shilland of the MIT Museum Architecture Section (telephone discussion September 29, 1997). Footnotes to Essay 1. (President’s Report 1929-30, p. 39-40) 2. John Alonzo Russell, “Vocational Opportunities For The Architectural Graduate,” Royal Architectural Institute of Canada Journal, May 1948, p. 139. 3. (Russell, President’s Report 1960-61, p.128) 4. “Honored,” Winnipeg Tribune, Feb. 16, 1940. 5. Kay Rowe, Prairie Call-Boy, Drama Dept. of the Adult Ed Committee of the University of Manitoba, vol.1 no.3, May 1942, p. 9. 6. “An Energetic Artist,” Winnipeg Tribune, Sept.11, 1948. 7. (Who’s Who) 8. John Alonzo Russell, “Modern City Hall,” Winnipeg Tribune, Dec. 23, 1933. 9. John Alonzo Russell, “Modern City Hall,” Winnipeg Tribune, Dec. 30, 1933.10. Ibid. 11.Milton Smith Osborne, “Architectural Heritage of Manitoba,” Manitoba Essays, p.81 12. Ibid., p. 55. 13. Ibid., p. 82. There is a ﬁne sketch by Osborne of the Winnipeg Civic Auditorium on page 83. 14. Ibid., p. 86. 15. John Alonzo Russell, “Design For Acting,” Royal Architectural Institute of Canada Journal, May 1941, p. 79. 16. John Alonzo Russell, “after the seven–what?” Creative Campus, January 1949, p. 27. 17. John Alonzo Russell, Design For Acting, Royal Architectural Institute of Canada Journal, May 1941, p. 81. 18. John Alonzo Russell, Canadian Architecture, Queen’s Quarterly, Quarterly Committee of Queen’s University, Kingston, Ontario, 1955. 19. John Alonzo Russell, Architecture FOR Canadians 1956) 20. Ibid. 21. John Alonzo Russell, Perspective 1956 p.9 22. John Alonzo Russell, The Architect and Education, Royal Architectural Institute of Canada Journal, June 1959, p. 233-234)

E LEVA TION

076-077 Landscape Lookout Maggy Lehenbauer

what do you experience…moving along the transect from perimeter to perimeter…connections between the unique landscape features of Winnipeg…overlooking the horizon…from prairie to prairie…a detour through the city…where you climb upwards…higher still… above to a new level…that passes everyday sights….to see out beyond the horizon…and what the sky touches….from lookout to lookout “discover deliberately here. gaze up and around before the climb, then look out and around…long distances marvels hover, draw the eye, ﬁx the attention…here ﬁnd a genuine place…” john stilgoe – walking the high line average heights tall human – 2m 2-storey building – 9m coniferous tree – 12 to 14m mature elm tree – 14 to 16m landscape lookout – 20m

Mike von Tiesenhausen

078-079

an evaluation in spatial harmony and balance

Spencer Tromblet

create something more than just objects spaced out by voids, but voids created through mass

CUBES & RODS

BACKLANE MOBILE David Girardin & Ryan Epp

080-081

THE [QUASI] MEDITATE

Stephanie Yeung

Cutting through the city of Winnipeg is an avenue that quietly strives to carry the community through the new millennium. Corydon Avenue is the unique combination of independent retailers and distinctive restaurants that attract local residents and tourists, creating a vibrant atmosphere in the heart of the city. The intervention titled “the [quasi]Mediate” is located on this avenue at the intersection with River Street which currently contains the existing Santa Furs building in an otherwise empty lot. The requirements of the project were to designate 25% of the lot’s area as open space on the ground level, as well as integrating the original building with the design of a mixed-use building. The theme of the proposal is to reflect and contradict the vitality of the Corydon locale in a harmonious manner. The orthogonal and organized forms which line the avenue are expressed, yet undergo a distortion, unfurling and unwrapping amongst themselves along a tilted axis. The collision of these blocks of space, surfaces, lines, and points form a hybrid, unified by horizontal floor planes scored through the shapes. The dynamics of the [quasi]Mediate’s appearance symbolize the positive potential of Winnipeg that is being driven by the avenue. The derivation of shapes from surrounding buildings gives credence to the area and its future position in the city. Inspired by architects such as Daniel Libeskind and Zaha Hadid, the [quasi]Mediate expresses the Deconstructivist architectural tendency, where forms mutually distort and clash together in a synthesis with no single coherent outcome (Collins & Mayblin, 2000). Reminiscent of Lebbeus Woods’s work, the conceptual dimension of the project is the primary point of focus and consequently becomes the strongest element.

The lower level of the [quasi]Mediate acts as an advertisement for the city, exhibiting local works and upcoming events to residents on the higher floors and to visitors on Corydon Avenue. A sophisticated restaurant and lounge are integrated into the exhibition space and accompany a dramatic stage whose sightlines spread to all angles of the main floor as well as to an overlooking mezzanine and ramp system. The higher levels are reserved for travelers or business people to the city for durations of several weeks or months at a time. A group of people visiting Winnipeg for work related reasons could feel unmotivated, lonely, and alienated, being encapsulated in a state of limbo. The intervention effectively reflects this state of being yet also responds to it by encouraging the user to embrace the city. Together, the integration of multiple levels, both figuratively and literally, creates a sense of double coding, or ambiguous meanings, on several strata simultaneously. A notion of ambiguity forged the design for the [quasi]Mediate. Based on the ideas of Postmodernism, a state beyond confirmed meaning into the hyperreal was explored (Sim & Van Loon, 2001). Bipolar oppositions, such as the nature of public versus private, were used as the basis for the investigation. Acting on the notion of limbo, a non-place is established by creating a building which revolves around the in-between state of each bipolar opposition; nothing is ever truly one form or the other. These different in-betweens would create a hybrid of multiple levels of meaning. In doing so, this non-place is able to establish a sense of place, grounding the individual previously caught in limbo. A bipolar opposition is expressed through the lighting effects on the structure. Daylight invades the spaces through angled windows and large atriums, but dramatic lights emanate and shine from the cracks between adjoining forms during the nighttime, adding life to the vertical plane on Corydon Avenue. The absorption of sun during the day and radiation of a neon glow in the evening provides antagonistic interpretations of how the proposal speaks with its surroundings. The opposition of old versus new is captured through material use and the façade of the form. The familiarity of past styles acts as an anchor for the public to latch onto (Sim & Van Loon, 2001) as well as travelers housed by the building. The original Santa Furs structure, clad in brick and tyndall stone, stands as this tribute to the past. However, the future defining form erupts from this base and gives the

original building a pastiche character in an ironic sense (Sim & Van Loon, 2001); the importance of the original vs. the derivation becomes ambiguous. Further strengthening this is the application of brick work from the Santa Furs building leaking onto a new steel plane from the extension. Steel pieces are also plastered onto the side of the old brick façade, interrupting its continuity and regularity. These pieces give the visual sense of soaring, uplifting fragments intermixing between time periods. The meaning is vague in interpretation, and the distinction between structure and decoration becomes blurred. The conflicting forms of the building are unified through the frozen state of their collision and horizontal floor planes, yet a further connecting factor links the different strata. Lines which gesture to Corydon Avenue and the surrounding city are established on the horizontal ground plane, and extruded to extend to the other levels of the building. Although somewhat arbitrary, these lines become the guides for boundary or window placement on every level. These windows allow light and shadow to penetrate from one floor to the next through translucent glass, linking rooms which are adjacent to each other in both the horizontal and vertical direction. This allows private spaces to become punctured, distorting the definition of privacy in a way that does not interfere with the resident’s activities. The ambiguities in space created by crashing planes and spaces form angled roofs and walls that extend to the different levels, creating more linkages between rooms. Crashing planes and forms also distort the definition between the interior and exterior. The large atrium visually extends from the North side of the structure into the South, forming another atrium outside of the penthouse unit. This begins to explore ideas of exposure and concealment. The penthouse level also has a balcony which overlooks both the outside world and down below into the interior space, giving the observer a sense of both divisions. However, these spatial collisions could be more developed; in comparison with the exterior form, the

[QUASI] MEDITATE THE [QUASI] MEDITATE THE [QUASI] MEDITATE THE [QU

interior spaces are rather tame. Additional planes and segments would need to be inserted to further emphasize the dynamics of spatial ambiguities and to create a dialogue between inside and outside. Consideration of the landscape is also underdeveloped. The gestures that are linking the site with the intervention are present, but the next stage of the project will expand on this aspect in more detail. The movement and vibrancy of these guidelines can be expressed through plantings and detailing of the landforms, invigorating the surrounding environment to be in harmony with the uniquely massed structure. The [quasi]Mediate is a project based on concepts presented by poststructuralism and Jacques Derrida. The work explores how architecture has the power to express ambiguities in space as well as meaning. The combination of different bipolar oppositions at multiple points culminates into interpretations that are deﬁned by unique spatial experiences that create unexpected synchronizations. Both users of the street as well as temporary residents of the space are encouraged to participate in the ebb and ﬂow of abstraction the building creates. The [quasi]Mediate becomes a beacon on the Corydon strip, signifying the bright future of Winnipeg and the potential the city possesses. Bibliography Collins, J. & Mayblin, B. (2000). Introducing Derrida. Cambridge: Iconbooks. Deleuze, G. & Guattari, F. (1987). A Thousand Plateaus: Capitalism and schizophrenia. Minnesota: University of Minnesota Press. Gartz, C. (2003). Regional Civility. Warehouse #12, pp. 34-42 Libeskind, D. (2000). Daniel Libeskind: The Space of Encounter. New York: St. Martin’s Press. OWL at Purdue University; Using APA Format. (n.d.) Retrieved December 1, 2004, from http://owl.english. purdue.edu/handouts/research/r_apa.html Sim, S., & Van Loon, B. (2001). Introducing Critical Theory. Cambridge: Iconbooks. Woods, L. (1997). Radical Reconstruction. New York: Princeton Architectural Press.

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084-085

TO PLAY IS TO LEARN

Yu Ping Hsieh

Children spend a majority of their time exploring this new and fascinating world. They acquire knowledge and experience most rapidly and effectively through playing. My intention was to design interactive learning spaces capable of providing children with fun learning experiences. Together, these spaces would also pave the foundation for residential developments in the community, in attempt to assist in the revitalization process currently taking place in the Exchange District.

The design proposed was a series of Story Walls occupying the abandoned tunnels and alley spaces between the buildings. This will brighten-up the dark spots of the community and transform the area into a friendly environment for children. Each page of the Story Walls are enlarged and mounted onto a section of the wall, like a billboard advertisement. The children will move through the alley space from one end to another to read the entire story. A sound system is programmed to narrate the story in a chronological order while the children proceed from one page to the next, thus further enhancing the overall learning experience.

C.A.S.T BUILDING ANALYSIS

086-087

Heidi Cantalejo, Lindsey Lamoureux, Anita Green & Mike von Tiesenhausen

The Centre for Architectural Structures and Technology (C.A.S.T.) began with Professor Mark West’s research and opened October 29, 2002. The 1.5 million dollar building was designed by Herb Enns, with GBR Architects, to develop the former fabric framework lab into a more inclusive and better adept architectural research laboratory. (University of Manitoba) The C.A.S.T. building was built to facilitate education, experimentation with material usage, research building technology, and the exploration of construction methods. One of the aims of the centre is to “encourage collaboration between architects, engineers and the industry”. The focal point of this experimentation is an approach to architecture where the method of construction is integral to the design process. With these ideals in mind, C.A.S.T, in building form, acts as a three dimensional textbook, augmenting conventional information with direct physical knowledge that students can, not only see, but also experience (University of Manitoba). A lot of thought was put into the layout of the building in order to facilitate the ideals and conceptual goals of C.A.S.T. The separation of the building’s vertical space serves two obvious purposes. It creates a mezzanine adaptable to a variety of uses such as office and technical work space or as an area for lecturing and presentations, as well as creating a double-height space for testing large building elements. The ground floor, while open, is divided into specific areas designated to various activities such as woodworking, metalworking, concrete testing, and textile cutting and sewing. The only enclosed spaces are those reserved for the building’s restroom and utilities. The complexity of C.A.S.T is not expressed as obviously in its layout as it is in its structural elements. The structure of the C.A.S.T. building is not evident from its exterior. The vertical load is supported by the internal prefabricated steel frame structure. The roof acts as a diaphragm keeping the frame in place. Due to their massive construction, the exterior walls appear to bear the vertical load, however they act only to resist wind loading. On the interior, the walls are connected to the steel frame with horizontal girders. All of this structure, including the mechanical and electrical systems, is exposed and accessible to students, facilitating experimentation. The elements of the C.A.S.T. building evidently support the design intent and underlying motives regarding education and experimentation. However, the overall function and usage of the building does not, as participation in the experimentation facilitated by C.A.S.T. is restricted to few individuals. The building, while successful as a studio and construction laboratory, has yet to provide education to the majority of students enrolled in the Faculty of Architecture’s undergraduate program. C.A.S.T. is an adequate space in which to promote research and development of building technology to students but there is no current program in place which makes it easily accessible to those students. This is not a problem with the structure or organization of the physical building but with the administration and application of the intentions from which the project was originally fabricated.

CAST ANALYSIS MONTAGE (opposite page)

EXTENDED Part of the original intent of the CAST building was to provide needed exhibition and critique space for the Faculty of Architecture. By adding additional space to the CAST for displays and critiques I intended to expand the function of the building and draw in a larger audience to see what takes place inside.

Kyle Bradshaw

088-089

Running Head:

DESIGN, STUDIO + LIFESTYLE Priscilla Mah

The studio has always been a setting for learning, whether learning from a master of craft, such as those from the medieval guilds, or from oneself on the journey of individual artistic discovery. This idea of learning was founded upon the fact that studio is an all encompassing definition of the experiences in design: “At its best the design studio sequence provides the connective tissue that bring together, progressively, the many elements of architecture education…where the discovery, the application, and the integration of knowledge are creatively pursued” (Boyer, 1996, p. 86). However, in order to completely grasp this notion of studio one must first question: what is studio? Studio space itself is a place where the design process occurs, and thus has many different implications to design depending on how it is used. To a group of students in the realm of design education: “design studio teaches critical thinking and creates an environment where students are taught to question all things in order to create better designs” (Koch, 2002, p. 3). Continuing on to careers, designers may choose to join design firms, where studios are places for individuals to come together, sharing knowledge and experiences to solve design problems collaboratively. Personal studios, on the other hand, are usually places for the individual designer, a place where he/she can create and reflect on his/her design process and work. Karen Wilson-Baptist is an Assistant Landscape Architecture Professor at the University of Manitoba. With an undergraduate degree in fine arts, a master’s degree in Education, she is currently working towards achieving a PhD in Landscape Architecture. Her notion of ‘studio space’ is thus colored by her past and present educational and professional endeavors. Her studio must therefore accommodate all levels of her creativity and variety of processes important for her many roles as educator, landscape architect, and artist (personal communication, October 30, 2004). Although Wilson-Baptist’s personal studio is located in her home, it was not always so. In the past she believed that her work and her home should be separate, that

her life as a designer/artist should not take over her personal life. Therefore, for some time she had studio space in downtown Winnipeg. However, she found that this arrangement caused fragmentation in her life. Always a firm believer in design as process, Karen felt that her separate living and studio spaces caused a rift in her lifestyle, and she began to understand that the role of being a designer was always with her (personal communication, October 30, 2004). When asked to describe what personal studio space meant to her, Wilson-Baptist described it as a room of her own. A place to work, think, read. Her studio is a place where she can shut herself in and escape from social obligations, and yet at the same time have the accessibility and convenience of being at home. Her position at the university gives her the opportunity to work from home twice a week, making her studio even much more functional and important. Aside from working on her career as a professor, Wilson-Baptist also spends time working in her studio in the evenings, as well as trying to dedicate time during the weekend to her work (personal communication, October 30, 2004). Personal studios are just that: personal. Each designer creates these spaces depending on his/her own wants and needs. This being said, all studio spaces share several fundamental environmental elements. One such element is that of organization. In Wilson-Baptist’s studio the importance of organization was clear. This was especially evident in the wall unit located in a recessed wall. This wall unit, being designed by Wilson-Baptist herself, housed books and memorabilia and, although recessed, was a dominant feature of the room. The sense of organization in the space was also evident in the way everything to the smallest detail was placed. This type of overall organization is important for accessibility of materials and resources; everything has its place and can be found quickly. Photos of the studio space may suggest a sense of control that could inhibit creative flow, however though very clearly organized the space’s conductivity and efficiency for the production of work is only enhanced because of its organization. Further evidence of the room’s organization can be found in the seating arrangement. It appears to have been chosen for a very specific function with a couch under the window, which at first glance seems to be placed there for a soft space to read or do research. However, a soft place to sit and read may have been the least of Wilson-Baptist’s considerations because with closer investigation, one can see that the couch is lined with a blanket that has pet hair scattered over it. Along with the placement of pet food and water dishes on the floor in front of the wall unit, this studio space clearly shows Wilson-Baptist’s sincere relationship with, and in some ways domination by, her pets. The acceptance of pets into this type of setting can have either a positive or negative affect. Having pets in studio could act as a distraction from the design challenge at hand. However, it could have the complete opposite affect and the pets could act as a positive therapeutic diversion from the stresses of the work, inducing the designer to take a break from his/her work.

Designed spaces often reflect the values of those who use it. In Wilson-Baptist’s case there were clear indications of wanting to create a sense of comfort and inspiration. As designers it is important to have an open and free mind. Some take the opportunity to turn the space into something that evokes a certain feeling. For example, Wilson-Baptist creates serenity in her studio through the use of soft lighting. The main lighting, other than the regular central light which is not often used, lines the top of the wall unit itself, gently spraying soft light across the room. Other smaller workstation lights are thoughtfully placed along work surfaces to meet the needs of the task at those stations when necessary. Furthermore, two large photographs act as inspirational pieces that are displayed on the walls and add to the ambience of serenity. Other small inspirational pieces, obviously acquired over time, are scattered around these two main pieces creating a light gesture of eclecticism. Other wall art that creates a sense of encouragement are those of Wilson-Baptist’s two degrees from the University of Manitoba, acting as a constant reminder of her accomplishments. In design it is important to surround oneself with inspiration and encouragement for it is almost inevitable that at some point in time one will question his/her capabilities as a designer. Creations of design are inspired in many ways, but for all these creations to blossom the perfect environment must exist. Personal studios provide designers with the opportunity to create that perfect environment for themselves. It is in these environments that the physical spaces enhance the psychological states that allow designers to work through their creative design processes, allowing them to retreat and reflect on what they may have seen, done, or begun to do. For Wilson-Baptist this space could not be disconnected from her home. Although the field of design often takes over one’s life, it is the inevitable acceptance of one’s role as a designer that one is able to cope with the demands of the lifestyle.

Matthew Emek

The home is perhaps one of the most written-about designed environments. As defined by Merriam-Webster Online Dictionary (2004), it is “one’s place of residence.” But as many of us know, the home is often much more than a place where one resides. The home can be a safe environment, a retreat, and even a sanctuary. But the home environment can also be a turbulent, domestic wasteland. How can designers help to facilitate the first description? This paper will examine the effect of design on the experience one has at home. Is it possible that the design of the home can affect people’s attitudes and personalities? Or is it that people’s personalities have an affect on how their space is designed? Finally, when is the transition from house into home made? To further understand people in the home environment, it is useful to examine research conducted in the field. This paper will examine two key sources: Altman and Werner’s Home Environments, and The House as Symbol of the Self by Clare Cooper. These pieces of literature provide insight into the essence of home, allowing designers to pursue more appropriate design solutions. It is important to note the distinction this paper will make between house versus home. The term ‘house’, as it will be used in this paper, refers to the physical boundaries and structure of a residence. The term ‘home’ on the other hand, refers to a residence after its inhabitants have personalized the space and formed connections with people and the environment. One cannot examine the concept of the home without readings by Clare Cooper (Marcus). Cooper is a professor at the University of California, Berkley and is internationally recognized for her groundbreaking research into the psychological affects of architecture. Her research, influenced by Jungian psychology, has allowed her to delve into the home, including its impact, attachment, and relationship with humans. The House as Symbol of the Self is an exploration into the subject with no concrete conclusions, intended to stimulate the reader’s own thoughts, causing them to question and think more deeply on the subject (Cooper 1974, 130).

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T UR N I N G A H OUSE INTO A HOME

Cooper has based most of this work on Carl Jung’s concepts of the collective unconscious, the archetype, and the symbol – a grasp for the human psyche, distinct from Freudian teachings. Jung identifies the ‘collective unconscious’ as a link to our primitive past; the ‘archetype’ as basic behaviours or understandings rooted in that past, and the ‘symbol’ as a modern-day encounter or experience with a given archetype (Cooper 1974, 131). Cooper uses these three concepts when examining the ‘home’. She argues the sense of ‘self’, a difficult concept to define and concretize, is the most basic form of an archetype, and the house is a basic symbol that archetype. People have an underlying desire to mark, define, and represent themselves. The home is a place where people are free to do so, often on two fronts. The first is the building façade, where people project a calmer, more ‘culturally appropriate’ image, one that can be viewed by anyone. The interior becomes a place where people add more personal touches and are often more adventurous. This is a place that only certain people view, and as Cooper states (1974, 131), the self is “revealed only to those intimates who are invited inside.” People use the house as a way to symbolize the self, often an impossible task using words or traditional means. What happens when a person moves, when they lose the attachments they have formed with their house? Over time people become attached to their house, but are often slow to adapt to a new environment because they may feel uncomfortable or out of place. But Cooper argues (1974, 131) that as time moves on, “we project something of ourselves onto its physical fabric.” Slowly people adapt and begin to personalize their new environment, as they become more comfortable in it. The house is a place that people identify with, relate to, and live in. What happens then when people cannot afford to purchase a house? Two alternatives are rentals or subsidized housing. Although this may be economically the best course of action, people never fully relate themselves to this environment, for it is not actually theirs. Cooper refers to several international studies that ask people of all incomes to describe their ideal house. “People…tend to describe a freestanding, square, detached, single-family house and yard” (Cooper 1974, 133). It is no wonder then, if this is the desire of most people, that individuals resist moving back into apartments after they have lived in a house. The question is, if people want to live in single, detached houses, why are towers of repeating floors continuing to pop up in almost all modern cities? The answer is two-fold. First, there are simply too many people and not enough ground space for everyone to have the ‘ideal home’ as identified earlier. Second, the high cost of purchasing or building a house often means many people, cannot afford a house, so renting seems like the best option. Designers should then create diversity in these towers, offer a variety of floor plans and finishes, and let the people have a say in how their space will be designed. As Cooper postulates (1974, 137), “through group encounters, resident-meetings, interviews…” designers are able to further understand client desires. Currently there is a disconnection between client input and the architect’s vision for a house (Misra 2002, 302). It is important for designers to consider that although they maybe designing the house, they are not the ones who will inhabit the space.

Another piece of literature this paper focuses on is Home Environments, an edited collection of research on the topic of home. This book is the eighth installment in a series entitled Human Behaviour and Environment: Advances in Theory and Research. The chapter in Home Environments that will be examined is entitled Temporal Aspects of Home by Werner, Altman, and Oxley. Werner, Altman and Oxley state (1985, 1), “Integral to distinction between house and home are the temporal qualities of linear and cyclical time.” Linear time is simply past, present, and future; where as cyclical time refers to recurring events, speciﬁcally in this case, events of the home. While linear time is self-explanatory, an example of cyclical time would include the basic cycle of: resident moving out, resident moving in, resident moving out, etc. To further distinguish the two, it is important to consider the scale, rhythm, pace, and salience of the events. Included below is a chart (Figure 1) that clariﬁes these four temporal dimensions of the home.

Figure 1 Temporal Dimensions of the Home (Werner, Alman and Oxley 1985, 7)

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Werner, Altman and Oxley also developed a transactional unity diagram, which highlights the interaction between people, time and environment (Figure 2). Their basic theory is that transactional processes among them, including events, activities, and psychological processes, occur in all homes, highlighting the inseparable nature of the three groups (Werner, Altman and Oxley 1985, 3).

Figure 2 Transactional Unity Diagram (Werner, Alman and Oxley 1985, 2)

The inner core of the circle represents three ways that people are linked to home: social rules and relationships; affordances; and appropriation practices. Studying these three links in detail helps to provide insight into the essence of the home environment.

Rules + Social Relationships This category deals with cultural and social norms, traditions, and practices. These often determine ‘appropriate’ or ‘expected’ behaviours in specific settings. For example, in North American culture it is understood by most people that a library is a quiet setting, setting an expectation of how people are to behave. Another example deals with marriage (Werner, Altman and Oxley 1985, 4). When a North American couple gets married, it is assumed by most people that they will move into a house or apartment, which becomes their ‘first home together’. This establishment of a new household is culturally expected in North America. Affordances This category involves the way in which our environments are perceived. Here, Werner et al. argue that affordance is when an environment is perceived not through its physical characteristics, but through the meanings implied by the environment. For example, the house is used for many functions and people attach specific psychological meanings to objects in the different environments (Werner, Altman and Oxley 1985, 5). A bed is not perceived as a physical construct but as a place to lie down and sleep. It is possible to identify these types of meanings for every object in the home. Appropriation, Attachment, Identity The final link to the home deals with the personal attachments that people form with their environment. Werner et al. stress that while such attachments are fundamental to most people, they do not happen overnight. It often takes time before meaning is invested in an object or an environment. As long as humans have been around, a need for shelter has existed and has evolved over time, both in terms of physical structure and in terms of usage. In North American culture, there has been a migration from multi-family or communal dwellings to single-family residences. It is, however, important to note that structure and use vary by culture. In Japan, for example, houses often accommodate immediate and extended families. When considering each of these influences on the essence of home and exactly what that means, it is possible to synthesize the information into a series of findings. Werner et al. state that in terms of appropriation, time is required (Werner, Altman and Oxley 1985, 5). People need time to connect and form bonds with new environments. Cooper also says that when people move, they are cautious in their new house, and they must become familiar with the new surroundings before they can form true bonds (Cooper 1974, 131). Is there a way that designers can assist in this process of adaptation to new surroundings? Is it a natural process that cannot be influenced by designers because of the deep psychological connections people form with their homes? Does this process depend on the amount of time spent there? For a university student living in student residence, less personal attachment is no doubt found with the residence room than to their room in a childhood home.

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It is important for designers to not only look at the home from a structural view, but to consider the client, their likes and dislikes, their home environment, their lifestyle, etc. As Werner et al. state in their theory of affordances (1974, 5), the home environment is perceived on a psychological level in terms of the environment/ objects meaning. For designers, it is always important to listen to the client’s voice. What about Coopers key phrase, “House as Symbol of the Self”? Both articles support this concept. For Cooper, it relates to Jung’s theory of archetypes and symbols. Ever since primitive people decorated their homes with cave paintings of their life and families, design of living space has been around. Why else do people decorate and change décor as they mature and grow as people? Based on Werner et al’s argument of appropriation over time, is it possible for designers to help people when a house will eventually, without intervention, become a symbol or representation of the resident? It is the designer’s job to provide guidance to people on ‘better’ ways to accomplish the same goal, offer suggestions and recommendations for improvements to the design, that will help the client turn their house into their home. What is the use of psychological ﬁndings such as these to designers? It provides them with a way to approach residential programs. It is important for architects to listen to their clients, to get to know their likes and dislikes, what is important to them, and to try to understand the clients goals and objectives for their home. These psychological factors must be considered when a designer is working on a house. For example, for a client who enjoys bright, open space with views all around, a house with small windows is inappropriate and doesn’t meet the client’s needs. Research offers insight into what makes a house a home. By understanding the concepts presented by Cooper and Werner, Altman & Oxley, it should be possible to incorporate some of these ideas in the design of a home.

Cooper, C. 1974. The house as symbol of the self. In C. Burnette, J. Lang, W. Moleski, & D. Vachon (Eds.), Designing for human behaviour: Architecture and the behavioural sciences. (pp. 130 – 146). Stroudsburg, Pennsylvania: Dowden, Hutchinson & Ross, Inc. Misra, K. 2002. Whose House is it? Exploring User Participation in the Design Process of Residences. Systems Research and Behavioural Science, 19(4), 301-311. Werner, C., I. Altman, and D. Oxley. 1985. Temporal aspects of homes. In C. Werner & I. Altman (Eds.), Human behaviour and environment: Advances in theory and research, Volume 8: Home environments. (pp. 1 – 32). New York: Plenum Press. Merriam-Webster Online Dictionary 2004. Retrieved October 27, 2004, from http://www.m-w.com/cgi-bin/ dictionary?va=home. Owl Online Writing Lab 2004. Using American Psychological Association (APA) Format (Updated to 5th Edition). Retrieved October 2, 2004 from http://owl.english.purdue.edu/handouts/research/r_apa.html. Project for Public Spaces 2004. Clare Cooper Marcus. Retrieved November 13, 2004, from http://www.pps. org/info/placemakingtools.

Edinburgh Sketches France/UK International Studio Spring 2004

Erin Ediger

Zach Pauls & Evan Marnoch

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MODUS OPERANDI

there is no perfect answer to ‘what we do as designers’ nor is there an easy way to advertise it. this [video] is an expose into a fragment of a designer’s life - the ‘how’ and ‘what’ we do it begins to convey the time

based reality of the profession

the [ﬁlm] becomes a visual depiction of our progression through this project as it documents the ideas which we

played with | settled on | threw out | moved on... and now present.

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LIVING/SPACE Andrew Edge

Living/Space represents the purest form of client/intervention based-design. The selected client is a homeless person who steals garbage from an upper-middle class in the River Heights neighborhood, in fact the same neighborhood in which he grew up. The garbage he steals is used to create an off-site shelter for his own habitation. A critical limit is reached using only the materials found and construction knowledge and techniques possessed by the client, as the shelter grows to a certain point and pieces begin to fall off. I refer to this type of de/construction as the ‘Jengaffect’. As a result, the shelter changes and evolves directly to the speciﬁc needs of the client, responding to climate and living necessities such as sleeping and eating.

one man’s garbage, as another man’s home

FUSION BUILDING Michael Heibert

KAPYONG URBAN RESERVE SITE ANALYSIS Meaghan Hunter, Mike Klassen, Adrienne Perry, Wei Ching Sun, Tian Dai & Marilyn Gould

Decades | Years | Months | Hours

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lifePOD Steve Isfeld

URBAN INTERVENTION Matthew McFetrick The City of Selkirk and the rural municipalities of St. Andrews and St. Clement, (represented by the library organizing committee) have expressed interest in developing a library that is a “state of the art signature building located in the heart of the city. Not only will this project help to revitalize the downtown area, but it will act as an anchor to keep business from abandoning our historic downtown and newly developed waterfront.”…and will…”be built with environmentally sound technologies that utilize renewable energy options and design as well as adhering to sustainable and environmentally sound practices.” The library, a public building and center for life long learning, can reﬂect our society and act as a catalyst for much broader community change. The Selkirk community anticipates that this faculty will provide an educational resource and a public gathering place that could act as the “heart of the community”. The project was to take on the challenge of designing a new sustainable and environmentally sound library/community center located in the town of Selkirk following the desires and requirements outlined by the Library Organizing Committee.

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RMNP is for the most part under used, so my project intervention aims to attract citizens of the region into an area that is below its carrying capacity, East Deep Lake. But how can this area attract the surrounding communities? Through Trails End Camp: a camping facility and refuge that is within the Park’s interior and is well connected by corridors and trails. This facility will provide rustic overnight amenities such as bunks for up to 12; space for group activities; wood stove for winter use; views out on to the lake; as well as drainage and an outhouse that responds to the sites ecological integrity. The site amenities will highlight ecological processes and viable living practices. The site is primarily intended for young people – school groups, Scout, Guides, 4H, Optimist Club etc – to experience nature, acquire survival skills and share in regionalism. By giving youth the opportunity to connect with their region’s signiﬁcant natural resources, it is hoped that a sense of pride, ownership, and belonging will be instilled and shared with the greater community.

TRAILS END CAMP Andrew Harvey

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HI_CUBE [STUDIO]

Evan Marnoch

1. the nature of the essence of corydon avenue: the fact that it is popular as a place for people to see and be seen. corydon is a stage. the design of the hi_cube_[studio] plays on this notion and offers intimacy and interaction between the street and the commercial studio space. the pedestrians and commercial users perform for each other. the plan is left open to allow for more ﬂexible and usable space; the users may work in solitude or in collaboration. 2. four raw recycle[able] shipping containers [hi_cubes]; combined to create aloft within the studio space which would wedge into the existing structure. the hi_cube [high cube] is a low cost structurally rigid construction material [8’wide9.5’high40’long]. the use of the raw industrial material offers a very interesting and successful juxtoposition of material with the brick of the existing building.

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“The Airplane indicts the city The city is ruthless to man Cities are old decayed, frightening, diseased They are ﬁnished” Le Corbusier - Aircraft 1935

Adrienne Perry

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THE DYNAMIC OF DECAY Rachel Tennenhouse

Every building has a life span, the workings of time and weather cannot be avoided. Despite valiant effort at becoming the Peter Pan of the prairie, the Artbarn at the University of Manitoba is no exception to this rule. Instead of being constructed out of wood as a traditional prairie barn would have been, the Artbarn was clad in brick and limestone to better match its neighbors on the Fort Garry Campus in the early 1900s, which allowed the barn to resist the fate of its prairie cousins. No longer a proud monument of prairie architecture, the once prominent dairy barn now functions as a make-shift art studio and is hidden behind the new agriculture buildings. The Artbarn has become a symbol of an architecture that is growing extinct with the spread of agribusiness and the decline of the family farm, reminding visitors of a time and way of life that is being forgotten. The Artbarn is a petriďŹ ed building â&#x20AC;&#x201C; a preserved piece of the Universityâ&#x20AC;&#x2122;s past identity as an agricultural college. However, the building has not been abandoned or destroyed, and certainly has not collapsed; instead, it has remained standing in an awkwardly static state, refusing to accept its functional demise. In a sense, then, with its uncommon sturdy construction, the Artbarn is an example of prairie architecture placed on life-support, and, to extend the analogy, the suggested design is a proposal for euthanasia.

The means of achieving the proposed form has been undetermined. Theoretically, it would be most ‘honest’ to achieve the “new” status through a guided deconstruction – a type of ordered chaos, by perhaps removing supportive columns and weakening beams etc. Of course, weakening the structure would encourage an eventual collapse – an event which seems intuitively undesirable for a building. A collapse certainly invites questions of occupancy – people don’t seem to enjoy spending time in buildings that are falling down. However, after a nearly hundred-year existence, I would argue that the Artbarn has enjoyed a very long and trying life and should be permitted to relax. It could be considered an act of mercy. Granted, it might be more difﬁcult to celebrate the ephemeral rather than something everlasting. However, relaxing the posture of the hybrid Artbarn is surely a means of achieving such a tribute. Allowing the Artbarn a moment to slouch should be seen as a triumph over the existing brick corset that denies the barn an expression of its identity as a transient construction. It is important to stress that in allowing a new and arguably more honest posture, the building would be released from a static existence as an alien shell that matches neither the buildings around it nor its own interior function. A state of decay is in this case renewal; in being permitted to fall it would ﬁnd conclusion and be granted a vitality that it was denied during its lifetime.

jak julie amanda kasey

116-117 change something... hire a designer

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BODY MEDIATION DEVICE Natalie Rogers The self is composed of a series of layers or walls. In any given situation the most intimate, personal aspects of the personality can be masked and protected by the more austere and impermeable facets. They act to conceal the complexity, the intricacies that make up the individual, allowing for a controlled exposure, which in effect creates individual spaces or personal abodes. This is the concept behind the Body Mediation Device, which evolved from the form of the cardigan. When wearing a cardigan the individual has direct control over their level of body exposure. Fully done up, a greater level of personal space is created, a distancing form the outside world. In this state the cardigan is like a full sweater, soft, comforting and enclosed. However, the cardigan can be readily undone, part or all of the way. As it opens, the wearer becomes more vulnerable; they are in essence opening themselves up to the world, allowing for a greater level of scrutiny. This premise, explicitly realized, becomes a body covering that exposes or encloses the individual through a series of layers that can be opened or closed. The level of exposure is dictated by the wearers personal comfort level in their given situation. The exterior is a protective shell, creating an emotional and physical protective space. As each layer is opened the outside world is engaged to a greater extent. Our inner selves are protected and concealed, only revealed to select few. We maintain distance, only exposing what we feel appropriate and comfortable with. When the individual opens up, exposing their underbelly, they must wait for acceptance, for understanding, for a mutual return of emotion that they may not receive. There is security in anonymity.

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METROPOLITAN SLICE Michael Klassen

This project is about the everyday – the vernacular and what it tells us about Winnipeg. It has the ultimate goal of investigating wayfinding, human perception and orientation in the built urban environment; to investigate the nature of signs, how humans perceive them, and how important they can be to creating a successful environment; to understand the concepts of wayfinding and spatial orientation and their importance in their incorporation into the built environment. Landscape has been defined as “an entity created through the interaction of nature and culture where nature is ever present in some way or another but adapted to human activity”. In the urban environment, the author of this piece is attempting to re-interpreting nature through culture. This highlights the idea that perception in the urban environment is more that just simple object recognition. It is a complex cognitive process that is based on past, present and future experiences. It is based on a series of learning experiences rather than a response to a specific object. The author is seeking to interpret the new signs/symbols/events in the urban environment based on his personal experiences and through natural intuitive reactions. The author of this piece was asked to travel along a particular transect through the City of Winnipeg. Along the way, he experienced and traveled primarily on the process of remembering, more of a cognitive mapping experience/process, as opposed to the more western traditional sense: by following a actual map: “the experience of the landscape, the earth, is established in the body itself, the scale that the human sensory faculty and the physical capabilities of the body provide”. The map that the author sketched into the landscape is made for other travelers; placed at the entry point along the Assiniboine River. The map is spontaneous, and created purely based on the materials that could be gathered within the immediate area. The canvas is the landscape itself; where the author inscribed symbols and described the territory. A guide sculpted in the landscape, which serves the purpose of communicating information useful for the continuity of the journey, changes in direction, points of passage, intersections, and dangers. It highlights the most prominent features of survival (highlights motion, habitat, companionship, commerce, spiritual).

iconic pretty face symbolizing glamour in the 50’s - Herdis Maddin painted th beauty parlor - Conceive these images as an act, a mask with a certain fals dark fable - the artificial mask becomes transparent, through this honest artific becomes the ‘Maddin aesthetic’- surrealFictional Character, Herdis Maddin. din and his creative work. Guy is a Canadian filmmaker who’s work is char and atmosphere. Herdis is a widow in her late 80’s, described as ‘17th centu Her fictional character has retired from the Beauty Parlor but still maintains a housework as a dutiful mother in the 1950’s would. She sets the table for din husband would walk in the door any minute. There is a level of sadness and ‘making-up’ dolls and photographs, painting their faces, perpetuating a make b image and private reality. Architecture –Victorian style set in another time bu aesthetic’ - Victorian house, front/back door, front hall, back stairs. Guestroom of spatial organization, descontructs as one ascends through space, public responding to needs, not Victorian housing “pattern book” - deconstructing organized space –undo them, pull them apart. 1st Floor: more formal, public s stairs, 1/2 bath, decl acess - Parlour as formal public entertaining room. 2nd to decontruct - more personal entertainment space, transparent wall and scr attic/storage space, more undefined as opportunity for creative use as neede can shed strict conservative image, values and ideals removed, private self -empower through architecture –becomes strongest feature -duality of rooms play with scale, responding to functions/activities within spaces façade- exten the mechanical services of basement - conceptually is deconstructing, slippin Dali’s ‘The Persistence of Memory’ - exterior material, brtick/stone begins to the vertical core of the parlour lift room, exterior speaks of the interior, amid exterior physically playing with interior concept of mass/void, defined/undefin core extends up 2’, exposing and light filters out at night, lift would raise to p tecture, yet something is not quite right, normative but subverted, there is a s - circulation guided upwards via back stairs to the floor that Herdis is on - tr doors. - creates a structural/physical separation of space, separation of room artwork. Space dfined by the furniture and activities within - platform stairwa Maddin aesthetic Formal victoria n house, decons TRANSFORMED for movement throughout house - conceptually, becomes theFICTION parlour, center INTO ARCHITECTURE Parlour lift room in the architec dentity of the house - historically parlour a c A HOUSE FOR HERDIS MADDIN. to her identity the design of the house - parlour relates to each floor of the ho Abby Meuser room within the house, that moves between floors, existing as a parlour, but c but - when parlour room is not on a flor, theere is a physical hole behind door a floor she is literally ‘filling the void’ - when parlour room on another level, flo

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hese faces, made this hair, created these images in the 40’s and 50’s at the sity - Images reappear in Guy Maddins films, not as a fairytale image but a ciality the actors portray more of a reality - paradoxical reciprocated imagery Created character of Herdis Maddin through an understanding of Guy Madracterized by a strong early 20th century film aesthetic and surreal imagery ury Lutheran’ and formerly worked in a Beauty Parlor on Ellice Ave, Winnpeg. fascination with appearances. Life is characterized by performing everyday nner, as if the guests would arrive shortly or the children were young and her d nostalgia about her. Her creative outlet has become a preoccupation with believe world nostalgic of the glamorous yesteryears. She lives with a public ut subverted, like a Maddin film, creating a surreal experience with a ‘Maddin om, parlour - but distilled to the essence, make it contemporary - hierearchy c to private transition and responds to her functional needs plan deviates, the Victorian house and the associated ideals – details, symmetry, formal, space –front hall, study, parlour room, dining room, kitchen, back door, back level: bedrooms, Herdis’s and guests, full bathroom, -play with scale, starts reen to project Guys films 3rd Level: Private drawing space, dressing room, ed - A physical transition through house has occurred, at the top floor Herdis f can emerge -conceive of a lift room, for vertical movement through house ms –traditional but through duality responds to Herdis’ specific needs - levels nds to define personal space towards the street - allow light below grade into ng down the front of the structure, a folding facade likened to imagery within o dismantle, glass and steel structure emerge - solid core on façade masks glass walls of the interior, the parlour room, the only solidly defined space, ned - inverted solids and voids - entrance about a presence - at roof, glass provide views. Exposes lift space, ‘creative eruption through the roof’ Archisense of formality, control and tradition while evoking a sense of the surreal ransparent glass interior walls, framed by wood framing and visually heavy ms but opens up interior, allows light within, creates a surreal backdrop for her ay - acts as a wall for projections - room for creative expression ‘on all levels’ structed Essence of it High ceilings, spatial organization Lift room –practical r of entertaining identifie lifestyle, Herdis has control of it - central role of the central focus of house, the life, becomes a symbol of Herdis’ life and central house, respond to the levels and Herdis’ activities on each floor - exists as a changing focus, a changing image responding to the activities on each floor, rs, conceptually, Herdis is the life and core within the house, when she is on oor space along perimeter of room remains, containing evidence of activities

ANNERITO [BLACKENED] Jamie Lee Anthony

124-125 SUBURBAN DEVELOPMENT IN AN URBAN SETTING Kirk Malanchuk

The large homes once had hopes and dreams. Now they sit vacant, deteriorating, boarded up. Backyards become junk heaps. The paint of something once beautiful begins to peel off. The beauty fades away, dreams are shattered, hope is forgotten. No respect for personal space, no reason to care. Whats left is a sense of emptiness, streets are dark, spaces are unsafe. But admidst the neglect we see signs of life, to someone this is a home. Somehow someone cares, someone tries...

126-127 JUST ANOTHER RUN-DOWN NEIGHBOURHOOD

WESTBROADWAY - AN INVESTIGATION Kristin Ross

And something beautiful is found.

SE C T I ON

Create a narritive through the slice using means of either installations, or landart inorder to express your concept LEARNING OBJECTIVES & OUTCOMES - Finally ﬁguring out what ‘learner centered’ is, since it has been on every brief and I have only acknowledged the concept while re-reading previous briefs while compiling this one, and I have yet to ﬁgure out what it is.- Compiling the knowledge of design, graphics, materials, etc. that I have learned in the last 3 years of my education and integrating it into my project - Understanding the elements of design including thinking, talking, seeing and doing. - Understanding of the value of self-evaluation and analysis for process and productivity - Understanding the relationship between semantics and perception of place - Continued engagement with the elements of studio culture:

Vivisection Meaghan Hunter

132-133 interaction, collaboration and peer support - Continued development of graphic and verbal communication techniques through group interaction - Enactment of the principles of site analysis, interpretation and proposition SUBMISSION REQUIREMENTS Compile a manuscript that reﬂects my design process and thoughts in regards to the analysis, interpretations, and interventions of the slice. This product will provide a visual as well as tactile experience. EVALUATION - Process – Depth and clarity of communication – description, analysis, self-critique - Product – Quality of the intervention and the effectiveness of visual/graphic representation - Presentation – effectiveness of verbal presentation

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RAIL MARKET

Andrew Harvey

Project site: 5th & North Railway St. Goals & objectives: -Design a public market space for the people (workers and residents) of Morden -Improve the vitality of the town core by responding to socio-economic needs (i.e.: issues of tax base & civic gathering spaces)

The wants & needs of Morden addressed: #1 Civic centre #2 Signage by industrial park (garden feature) #3 Acre (age) for commercial space (to help change tax base) Values addressed: Heritage; economics; green image

Precedents: CPR station Gardens and Splash Pad Park, Oakland

Context: Industrial site that functions as a public market, a â&#x20AC;&#x2DC;Showpieceâ&#x20AC;&#x2122; and model for Political, Economic, Social, Cultural, and Ecological exchange.

Project components: Mutli-programmed market place; Market stalls; Display platforms on rails; Orchard; Boardwalk; Gates; Greenhouse; Planters; Shelter; Railcars; Vegetation (existing and new plant materials); Structural materials (existing on site materials)

Esplanade Riel

Guy Prefontaine

WJ: What inspired the form? GP: In its truest sense, form follows function. We wanted the bridge to not only be a method of moving vehicles and people from one riverbank to the next, but to also be a link between communities. We were inspired by the unique archetype of an inhabited bridge. That is to say a bridge that moves goods and people in the traditional sense, but that also has another dominant vocation beyond simple viewing areas. The last examples of this lost archetype are the Ponto Vecchio in Italy, where Silver Merchants built their shops on the bridge in order to escape land-based taxation, or the Tower of London, where they used the tower to incarcerate criminals, or the Pagodas, where theatrical performances were held. As a result, this is the only inhabited bridge of modern times. The forms that inspired the bridge are many. The act of cables coming together is like clasping hands. The tent structure is as much a symbol of celebration (festival, carnival, outdoor plaza, etc) as it is a subtle homage to the York Boats that traveled the River. The canvas that is common to both is a strong unifying element. The element of cloth is further revisited in the inscribed granite band that I will address further. WJ: Were cultural connections were important to the design/placement? If so, which cultures, and why? GP: Cultural connections were the very raison d’être of the bridge. As hardbitten regionalists, we believe that structures and spaces must be relevant in their environment or be seen as trite stylistic decoration. When you look at all of the great public spaces, they carry with them the story of their site, the history of their culture and the legacy of the region: The Pont Provencher celebrates this same richness. About 4 years ago, under pressure to preserve the bridge, or portions of the bridge, the Public Advisory Committee (PAC) had tasked me with providing some ideas of how we could preserve the old and combine it with the new. I designed three options based upon historical research provided by the Historical Interpretation Committee (HIC). The nagging question that had always bothered me was how did we end up with a bridge with such an odd alignment. The story is what formed the basis of the design for the Esplanade Riel. Well before the turn of the century, Boulevard Provencher and Broadway Avenue (it was “Avenue” at that time), were one street connected by a cable pull ferry that crossed the Red River. The relationship between the City of Winnipeg and the City of Saint-Boniface had always been quite dynamic. There were accounts of Métis people being stoned as they tried to swim back from the Winnipeg to the St-Boniface side of the river and even one anecdote that recounts how Louis Riel cut the ferry rope behind him to pull himself to safety on the Saint-Boniface side. Eventually, relations grew stronger when the communities joined forces to

If you look closely, you will note that the Esplanade walkway is not aligned with the CN Station dome, but with the south sidewalk of Broadway. It both recreates and celebrates the former link with Winnipeg in a spirit of social growth and cultural sensitivity. It rebuilds the positive heritage that Winnipeg and Saint-Boniface once shared and celebrates the fact that we, the people of Winnipeg and our cultural diversity, are Winnipeg’s greatest industry. WJ: The stone etchings are symbolic, could you provide key words to allow people to understand them more thoroughly? GP: The stone etchings are extremely symbolic as they ink the story of the region to the expression of the bridge. It is a timescape, which begins at the dawn of man and celebrates the arrival of every distinct culture to the area. It was noted that all cultures could be recognized through an article of cloth, be it the wampum bag of the first nations, the petit-point of the Slavic cultures or the tartans of the Scott. A pattern of cloth was selected to represent each culture and they were strung using the Métis Ceinture flechée (Sash) as a unifying element. About the time that each culture appears, the cultural sash appears and intermingles with the rest. The image is set against larger icons of the first peoples, then those of the predominant settler groups to the area. In the centre, all join hands in a multi-cultural dance with celebrates the present and looks forward to each new day. At the centre, you find symbols of the British (Owl) and the French (Rooster), but in this context they celebrate the awakening (rooster) of cultural wisdom (owl). A point of trivial is that it may also be the longest continuously inscribed band of granite in the world. The granite is Canadian Peribonka. WJ: Much has been said of the cost of the bridge, was it worth it? GP: From the very first open houses, the citizens of Winnipeg warmly received the project. Nearing its completion, we had great concern that the political opportunism of the day would somehow put the value of the project in question, but, much to our delight, with the exception of a few newspaper articles, all public opinion has been very positive and people have really grasped the value of investing into the public medium. The comments are actually quite refreshing. We were thrilled to hear people come to the defence of the bridge when Steven Harper attacked it. It also helps to see it grace the covers of so many of Winnipeg’s new publications. It has in a sense become Winnipeg newest icon and a symbol of our City’s progressive outlook. WJ: Much has been said of the occupancy of the building by Salisbury, does this alter the user’s understanding of the space of Pont Provencher? GP: While the signage is not overly sensitive to the spire or to the plaza structure itself, the fact that it has created the level of pedestrian traffic that we had predicted it would and the fact that it does provide extended hours of service (and therefore security) is very satisfying. It creates a level of urbane activity that has helped create the public space and help get folks moving, strolling and interacting on their way between Saint-Boniface and the Forks....and that was the prime objective of the plaza.

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build the Provencher/Broadway Bridge on that same axis. Around the turn of the century, the communities fell into discord. There were internal wars between both the political and religious leaders of each community. So much so that one of the leaders of the day had expressed concern over “those people coming across the river to sullying my ﬂock”. It became so serious, that when CN Rail was looking for a location for their new station, they were invited to build it at the head of Broadway in the Grand European Tradition, forever severing the link with the Francophone community and forcing Saint-Boniface a suffer the indignation of having to come to Winnipeg through it’s industrial backdoor.

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A system of relationships: During the spring of 2005 the first year students of the Environmental Design Program had the opportunity to work in a design-build project that spread through the Russell Building. The project intended to synthesize all the learning from previous projects into a concise exercise on design-build. The unique challenge of this project was to join all 91 students, instructors and teaching assistants in a single design project [1]. For this context design-build meant a process of articulating design through the construction of a full scale structure, using suitable construction techniques and materials, and taking into consideration site conditions including history, materiality, light, inhabitation, body relations, and neighbouring conditions, and the immediate relations to one another. Emphasis was given to process, where conceptualization was substituted by negotiating, response and making. Drawing and modeling were used to help the design process more as a working tool than a final representation one. In this instance final drawings were produced after the design is built, inverting the traditional sequence of the design process, drawing to object. The chosen site included the north and south bridges of Russell Building, both foyers and the main lobby. A generic grid through the site was created and all the students were randomly given a location within the grid. Each section of the grid measured 120cm x 120cm x 30cm and was characterized as “a cell,” implying an interdependent particle of a body which is alive. Students were then asked to articulate a response to the conditions addressing issues such as: Enclosure (boundary, edge, threshold, structure); Human factors (interaction, proportion, human scale); Movement (entry, exit, passage, sequence); Perception (light, colour, depth, perspective); Context (vistas, neighbouring conditions, connections, materiality, site activities). Along with the above “program” each instructor provided a component to consolidate an extra layer of complexity to the project and to create a more individualized approach to their teaching. These references included poems, concepts, and images ranging from literature to pop culture.

a first year design project At the first stage students created 1:5 scale models of their projects which were placed at Centre Space for a process workshop. It was then the project revealed its true vocation. As the ideas became public, so became the new relationships among the students. Discussions were naturally initiated in groups of two, five, ten, twenty, etc. Due to the fact that one’s individual project would only succeed if taking into consideration their neighbours, and then neighbours of neighbours, dialogue exposed the strongest aspect of this project: learning happening through action and cooperation. The interdependence of all “cells” compelled the students to work together and at some instances they have abdicated their sense of authorship in favour of collaboration. The most successful sections (or groups of cells) were generated by this awareness of the potential for collaboration, the understanding that, in a design process, collaboration can push common individual efforts to new levels of resolution. Face-to-face interaction creates an automatic sense of accountability, with each student taking responsibility for their own actions, knowing that their actions will reverberate throughout the whole. The design process becomes a highly transformative practice as form is constantly changing. Form here is no longer defined by one individual idea, but instead by a system of relationships negotiated through collective choices. Eduardo Aquino [1] Participating instructors: Eduardo Aquino, Susan Close, David Lucas, Tom Monteyne, Neil Minuk, and Seiko Goto.

Mike VonTeissenhausen

Design Build

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Unless the eye catch fire The God will not be seen Unless the ear catch fire The God will not be heard Unless the tongue catch fire The God will not be named Unless the heart catch fire The God will not be loved Unless the mind catch fire The God will not be known - William Blake

144-145 Design Build Christiane Pham

146-147 It was hoped that all students would communicate and try to build something unique yet harmonious with all neighbouring ‘cells’. In reality, this was only done by small groups of people. Many others chose to not work with others or to consciously ignore what neighbouring ‘cells’ contained. As part of the project, each crit assigned a factor that was to inﬂuence that studio group’s design. Our group was asked us to consider an invisible phenomenon. I dealt with gravity and attempted to capture something appearing instable and in midcollapse. This was accomplished by the cantilevering slats that appear to be falling under the weight of the monolithic chunk of wood that forms the seat for the bench.

Design Build

- Kyle Bradshaw Cameron Bradshaw Cedric Boulet Andrew Workman

Carbon Copy Kristin Ross

148-149 Monopoly Realty Jac Comeau

nvironmental

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Ansam Abdulhardh David Thomas Geng Zhang Jiameng Zeng Steve Boulton

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requirement for a secondary material to the transparent panels that could act as a structure. Further, the design was guided by the concept of the human frame.

Maya Cochrane

Why do we paint, wallpaper, hang pictures or finish the walls that surround us? A wall will still have its purpose. It won’t fall down if it is not painted, wallpapered or finished. Why do we go out of our way to embellish our environment? Do we use our surroundings to either reveal or conceal who we are? Staring at the blank walls of my dorm room, I made an analogy between blank walls and the naked human body. We feel a need to enhance both with finishing’s, cover it up, expose, disguise, accentuate, minimize, protect, treat, or even dignify. We do this to our bodies and also our environment. What does our environment say about us? Our environment is a reflection of who we are; therefore, it is difficult to separate ourselves from it. These questions arose after learning about impromptu performance art and receiving a studio project to design a space for impromptu performance art. Impromptu performance art is spontaneous, unconventional, places the audience in the immediate time frame and uses the artists body for personal expression. How do you design a space in which impromptu performance art will occur? I focused on creating a dynamic interior space, an unconventional façade and a unique entrance. I took inspiration from the neighbouring building iron fire escapes in the surrounding site and took inspiration by making the buildings central stairwell out of iron and having people climb the ladder to get to a balcony viewing area. The act of entering and exploring this building is a performance unto itself.

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The truth about wallpaper

The steel frame structure has a glass and rusted steel façade. The front façade has shutters that can be opened and closed to allow light and projected media. You enter into a closed room full of light preparing you to leave any preconceived notions of art and performance at the door. On the first level, the walls are placed on a track system that designates a dynamic space. The first level has a balcony for viewing the performance and a small storage room and glass elevator. The second floor contains an office area and balcony for outside performances. The third floor is has a sliding partition that closes off the space for viewing videos or opens up for a larger space. There is a moving steel wall 2.5 meters from the south elevation in the parking lot designating an outdoor space for performance.

If a building can be considered art, can the acts of construction be considered art? Can painting, decorating, ﬁnishing and construction be viewed as acts of personal expression? This studio project inspired me to do performance art of my own. This project is the beginning of an exploration of the connection between humans and the environment that surrounds us. This piece is about taking all of the elements that we use to cover up the walls like paint, wallpaper, stucco, tape, glue, posters and begin layering them onto a naked human body (demo picture). By placing wallpaper onto the wall I am suggesting that we do not design for the integrity of the wall, but for our own variety of reasons. This project is about the effect of revealing ourselves through our environment or concealing ourselves within it. I had my models begin by decorating the walls with their clothing and then take the wallpaper and place it on their bodies. I initially began by looking at wallpaper and found that they did not have bright bold colours that would contrast with the skin of the models. I went to the fabric section and found fabric patterns that could represent wallpaper. I attempted to try two different methods to apply the wallpaper pattern to the skin. First, I printed the pattern onto a transparency and projected the image onto the body. I was able to project the pattern onto the skin and pick anonymous poses that suggest a submissive blending of the wall and the person. The second method involved comparing decorating the wall with your clothing and then decoration your body with the wallpaper. This method is more physical and catches the models in action. It also is a more noticeable contrast between the fabric and the skin making the wallpaper appear as more of a forced application. We place ourselves on display just as we hang pictures and posters on display. Art is the creation of the perfect composition, not the composition itself. Instead we look at a room and do not always realize how became created. Do we even notice our environment unless an element is missing?

Side Gaze/Blend In We are like blank walls ready to be covered. We cover up the past. We create layers of memory as we change. Covering up our walls is like covering up the most vulnerable part of our self.

Release/Exposed After placing the last few layers of clothing on the walls she lets her hair down with a surge of energy.

Caught in the Process As the wallpaper transfers onto her body she is caught applying the paper to the walls. How can we separate everything in to layers when it is so interconnected?

Angelic Glow/Blurred Identity Caught in a moment after pasting the wallpaper on her body she stands to contrast the wall. Can we ﬁnd comfort in blending into our surroundings?

Black and White Reflection What is left when caught between the layers we surround ourselves with? Do we influence our surroundings or do they influence us? Duality The twin piece begins like the others with the blank wall and the wallpaper wall. Each twin is performing a different action. While one twin is taking off the clothing and arranging it on the wall the other is taking material off of the wall and placing it on her body. The twin placing clothing on the wall is revealing her body, while decorating the wall. The other twin is placing the wall paper on the parts of her body that she wants to conceal or even embellish. They cover up these areas, while at the same time drawing attention to them. This piece asks us to question if we are revealing or concealing ourselves? What are you doing at this exact moment and can you be doing both at the same time? This piece happens at the same time contemplating that it is possible to live in duality.

3 2

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5 Seoul Trip, September 2005 Andrea Braun 1. Shanghai Bridge, China 2. BBQ. Seoul, Korea 3. Woman, Shanghai, China 4. Suzhou Canal, China 5. Tokyo Metro, Japan 6. Kids, Seoul Korea 7. Group. Beijing, China 8. Dior. Tokyo, Japan

6 7

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Exchange Studio Lisa Kasprick

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TEMPORALITY VS PERMANENCE

Kyle Morphy

A temporary intervention structure that communites aesthetic diversity and territorial information in the city of Toronto James Wines, Professor of Architecture Penn State University, President and Creative Director of SITE, New York. As presented on December 16, 2004 room 500, Faculty of Architecture, Landscape and Design. Toronto ON.

Stage 1: Ground Intervention.

Before the excavation for the building begins, a series of vertical posts would begin to appear at the site, beginning the process and marking the new construction site. As this perimeter begins to form and the excavation of the site begins, two cuts are also made into the ground plane to serve the temporary structure. A louvered or perforated steel screen would then envelope the site, and the incisions into the ground plane would allow the passerby to descend toward the bottom of the excavation. By manipulating the transparency of this screen views into the site would be allowed as one descended along this path. â&#x20AC;&#x153; The extension of the work to the outside becomes a point of contact between what is private and what is public. Making and showing, private and public, art or not art, sculpture or architecture: these contrasting qualities are introduced as the work extends outside.â&#x20AC;? T. Kawamata

Stage 2: Rising

As an opacity rises from the site with the formation of heavy masonry and poured concrete walls the temporary steel structure also rises, and begins to mask the view of the opera house, using a product by Aluma – the Sure Lock System Scaffold. This wall allows for the erection of the next stage, the hanging of an additional layer further increasing the opacity of the west façade as the concrete massing of the opera house rises high enough to begin to block views through and into the site. Running along the north face of the building along Queen Street sited next to sidewalk but sitting idle in the construction process is a series of steel columns. The temporary walkway structure uses these as the vertical members of a temporary roof system running above the sidewalk. “Material salvaged from a building is equal to the material from which the building is constructed. By using the salvage, (it makes) a different organization within an already existing organization. This organization mutates, transfers to other sites, and multiplies.” T. Kawamata

Stage 3: Matrix

On the east side of the site, a darker and more secluded space, a 3 meter screen is placed in front of the walkway and wraps the corner of the south side of the site. On this screen images of the opera house interior are projected and the movement of the shadows of the pedestrians at night behind the screen animate these spaces, bringing an increased notion of light and movement to an otherwise dark and uninviting space. On the south side screened steel tower structures are formed and provide programmable areas, and options for pedestrians to sit and capture privileged views into the construction site. As this side is more of a vehicular route these screen towers could again be used as projection screens to show glimpses of the completed building, or to promote upcoming events for the building after its opening. On the north side, a softer treatment using a fabric to connect the steel columns that still remain along the walkway is introduced, appearing to pass through the wall of deﬁning the walkway. The hanging of the Aluma Crane Set forming system while reducing the transparency of the West face of the structure, also completes a matrix of steel forms, establishing the framework for temporary installations by architects or artists. A sculptural interpretation, involving the use of old wood forms begins to curve through and behind the steel screen, to tell of the lifting of the curved wood formwork used to construct the interior of the opera house. “ The difference between sculpture and installation is time. While sculpture is conscious of permanence, the creation of an installation work is based on its eventual destruction. This temporariness is “real time”; installations are made in real time. I want to concentrate on temporariness, not permanence.” T. Kawamata

Stage 4: Interpretation

As the sculptural wood form densiﬁes and wraps the steel matrix, it pushes away from the steel structure acknowledging the characteristics of the ﬂying glass plane featured in the opera houses design, freed from the columned structure of the building’s interior lobby. As this form rises it also begins to dematerialize. Several sections of the steel forming system begin to disappear. As the steel structure breaks away a thin screen rises from the site, behind the remaining steel scaffolding. Supported by 4 Peri LGS roof trusses standing vertically this up-lit steel or fabric membrane blocks the view of the nearly completed opera house as the rest of the steel matrix disappears.

Stage 5: Night Screen

As the opera house building nears its completion a revealing of the building to the city takes place. In the evening, the lights, illuminating the remaining screen are turned off and simultaneously the interior and theatrical exterior lighting of the building are turned on, behind the now darkened screen. The Four Seasons Centre is therefore presented as a completed piece to the city of Toronto, with the anticipation of its opening heightened and the process of its design and construction experienced and under stood. It is not merely the ﬁnal product of architecture that should be appreciated and celebrated but also its processes, its effects and its inﬂuences on the urban environment

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The Significance of Performance in 21st Century Culture

NIGHTCLUB DESIGN Miranda McVeigh

This practicum examines the importance of identity and self-expression in the 21st century. Throughout an individual’s lifetime, performance of identity has become at times required or desired and it has therefore become increasingly important in contemporary culture to create and display identities. Whether one’s identity is considered to be a true reflection of the self or a constructed exterior façade, both have arisen from cultural demands and freedoms that are equally justified. While performance of identity is becoming significant to design for in our culture, so to is the appreciation for the various degrees of performance. This study illustrates how the bar and nightclub have historically been important spaces where one can go to escape and feel free to be oneself. I believe the nightclub continues to be culturally significant in the 21st century as an urban space in which patrons can perform their chosen identities without limitation. Theorists such as Judith Butler and Erving Goffman have greatly influenced this project in both the theoretical and design investigations. Butler’s notions of performativity and creation of gender provided the support for the need to perform one’s chosen identities. Essentially, Butler’s theory was the foundation of my argument stating identity is performed and therefore requires spaces for this performance. Similarly, Goffman’s dramaturgy theory raised interesting concepts of front and back regions in everyday human behaviour. The theatrical reference was directly applied to the final nightclub design that accommodated patrons’ public front and private back regions. After investigating the development of the nightclub and the three case studies that dealt with issues of performance, it is clear how much the built environment can reflect and affect cultural behaviour. Issues such as exhibitionism, voyeurism, gender identities, body image, fashion, privacy and surveillance were studied and became important vehicles that influenced the final nightclub design. This practicum illustrates how interior design can affect and accommodate varying degrees of performance in social venues namely the nightclub. Through careful space planning, architectural elements and use of materials, the nightclub designed for downtown Toronto, Ontario, accommodates patrons with a wide range of performance needs in a harmonious manner.

The design revolves around a front and back stage concept where patrons can enjoy both the social and intimate aspects of public spaces. The nightclub offers a variety of performance types ranging from exhibitionism and voyeurism to more solitary spaces of self-reflection. The design recognizes that patrons attend the nightclub for more reasons than to see and be seen. For instance, patrons that wish to dance or socialize in a more private setting are allowed to remain anonymous and are not subjected to the creation of another’s spectacle. The intention was to accommodate the largest range of patrons and make them feel more comfortable in contemporary urban spaces. The difficult search for literature regarding nightclub design is an indication that there is not enough documented research on nightclubs and their importance. It is my hopes that this initiates, inspires and encourages more theoretical research and inquiry into the social behaviour and design of nightclubs. I believe these venues will continue to raise important issues related to the current culture, reflecting morals, values, norms and beliefs. Additionally, the abundance of literature on privacy and its affect on interior spaces also indicates that privacy is becoming an important factor in design. As a result, further quantitative and qualitative investigation is needed to determine to what degree certain architectural elements and materials affect levels of performance and privacy in social spaces. This project has aimed to contribute to design research but to also establish a more accommodating – and thus comfortable – environment for diverse patrons as alternatives for those who currently feel uncomfortable with the design of existing nightclubs. In addition, this practicum hopes to aid in the success of future generations of nightclub owners and design practitioners.

Creating Design Awareness:

DESIGN IN CANADA environmental design interior environments -

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Allison Murray

Toques. Loonies. Twoonies. Beavers. Bison. Being Canadian means that you wear a toque on your head and you have a twoonie in your pocket to purchase your large double double. According to Princeton University’s online dictionary, Canadian can be defined as “a native or inhabitant of Canada”. Canadian is a broad term because Canada is a multicultural country, and also a very large country with different climates from coast to coast. Pinpointing a Canadian identity is not as easy as it seems. Because Canada supports multiculturalism, Canadians have strong ties to family heritage. There are many different definitions for Canadian. A Canadian can be someone: who was born in Canada, whose parents are Canadian, or has lived in the country for over three years (CIC: Canada, 2003). Three designers, Frank Gehry, Karim Rashid and Bruce Mau are all Canadian, but in different ways. Frank Gehry was born in Canada, and stayed here until he was eighteen. He was educated in the United States, and now lives and works there (Guggenheim, 2002). Karim Rashid claims Canadian identity, but also Egyptian. He was born in Egypt and immigrated to Canada with his family as a young boy (Design Boom, 2002). He was educated in Canada at Carleton University, and then pursued further studies in Italy. He now has been living and working in New York City for over ten years (Design Boom, 2002). Bruce Mau was born in Ontario, he studied at the Ontario College of Art and Design, and he continues to live and work in Canada (Mau, 2000). All three of these designers can be on Canada’s Top Ten Designer list even though they are Canadian in very different ways. Frank Gehry has seen the most success out of the three designers. It seems that Designers are getting more recognition in the States than they are in Canada. Why is this? Are American publications better than Canadian Design magazines? Does the States put more emphasis on design? Rashid’s talent is getting noticed because he is in a city that values design. Bruce Mau’s fame is quickly climbing because he has done design projects outside of Canada, where they are publicized more (Thompson, 2004). Industry Canada boasts that Canadian Design is “competitive with the world’s best” (Industry Canada, 2004), and if it is, then why aren’t these accomplishments made general public knowledge? If Canada is producing cutting edge design, then why isn’t it more aggressively promoted? Industry Canada states that “effective, innovative design is a critical factor for economic growth”, but what is happening to ensure that good designers stay in Canada? It seems that Canada is experiencing a ‘design-drain’. All of the great designers move to the States (or other countries) in order to find good work and good publicity. It seems that Canada does not value design as much as other countries. However, it seems that Industry Canada thinks that the Canadian design industry “has competitive advantages that are recognized around the globe. These include the ability to work in metric, especially for U.S. clients and specialized skills derived from the ‘Canadian identity’, with its many attributes such as multiculturalism and multilingualism. This is in addition to the widely recognized capabilities of Canadian firms in ecologically responsible design and in design for extreme climatic conditions.”(Industry Canada, 2004). For a country to aspire

to multiculturalism and multilingualism in the design field, certain aspects in the Canadian design community are not exactly multi-faceted. Something that was a bit disturbing about the Canadian Interiors, Best of Canada annual design competition, was that the majority of winners were from Toronto (Lasker, 2004). If Canada is a leader in Industrial and Interior design, then it is all happening in Toronto. What about the other thirteen major cities? Out of twenty four winning entries, seventeen were from Toronto, and only three were from outside Ontario. It seems that there are not as many design opportunities in the other provinces. Is it because Toronto is a larger, richer city? If Canada actually wants to portray itself as a design-forward country, something needs to be done to ensure that designers from all provinces and territories get exposure. This is can be related to what Canada achieved for Canadian musicians and actors with the Canadian Radio-television and Telecommunications Commission (CRTC). The CRTC has helped to ensure the development and presence of Canadian content in our broadcasting system (CRTC, 2004). This in turn gave Canadian artists more air-time, providing them the opportunity to achieve the recognition and fame that they deserved. This CRTC for the design community would be very similar to what the BARK design collective, based out of Vancouver, is attempting to do. BARK aims to remove barriers for Canadian designers who want their work shown internationally (Whitehead, 2004). It is also important for the collective to showcase work, not only by established designers, but also by up-and-coming designers (Whitehead, 2004). The exhibition, No Apologies Necessary: Design from Canada, was held in Tokyo in the fall of 2003. (Bark, 2004). The intentions of the exhibit was “to expand the world’s perception of Canada as a place where there are world-class designers conceiving progressive design solutions, an active role in the development of innovative materials, and where function meets aesthetic quality”(Bark, 2004). This CRTC for design could be called CDAP, the Canadian Design Awareness Program. CDAP would ensure that new developments in Canada would be designed by Canadians, with a certain percentage of projects granted to qualified local designers. Canadian retailers would have to stock a certain number of products by Canadian designers. This would create many more jobs for designers, manufactures and retailers. Designer exposure would increase as well. There would be more exhibitions across Canada and the world, more Canadian focused international publications, and designers would be profiled on national news. CDAP would be incentive for Canadian designers to stay in Canada. CDAP would also have an effect on the Canadian education system. If a program like CDAP were put in place, then it would be necessary for Canadian education institutions to have a certain percentage of the design curriculum focused on Canadian design. With this in place, design students would be more aware of what is available to them for resources and support networks. Students would have a better understanding of what “Canadian Design” is. Currently there is a enormous need to change Canada’s image in the design world. Canadian Design is not being portrayed to its full potential. Canada is a great country with an abundance of resources, and it should be producing, and housing some of the world’s top designers. The way to achieve this is to increase the amount of publicity for Canadian Designers, and to have incentives for living and working in Canada. Only when we start to present ourselves as a nation that is capable of great design, will Canadian Design get the recognition that it deserves.

Harry Emerson Fosdick (1878 - 1969)

Berlin Studio

left: sketch, Darcie Watson page 175: sketch, Darcie Watson pages 174-175: images courtesy of Kim Wiese

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Hold a picture of yourself long and steadily enough in your mindâ&#x20AC;&#x2122;s eye, and you will be drawn toward it.

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Aboriginal 21st Century Habitation: A Spiritual Rebirth Audrey Marcinco-Jerris Comprehensive Examination Advisor: Herb Enns

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W INTER CITIES + MOV EME NT

(EXCERPT)

Meagan Henke

One way cities may be viewed is as a layering of movement systems that orchestrate individual and group choreographies. The quality of a city depends, like the quality of a symphony, upon the harmonious and fluid interplay of these flows (Hanen 1988:15). Cities once developed slowly, in reaction to their surroundings. More recently, globalization and relatively inexpensive sources of energy have shaped our cities without significant regard for place, culture and climate. Technological developments since World War II like the automobile have increased availability and decreased expense of energy thus altering demand and consumption of resources and consequently altering city form. Dunin-Woyseth explains, Rich northern communities began to live in spite of the climate, not with the climate. Their building and planning patterns followed more southern ideals, inappropriate in a lengthy winter climate. …[T]he automobile increased mobility of the individual moving…from one to another island of climatic comfort created by the built environment (1990:355). The ability for people to move easily from location to location spurred on the process of suburbanization and consequently, a separation of land uses. Zepic explains the change in the city’s form: During the process of ‘suburbanization’ the design and function of the street changed drastically. The orientation and location of the streets, houses and open spaces was not responsive to the climatic conditions. Suburbia in Texas looked the same as suburbia in Calgary or Toronto. Forests, which once offered protection from the wind, were eliminated. Road design and location, in many instances, ignored recurring snow drifts or fog (1985:63). Although written in 1985, the results of suburbanization and our automobile dependant culture persist. In cold climates, there is little understanding of or concern for planning and design and its ability to increase the livability of the city through its form.

WHAT IS A WINTER CITY? Norman Pressman, the leader in winter city planning in Canada defines a harsh winter climate as one that embodies the following five basic elements: temperature - normally below freezing precipitation - usually in the form of snow restricted hours of sunshine/daylight prolonged periods of the first three factors seasonal variation (Pressman and Cizek 1986: 6) Although winter cities are distributed around the world, Canada specifically is typified as a winter country and embodies many urban areas that experience a cold, severe winter season. The Climate Severity Index for Canadians (1984) developed by Environment Canada remains the best baseline system devised to date. It uses a one hundred point scale to indicate weather severity in Canada on the basis of the following four factors: comfort of individuals (discomfort factor) psychological state safety (hazardousness) mobility of travel (outdoor immobility) (Pressman and Cizek 1986: 8) The Climate Severity Index allows for a relational perspective when referring to winter severity across the country. Victoria has the lowest CSI in the country, at a value of eight and St. John’s ranks highest at fifty-six. Winnipeg’s index value is fifty-one.

WINTER CITY PRINCIPLES Pressman (1995), the Canadian authority of winter cities cites two current approaches towards winter design and planning. The ﬁrst is to not provide overprotection from nature, which would encourage the opportunity to experience the winter city in its splendour, including the biting cold. The other approach is to completely protect from nature. This approach would provide underground walkways and above ground passages. This is a city that enables disassociation and ignorance of the winter season. He argues that a successful city is one which is positioned between the two, developing the positive elements of both. In order to accomplish this, winter cities need to reduce inconvenience, offer climate protection and optimize beneﬁcial exposure. The following provides focus to urban movement patterns and opportunities for linkages within the winter city.

PHYSICAL PRINCIPLES Improvements to the visual environment Ice as art, use of bold colours and lighting, urban furniture and civic embellishments Integration of recreation and leisure opportunities Utilizing parks and open space systems for winter amenities, carnivals and festivals Integration of multi-modal transportation including the exploration of alternative modes of transportation, reduction of the use of the private automobile and placing the pedestrian atop the transportation hierarchy Landscaping concepts to protect from wind, microclimatic studies, retractable roof and at, below and above grade protection Exterior microclimatic protection through the provision of protective urban devises, sunlight orientation and protection from the wind Appropriate bus shelters and street furniture Provision of outdoor social space and warm-up spots Innovative design and street layout for maximum solar gain

Improvements to road, sidewalk and trail planning, construction and maintenance including snow removal Improved de-icing and snow removal systems and planning Use of existing corridors and destinations Concentrated and mixed-use development Concentration of new urban development along major transit corridors and around suburban centres, integration of land use through inďŹ ll and multiple use facilities, improvement of the balance between residence and job location to provide the opportunity to minimize trip distance and optimize public transportation

SOCIAL PRINCIPLES Create and foster a winter culture Shift in attitudes and lifestyles

Generation of local and regional pride

Development of educational strategies

Projecting positive images of winter

Celebrate the cold

ECONOMIC PRINCIPLES Address funding concerns for winter speciﬁc initiatives Often need to support less economical models in order to improve the overall quality of the urban environment Supporting an improved economy through attractive and functional public amenities and spaces in winter

POLICY-BASED PRINCIPLES Winter management and development can be enhanced through legislation and design Land use policies to place emphasis on compact urban form, mixed use zoning, appropriate layout and orientation of buildings Re-evaluation of existing bylaw frameworks to protect pedestrian networks and to devise policies for existing urban systems Seasonal requirements to adjust transit routes and schedules Reorganization of development policies to reduce emphasis on automobile and promote walking and transit

Dunin-Woyseth, H. 1990. “Genius loci: planning and the winter dimension.” Town Planning Review v 61 n 3, pp 341-365. Hanen, Harold. 1988. “Winter and the Elderly” Winter Cities v 6 n 5, pp 14-16. Philips, D. W. and Crowe, R. B. 1984. Climate Severity Index for Canadians. Downsview: Environment Canada, Atmospheric Environment Service. Pressman, Norman. 1985. Reshaping Winter Cities: Concepts, Strategies and Trends. Livable Winter Cities Association. University of Waterloo Press. Pressman, Norman. 1995. Northern Cityscape: Linking Design to Climate. Yellowknife, NT: Winter Cities Association. Pressman, Norman and Cizek, P. 1986. The Reduction of Winter-Induced Discomfort in Canadian Urban Residential Areas: An Annotated Bibliography and Evaluation. Canada Mortgage and Housing Corporation. Pressman, Norman and Zepic, Xenia. 1986. Planning in Cold Climates: A Critical Overview of Canadian Settlement Patterns and Policies. Winter Communities Series 1, Institute of Urban Studies. Winnipeg, Manitoba.

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Steven Holl’s Loisium Visitors’ Center:

LIGHT AS AN EXPERIENTIAL PHENOMENON Adrian Benoit, Craig Dorward, David Gordon, Pamela Ritchot, Matt Roper, Kristin Ross

“The perceptual spiritual and metaphysical strength of architecture are driven by the quality of light and shadow shaped by solids and voids, by opacities, transparencies and translucencies. Natural light, with its ethereal variety of change, fundamentally orchestrates the intensities of architecture. What the eyes see and the sense feel in questions of architecture, are formed according to conditions of light and shadow.” –Steven Holl Throughout history, architects have utilized natural light in various ways to articulate spaces and built forms. Steven Holl’s work with the Loisium Visitors’ Centre in Langenlois exemplifies the sensory phenomena of architectural strategies used to master the passage of light and shadow through a space and over material surfaces. Concepts of sensory perception, experiential phenomena and the experiential continuum of light comprise the richness developed in the building’s materials, form, orientation, and detail. The center is located in a family vineyard in the small Austrian town of Langenlois. Completed by Steven Holl Architects in September 2003, the structure is a 13000 square foot cube shape with a notable 5 degree tilt. The intention for the building was to create a space to connect visitors to the true experience of the ancient practice of wine making, tasting, and culture through a cafeteria, gift shop, wine tasting facility, and conference rooms. The space is comprised of three floors; the basement, main floor and upper level, all situated around a central atrium space, and serving these varied programs. The building also provides an access point to the tourist attraction of the nine hundred year old wine vaults over which the town was built. With the construction of this building, Holl adopts a phenomenon of place achieved in his creation of a contemporary icon for the ancient town. At first glance, the bold and modern iconic building appears out of context, contrasting the softness of the baroque town. However, it is through appreciating the building’s true sensitivity to site that its contextual relevance is achieved. The form successfully relates to the site in an appropriate response to the surroundings and to the experience of subterranean circulation. The form of the building itself is derived from the passageways of the town’s ancient wine vaults, abstracted to produce the three-dimensional spatial language of the Loisium. Further abstraction is used as slit windows are carved out of the tilting facades according to this geometry in a unique metaphor for the ground plan of the subterranean cellar.

As a result, these windows provide unique qualities of light and experience inside the building. The subtly tilting building also offers a transition from ground level into the submerged wine cellars of the ancient town, emphasizing the importance of the subterranean experience. This surface shift also relates to the position of the sun and references the typical situation of vineyards on south facing slopes. The square plan of the building is orientated to line up with the strict geometry of the vineyard, further emphasizing the subtle sensitivity to site and the larger context. Holl’s approach to architecture is based largely on the concepts of sensory perception. Spatial sensory perception in a building is comprised of an experiential continuum of space, light, colour, geometry, detail and materials and the relationship between these components. His work exempliﬁes the idea that space is not just a container for activity, but rather a dynamic entity encompassing an entire sensory experience. He is concerned with how the person will react within the space, based on the experiences that arise and what affect these experiences will have on one’s perception. This perception engages the idea of active encounter, in which spaces become whole and complete only once one encounters them and experiences them through all their senses. Sensory perception contributes to Holl’s development of phenomological architecture, where the pleasure of the architectural experience arises from a distinct moment in time. The building experience is dynamic and spontaneous, making the space more rich and resulting in a new sensation each time one enters the space. This engages the immediacy of our sensory perception, highlighting the importance of the building at that exact moment in time. Holl is primarily concerned with the experiential qualities of light within a space and how this light relates to the other sensory components. His buildings explore how light in a space engages the visitor and heightens their senses. As in the way a shadow moves across a wall highlighting our peripheral sense thus evoking experiences and sensations that would otherwise have not been awakened. These changing light and shadows, develop the spontaneous and infrequent occurrences that create unique experiences throughout various times of day and seasons, adding to the temporal and dynamic vibrancy of a space. These experiential aspects go beyond how the building brings light in, to focus on how it frames the light, creating experiences and articulating the interior spaces, surfaces and materials. Such rich interactions of natural and built systems gives new signiﬁcance to the articulated light coming in, as well as giving the building new life, and in effect, creating an enriched experience for the visitor of the space. Thus, in his use of light, Holl avoids homogenous light that creates dull, lifeless spaces. Instead he employs animate light that creates dynamic spaces and contributes to the idea of living architecture and the phenomenological experience of spaces which reveal themselves and their rich nature to the visitor. Holl often uses watercolor in his conceptual renderings and light studies. This is a notable connection to the properties of light as the watercolor medium offers a radiance and purity of color that no other medium can match. The medium also has a spontaneity and ability to represent the luminous quality of light. Watercolour studies of the Loisium can produce sensitive works that help to fully understand the behavior of light in the space and the experiential qualities that are evoked. What is more, is the way the medium captures the various shadows and highlights of spatial volumes that make up the lively nature of Holl’s work.

The Loisium Visitors’ Center exemplifies Holl’s principles of light as an experiential phenomenon. His treatment of light is sensitive on both the exterior as well as the interior of the building. There is a dynamic play of light on the building’s exterior as the tilted panels of aluminum cladding make up the sloping exterior surfaces. This unique feature gives the Loisium a changing, temporal exterior appearance as the sun moves across the sky, allowing various panels to glisten with radiance while others remain in shadow. These integral surface reflections provide a sharp character that contrasts the soft baroque style of the surrounding landscape and town. The play of light on the exterior façade is mimicked by the glistening surface of the adjacent reflecting pool. This furthers the playful nature of reflection off of a new surface material, bringing the phenomenon down to the ground level and engaging the visitor on a more human scale. The strategies to incorporate light into the interior spaces are varied and uniquely successful. The open plan created by the load bearing exterior walls and high ceilings allows the potential of animate light to illuminate the interior. Here, light is used much like a gothic cathedral, where it is brought in high maximizing the luminance of the atrium space at all times of the day. Skylights bring large quantities of soft light deep into the interior spaces, further enhancing the light experience. This top lighting distributes sunlight over a greater area than side lighting, maximizing illumination in the atrium and adjacent spaces. The windows and skylights both feature deep-set sills, which soften the light that is brought in. The building’s thin slit windows help to bathe the main space with light while still concealing the nondescript surroundings of the exterior world from those engaged in the unique interior experience. This is congruent with Holl’s idea of partial views and spontaneous experience. While the windows allow the visitor only quick short views out to the surrounding town, they also allow for an interesting play of light in the space. Shadows and light articulate the spatial volumes and materials and liven their character. Much akin to the exterior of the building, the interior space plays with the movement of the sun throughout the day as changing light patterns create unique and fluctuating spatial phenomena. The space becomes alive and the building becomes a place for active encounter as these light patterns interact with shadows and surfaces to evoke an awareness of sensory perception that is unique with each visit. The exterior reflecting pool creates interesting opportunities of light underground. The pool lies above the entrance tunnel connecting the visitor’s centre to the wine cellars. The tunnel’s skylights allow light to enter through the reflecting pool bathing the tunnel in diffused light. Holl approaches materials in how they can enhance the experience of light. The phenomena which occur within a space, such as sunlight entering through a window, or the colour and reflectiveness of surface materials, all have integral relations in the realm of perception and the experience of the space. His choice of such contrasting materials in the Loisium creates varying qualities of light, all expressing dynamic experiential effects. The interior materials of cork walls and recycled green wine bottle glass for windows, makes reference to the building’s featured pastime. The warm feel of the cork contrasts the cool concrete, lending new properties to the light and shadows created on these differing, adjacent surfaces. Holl’s work emphasizes the interactions of these surfaces with the incoming light, as new spaces, textures and existential qualities are revealed to the visitor. The finishes of the cork and concrete soften the incoming light, reducing glare in the space while still allowing it to be bright and warm. The rhythm of warm and cool surfaces interacting with the interior light is contrasted by the monotonous use of aluminum

cladding on the exterior. While the interior materials of intricately detailed cork and cast-in-place concrete interacting with the natural light bring the experience down to the human scale, the exterior’s uninterrupted aluminum cladding set against the town’s quaint backdrop, offers a contrasting image of monumentality. Here, Holl demonstrates the use of varying angles to create dynamic surfaces that interact with the passing sunlight. This interaction creates varying reflectance and brightness of the aluminum to reveal its dynamic material qualities. Consequently, the monotony of the exterior material is minimized as the play of light creates a façade whose temporal nature changes through the day, engaging the perceptual senses of someone approaching the building. Holl demonstrates a detailed understanding of the interaction of color and light in its ability to enhance the architectural phenomena. He is interested in how color intensity changes and one’s experience of a building’s interior surface colors is based on the crispness of available light and its indeterminate nature. (58 seven) As the light moves across the cork walls, its articulation of the varying material colors engages the senses to the tactile nature of the material, making the experience multi-faceted and much more meaningful. In the Loisium, Holl engages color to animate the space in his reference to the winery as he covers select windows with green recycled wine bottle glass. The character of this green filter creates an interior atmosphere that further emphasizes the spatial phenomena of light that Holl intends as the color projects into the interior spaces. As the green shadows move across the walls and floor, they produce a blurred, dream-like dance that heightens our senses. These windows are reminiscent of the stained glass used in gothic cathedrals to create theatrical spaces that add character and life through natural light. The Loisium in Langenlois has become not only an icon for the small Austrian town, but an effective example of how Holl applies his concepts of light in architecture to produce an experiential space. His mastery of light and shadow within the enclosure of the Loisium stimulates the visitor’s senses, engaging them in an active encounter with the lively space. Holl’s sensitivity towards detail in everything from orientation and window placement, to choice of material and colour, results in an entire experience of space made more significant and pleasurable by the natural light. His understanding of light and perception has allowed him to create a dynamic building that offers unique and spontaneous phenomena of experience with each new encounter, celebrating the temporal qualities of light and the building in space and time. Futagawa, Yukio. “Steven Holl: Loisium Visitors’ Center, Langenlois, Austria.” GA Document no.76 (2003): 66-81. Holl, Steven, Juhani Pallasmaa, and Alberto Perez-Gomez. “Questions of Perception: Phenomenology of Architecture.” Architecture and Urbanism, July (1994): 40-78. Holl, Steven. Steven Holl. Edited by Michel Jacques and Anette Neve. Second Edition. London: Artemis, 1994. Holl, Steven. Parallax. New York: Princeton Architectural Press, 2000. Holl, Steven. Intertwining. New York: Princeton Architectural Press, 1996. Holl, Steven. Edge of a City. New York: Princeton Architecture Press, 1991, 7. Lefaivre, Liane. “Steven Holl Counters Sprawl and Pastiche with his Loisium, a Tilting, Aluminum-clad Visitors’ Center That Holds Its Own in Austrian Wine Country.” Architectural Record 192, no.7 (2004): 114-119. Nicolin, Pierluigi, and Dietmar Steiner. “The House of Wine.” Domus no. 867 (2004): 24-41. Sonzogni, Valentina. “Below/In/Over the Ground.” Architecture D’aujourd’hui no. 351 (2004): 16-18.

(competition, Akureyri, Iceland. Summer 04) Colin Herperger Employer: Teikn a lofti During the summer of ’04, I worked with Teikn a lofti along with architect Birgir Johansson on the competition entry for a 500 seat concert hall and culture house located on the harbourfront of Iceland’s second biggest city, Akureyri. The project is a 3,500 square meter building with a 500 seat concert hall as well as 200 square meter multi function hall which is ﬂexable in nature. Akureyri is located on the northern tip of iceland in its mountainous region, and the natural surroundings of the site and city provided a rich environment for the project. The concept of the design was based upon the ocean winds rushing through the fjords. Job duties: maker

principal designer, graphic artist and 3D model

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Menningarhús á Akureyri

library reclaimed: an annexed relay Michael Banman 188-189

Zach Pauls Johan Voordouw

Ideas Competition to Each fragment of knowledge, every idea is an Design an Ideal 21st independent starting point for the autonomous Library for Cork The Royal Institute of the Architects of Ireland (RIAI) is administering a competition which is part of the Cork European Capital of Culture 2005 Programme on behalf of Cork City Council, City Hall, Cork, Ireland

Website: www.corkcity.ie The invitation will issue to architects and students in architectural schools across Europe who are not more than 35 years of age at the closing date for entries. This will be an opportunity for the architects of the future to suggest what a library might be. The ambition of this competition is to create an architectural reference for a library housing the kinds of materials, activities and potential which the 21st century demands. Registration opens Thursday 20 January 2005.

germination or re-collection of thoughts, dialogue’s, and experiences. Often transcribed, these fractured streams of epistemology are continuously re-interpreted, combined, and spliced becoming the catalysts used to navigate to a more lucid understanding of our world. Yesterday, today, and tomorrow the library will be a quasi-autonomous institution charged with the mandate and social responsibility to protect, archive, collect, generate, and disseminate these dialectic streams of knowledge. Today and tomorrow however, their physical location in space has diminished their capacity and potential to affect society and fulfil its mandate, as people are continuously plugging in and out of urban contexts, more displaced, transient, and pseudooccupied than ever before. This current state of operations that defines our new age renders the traditional library impotent, a static institution. This traditional institution is ill equipped to readily adapt to emerging practices, movement patterns, and lifestyles. Further, the traditional library is paralyzed in its ability to respond, present, and interface between the fluid realm of the virtual and the gritty realm of the physical, to provide a system or framework for analysis and critique that would further its mandate. A mandate that is imperative of the catalytic generation of new perspectives, narratives, and syntaxes.

While the importance of the library as a locator and protector of knowledge remains as important now, if not more, than ever before, we propose to break down the ineffective static nature and typology of the library. We propose that if libraries were inserted into places of non-location, annexed appendages to the existing transportation network of cities, provinces, and countries that they would drastically increase their frequency of interaction, amplifying their accessibility to higher numbers of people, and their capacity to provide and source critical knowledge. Our working definition of place as non-location is one of transition where people do not come to stay, but to pass through, transitioning from one scene to the next. This space is one that is in constant flux, defined by the freedom of movement that occurs due to the service it provides and is intrinsic to its usefulness and location in our current epoch. This movement occurs simultaneously across an entire interconnected infrastructure of transport, it is a non-location because nothing remains located their for any significant amount of time, but remains in perpetual transition.

The importance of this relocation and dispersment of the library into places of transition is the ultimate means to an end that would ensure the effectual mandate of the public library. A library that once woven into the existing urban fabric and ﬁeld conditions that each of us operate within everyday will be better situated to grow knowledge, understanding, and interconnection. Each day we send and receive data, forming thoughts and perceptions that we use to interface with and navigate our world. As we move, or act, our reception and translation of data, stimuli, and information evolves with us, constantly shifting, fragmented, and recombined, consequently the placement of the new public library accentuates and parallels this process.

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Inset in the infrastructure of our everyday modes of operation the public library of the next age will not be a place of speciﬁc hierarchies, but will engage the public it is intended to serve reconnecting with the migration patterns of locals and internationals alike. From this position the new public library will facilitate the generation and sustenance of numerous conversations between an array of demographics, economic backgrounds, social milieu’s, and diverging politics as people move and transition from one location to another, both locally and abroad. These newly displaced annexed relay’s would not be full service facilities, but would offer next day delivery of texts not in stock, access to workstations and the internet, video, music, newspaper, stock market, and software downloads, copiers and faxes, paperback magazines and newspapers, in addition to an assortment of hard cover reference materials, literature, periodicals, and purchase orders. The public library of the new age seen as annexed relays will create opportunities and provide a framework for the reading and interpretation of ideas and thoughts, their reﬂection and conversations that inform and originate new modes of reference, scenarios, and practices. [special thanks] Marnie Williams

human rights museum

Design Team: Alec Katz (SKA), Gary Andrishak (IBI), Les Stechesen (SKA), Jeremy Sturgess (SA), Chito Pabustan (SA), Damian Surasky (SKA), Anne Cholakis (SKA), Todd White (SKA), Catherine Scanlan (SKA), Jeff Chou (IBI), Sam Lanterman (IBI), Warren Rempel (IBI), Evan Spence (SA) Symbolism: Two Lines – Parallel steel rails that brought the railway to Winnipeg and beyond – uniting Canada from coast-to-coast; two human traits, one good (lightness), one evil (darkness). Double Helix – The shape that two linear strands of DNA assume when bonded together, the spatial experience of our CMHR proposal. Concept: Two major, distinct ideas – first, consideration of the site as sacred ground, second, the re-use of the historic CN Station for a portion of the CMHR programme space. Site Relationship: Construction is restricted to the site’s south edge, encouraging direct tie-in to the new Riel Esplanade Bridge. Site excavation is restricted to previously disturbed ground adjacent the river. The site’s center is an outdoor circular sundial plaza. Reflecting its traditional use as a meeting place. A new Festival Stage on the south façade ties the facility into the Forks development. The northern-most portion of the site is a forest of trees, or optional youth hostel “tree houses”. The design celebrates winter! Architecture: The new structure – ‘The Rising Tower of Hope’ – touches the river’s edge to the site’s east, climbing westward at a continuous 1:12 slope, culminating atop the CN station with the ‘Beacon of Hope’. Galleries to the east of the central Great Hall / Entrance Plaza are fortress-like, galleries to the west rise out of the ground and feature a lighter, more inspirational character. Spatial Organization: The major spines of the facility are the double helix corridor system – and further connote lightness or fame on the up-slope and darkness or shame on the down-slope. All major galleries are contained within the expanded center of each helix. An added bonus to the Great Hall is the CN Station Atrium. Technical Feasibility: Despite its dynamic form and special outlay, the CMHR consists of building materials and techniques that are easily detailed and quantified. Emphasis is on sustainable, green building methods. Budget: the proposed re-use of the CN Station for a substantial portion of the functional programme diverts sufficient remaining monies for new building construction. Clarity: The message is clear. A bold, easy-to-navigate new CMHR facility, one that will serve as a bridge between human suffering and hope define Canada’s commitment to human rights

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Professional Ofﬁce - 240 Kennedy St. Nejmark Architect

The design concept for this building focused on providing an identifiable contemporary design within an urban context. The urban context includes adjacent buildings ranging from turn of the century to late seventies construction that presented us a mosaic of materials to draw from. These prevalent materials included masonry, Manitoba quarried tyndalstone, black granite cladding and curtainwall construction. The building’s street facade is a composition of planes built out of the contextual materials. These planes relate to the existing public space by transitioning between a tyndalstone building at the property edge to an older masonry apartment building set back from the pedestrian sidewalk, thereby preserving the pedestrian space. The materials were selected for each of the building planes to differentiate their use and identities. Concrete block end walls were used as fire rated bearing elements and extended towards the sky and street to frame the building design. Concrete block was also used as a tall, powerful portal to denote the main entrance. Curtainwall was utilized as an expansive plane on the street edge to create visual dialogue with the active street edge and allow maximum natural light into the dark east exposure. Polished black granite was used as a durable building base to relate to Winnipeg’s prevalent modern Architecture in the downtown area. Rough cut tyndalstone forms a dominant horizontal panel that contrasts the vertical masonry entry and the light curtainwall glazing plane behind. The tyndalstone panel appears to float horizontally and vertically from the building through a cantilevered steel structure behind. The edges of this floating stone panel never touch the building to emphasize this floating element, which is both a “marker” for the building and provides semi-private enclosures for offices within the third floor.

Owner: Pullan Kammerloch Frohlinger Barristers & Solicitors Design Build Contractor: E.K. Construction 2000 Ltd. Architect of Record: Josef Nejmark Principal in Charge of Design: Tat - Liang Cheam Architect Team: Colin Neufeld, John Melo, Don Reimer, Lisa Kasprick Structural Engineer: Crosier Kilgour & Partners Ltd. Mechanical Engineer: A.D. Williams Engineering Inc. Electrical Engineer: A.D. Williams Engineering Inc.

Michael Banman, Lisa Kasprick, Marshall Kirton, Melissa McAlister, and Dan Petrak Screen Casting was a three phase process that began with what became an inspirational tour of Monarch Industries through a coupling of the encouragement of Herb Enns and Peter Hasdell, and a book chronicling the remarkable work of sculptor Erwin Hauer. To date, we have toured Monarch Industry’s tooling and pattern shops, as well as its foundry, providing us with invaluable insights into iron alloy casting. Our design intent, spurred by Erwin Hauer’s extraordinary cast-concrete screens, was to cast a standard modular component that when multiplied and connected would form a liquid screen-wall. After our initial foundational research into iron alloy casting and early plasticine investigations, we worked out a set of design criteria for both the individual cast components and their assemblage into a screen. In response, five designs where formulated, evaluated, and one was selected for redesign and developed through 2- and 3-dimentional drawings, and a laser cut rapid prototype. In phase 3, version 06 was taken to Monarch Industries for our first consultation and critique. The results of this conference were then reformulated and synthesized with further self-critique in conjunction with our inaugural foray into designing the connections for the assembly of the cast modules, version 07. What images that follow are a record of this process and design to date. It is our belief that manufacturing iron alloy casts offers a number of engaging benefits, which intrigued us to exploit this ancient alchemy. The benefits of prefabricated components are well documented (as shown with the work of Rae and Charles Eames) and ubiquitously subjugated in cycles of supply and demand; however, casting is the exemplifier of this, producing multiples with increased efficiency and economy.

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Screen Casting

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W.S. Boulton

Early Mapping:

To ‘stitch’ seemingly disparate patches of existing urban fabric in downtown Winnipeg together by linking interstitial void space along the proposed path with a coded set of variable interventions (perceptual, experiential, physical). Our intent is to expose potential or underutilized zones/areas of the exchange district, while re-engaging the public’s perception of downtown and the possibilities that exist within it.

Pause Definition: To cease or suspend an action temporarily; to linger; to hesitate. Synonyms: delay, freeze, gap, interlude, recess Penetration Definition: The capacity or action of understanding; having insight. The ability to make way into or through something. Synonyms: breach, chasm, crack, fissure, fracture, neglect, opening, passage, rift, schism, slot, withdrawal, repress, bottleneck Void Definition: Containing no matter; Ineffective or useless. An empty space or a vacuum. An open space or a break in continuity; a gap. A feeling or state of emptiness, loneliness, or loss. Synonyms: abandoned, clear, short, vacuous Unfrastructure Definition: (1) The ‘weak’ construct of space for the use of multiple functions possibly operating simultaneously. [WSB] (2) The inverse of ‘infra’ – mutually reinforcing and totalizing…no longer pretend(ing) to create functioning wholes but now spin off functional entities. [Koolhaas]

The Color Orange: Is used as a consistent reminder of the blue of the Winnipeg sky, possibly a reinterpretation of the necessity of pure color for the psyche of the population.

Overall: The project developed a series of programmed structures that interact directly with the intended path. The vertical circulation and building entrances play a signiďŹ cant role in deďŹ ning the path. Glazing and exposed corridors enable users to be guided along, weaving their way from beginning to end. Connected below grade to the existing +15 at Portage and Main Street, the pathway occupies vacant or abandoned lots that currently are used as surface parking. The early mapping of the context allowed for the designation of programs to be placed adjacent to, below and above the path. Pedestrians are the main target user, however the need for parking and further green space in the urban center was addressed through park spaces and vertical car-parks.

interior design, photo-journalism and social activism

The number of forced migrants worldwide, including refugees, asylum seekers, and internally displaced people was 34.8 million as of the end of 2002. Anonymous and helpless, those who comprise these statistics are not only discarded from their homelands, but they are often shunned and disregarded as someone elseâ&#x20AC;&#x2122;s problem by those with the capacity to help. The students of the Masters of Interior Design One program were asked to design an exhibition that would shed light on the global refugee crisis in collaboration with Turkish photojournalist Bikem Ekberzade, and Winnipeg Refugee Education Network (WREN). The exhibition explored issues of exile through space, light, colour, transparency, scale, materials, and the human body. The intention was not only to promote refugee awareness, but to celebrate the success of refugees and the role that Canadians take in refugee assistance.

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The Refugee Project: Exhibiting Exile

Refuee Project Monique Gougeon

The term ‘government’ may imply many things. For some, it implies power, strength and intimidation, and for others; a powerful connection that leads to an easy way out. Not everyone can apply for refugee status, and if one is given such an opportunity, the experience varies with each new claimant. The deciding factors lie with government officials through numerous forms, interviews and assessments. Therefore, one must attempt to convince officials why they are to be selected to enter a country of rights and freedom. Many times, it becomes a lengthy, confusing process to do so, unless of course, one has the right connections. The project focuses on the governmental process a refugee must experience, either: a strong powerful and confusing process filled with intimidation and trepidation or a straight forward and easily accomplished process. The underlying factor is ones history, background and connections.

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“Wherever there is a refugee crisis, more than 50 per cent of those refugees will be women” (United Nations, 2002. Often women refugees suffer from rape in refugee camps or in warfare. This and the loss of home, culture and local language renders them vulnerable. These horrible situations cause many women to question their safety, and ultimately feel that isolation is their only hope for protection. This piece invites the viewer to experience the stories of two refugee women in Istanbul in an intimate environment. This environment is indicative of a womb or cocoon expressing a place for refuge. The user’s attention is drawn to a screen, a momentary safe space, while it leaves the user on display. It is a temporary state of refuge, a sanctuary.

sanctuary

lindsay nesbitt

lag 2

Urban Habitation Geng Zhang

208-209

The city seems complex. In fact it is brings about breathless.

inerratic, and

Under such situation, people always obey their own routines. Outwardly they are crowded,

inwardly are lonely…

We missed too many chances and possibilities; the real life is passing. Using the same chessman and chessboard, maybe, we can change the rule of the game… This project tries to reorganize several conventional city elements to create a new architectural rule. An “island” in the city, at here, maybe we can encounter our real life. The site is a triangular area at the intersection point of the Exchange district and new Winnipeg downtown. There is lots of latent cultural value around it, but at same time it is a passing by area, and is relatively isolated. This project is trying to create an “island”, perceptually isolated but functionally links the surrounding context. Through a series of architectural languages, the project will combine three main elements: trafﬁc, landscape and architecture. And three main functions: live, work, and play will be included in the project. The new programs will come from the surrounding context and beneﬁt them. The project tries to give the user the feeling of an “island”, such as independency, difference, depth and disconnection; tries to create a natural atmosphere and give the most choices of the life mode, simultaneously, the most possibilities to let people meet others.

212-213

*Construction Kit System* Single elements group together Romy Krautheim

United Way, a non-profit-organisation in Canada, with a branch in Winnipeg, raises funds and refers the colected money to local people who need it. Our task: United Way needs a new office. Their budget is $600.00 CND 1. PHASE: 3. PHASE: Brainstorming with the Final Design and client (9 United Way exhibition of our members) work, with discussion afterwards They want: Nature, daylight, a Furniture leasing settles Community feeling two requests: They have: hardly daylight, seperated small offices, no money

Nature is ... Colour, Light, Movement, Optimism Environmentally friendly and ergonomical furniture from Steelcase and Teknion. The pure daylight cube can be garnished with specific local nature photos of Winnipeg. The coulor spectrum of the fluorescent lamp (colored) resembles the spektrum of daylight (white). Fitness elements contribute to your personal fitness. Here, the paperbin element

2. PHASE: Preliminary Design and exhibition of our work, with discussion afterwards. critic: “my idea is to expensive,”

High quality equipment environmentally friendly, and cheap. 4. & 5. PHASE: Cost estimating Review

and

The budget $600.00 CND. My cost estimating for ﬁve years of leasing $400.00 with acquisition for $1 afterwards

> Access to daylight You sit face to face and Back to Back > Private sphere All the ofﬁces are connected to the hallway through rifﬂed glass panels and * your own elements* > Community private sphere

but

096-097

The new ofﬁce environment: All the permanent workspaces are on the window side

Choose your elements and create your own workspace:

Leasing from local branches of ofﬁce furniture Companies Steelcase and Teknion for ca. 3% of the original price/mth:

*Create your own workspace*

Costumary Design combined with the Leasing of Furniture:

Urban Soft Vessel Bin Chen

214-215

Urban Soft Vessel (Studio 6) is a project which intend to explore the possibility of new urban habitation with the new development of urban sprawl. I believe that people will need “second home” which can be understood as lag time and space in the future. Lag time and space is an abstract word that has various notions in different cases. I think it will be more interesting if we treat lag time and space as mental thing rather than physical thing. The ways I used in my project are to create lag and erase lag. “Soft vessel” is a word originally come from sociology domain which describes how people can adapt the social changing, urban soft vessel is a speculation on new forms of urban habitation.

LAG TIME/SPACE

The distance between two points strai

220-221

â&#x20AC;&#x2DC;/A New Facility for Collaborative Research, Production, Exhibition and Performance in Music, Art, and Design/â&#x20AC;&#x2122;

video work and images: Ken Borton, Herb Enns, Sean Radford

Hundert JĂ¤hriger Platz - competition winners City of Winkler, Manitoba Canada

Michael Banman Kelly Doran Andrew Harvey Katie Hylnski Zach Pauls

222-223

A new site plan for the park allows for a more integrated park with the ability to serve recreational, festival and contemplative functions. The stage serves as a pavilion to accommodate multiple programs. The southeast corner becomes the main entry from downtown with a hundred meter smooth-cut Tyndle stone retaining wall marking the axis. Engraved in the wall is a timeline, which recounts 100 years of Winkler’s history. The path continues through the stage concluding in a monumental slender 100’ bell tower. The path continues past the existing baseball diamonds and soccer ﬁeld, in a trajectory that across 15th street, suggesting a future expansion of the park in the adjacent agricultural ﬁelds. Hundert Jahringer Platz is a place to wander, to meet, to think, to play, and to celebrate; it is a place of events.

Micheal Williamson & Kelly Wojnarski

226-227

Winkler Competition - 2nd Place

228-229

Greatness is more than potential. It is the execution of that potential. Beyond the raw talent. You need the appropriate training. You need the discipline. You need the inspiration. You need the drive. (Eric A. Burns, Gossamer Commons, 08-12-05)

FACIAL EXPRESSION Steph Neimiec

SPIRITUAL SPACE Crystal Wall

The goal of this project was to create a spiritual space for all religions and nonreligions: basically everybody. By ridding symbolic images from different religions or even from church and cathedral precedents, a visitor may now be able to enjoy the ethereal and overwhelmingly massive space without being consumed by other underlining advertisements. The site was a parking lot situated in the city centre of Winnipeg, Manitoba, where a major bus line runs through. The hustle and bustle of the site can create too mush visual and audio noise for people to experience spiritual growth. Thus concentration was spent on an internal experience both within the building as well as the effect it may have on an individual. Externally, the form does not relate directly to the visual shapes of the site but takes into consideration materiality and orthogonal lines. There are no curvilinear lines in the exterior, which helps the building fit into the landscape. The interior of the building and the exterior of the building are also visually different but are connected by its differences. Both act as balconies, allowing the visitor to enjoy ìthe skyî. If oneís view from the balcony were another balcony, what kind of appreciation would one have for it, versus something different like the sky? If the exterior were the same as its surroundings, and the interior the same as the exterior, the importance of the building would be lost and may also become more ìeuro centricî than universal. Should the building fit into its immediate surrounding? Or is it all right for it to be placed in India, Asia, Minneapolis, New York, or Nunivut? Since the purpose for this building is to be used by everybody, why should it not be able to fit in elsewhere? This is an ongoing debate since the fall of Modernism and site should be considered for every project, but to what extent? And are there exceptions for every rule? This project took the client into consideration and created the essence of spiritual experienced focused from the interior.

230-231

232-233

SPIRITUAL SPACE Sonya Kohut

The brief posed the problem of creating a spiritual space that satisﬁed community needs. The project responded to the challenge of its urban location by sinking the building envelope underground. The massive forms of three towers rising from the subterranean foundations dominate the site. The largest tower is ﬁlled with meditation spaces; the second largest forms a circulation core, terminating in a single meditation room several stories tall; the smallest is a sculptural “looped” wall. A public at the lowest level area contains a skating rink in the winter is accessible by a series of stairs. The central public gathering space hovers above the skating rink, partially visible from the street. Library and kitchen areas are located underground, adjacent to the central area.

The partial, rather than the whole, is transcendent. It is the movement, reﬂection and shadow of an animate/ inanimate object. ‘White noise’ must be ﬁltered in order to appreciate transcendent space.

SPIRITUAL SPACE Joshua Rudd

SPIRITUAL SPACE PUBLIC SPACE/TRANSCENDENT SPACE Ryan Forster

234-235 Located in downtown Winnipeg, the building functions as a community oriented space created for signiﬁcant ‘life passages’. The building aims to create a sanctuary from the hectic stresses associated with modern living in an urban centre. It accomplishes this by creating a series of spaces that try to free peoples’ mind, thus allowing them to focus on the different events of human passage without the distractions of everyday life. The whole building is a journey of transcendent spaces that place architectural emphasis on natural and artiﬁcial lighting, acoustical silence, material quality and controlled views to the outside.

236-237 [name] becky hui

[project] bill eakin house: living ﬁction [intent] the space is a representation of the tension between the contrasting elements of order and chaos; light and shadow. the simple structure provides a palette on which the client provides the chaos in his use/abuse of the space. “there is an edge to all my work and that’s the place where i want to be. i think of it as a place of vital health only a step away from darkness or despair. the trick is not to fall all the way and to maintain the tension” [bill eakin]

FRONTIER SPACES Przemek Pyszczek

In Frontier Spaces, students were asked to choose a site within the Exchange District and design an intervention for a predetermined client. Clients included Food Not Bombs, Take Back The Night, and others. I chose to design my intervention on McDermot Avenue for three art students who required a performance art venue. Given that performance art is often spontaneous and can occur anywhere, I did not believe that a static venue was required. As a result, I conceptualized a performance art piece that then brought about the venue that was temporarily required.

The Exchange District is currently undergoing unprecedented growth. The increase in residential and commercial development is constantly seen as positive to Winnipeg and its citizens, but conversely, it must be questioned whether all aspects of this growth are positive. In numerous cities around the world housing crises have left people building parasitic housing which unlawfully adjoins onto other buildings. Although it may seem unlikely that this would ever happen in Winnipeg, the â&#x20AC;&#x2DC;what ifâ&#x20AC;&#x2122; must be brought up. We may never see shanty housing in Winnipeg, but what does happen when people are priced out of their neighbourhoods? Thus, the peformance art piece that the students would stage would lead the public to question whether inner-city development is always positive. The students would suspend three woodframe and plexiglass cubes just metres above the street. They would then spend the next thirty days living above the street in order to shed light on an issue that is affecting cities around the globe. This guerilla action would then invoke dialogue about development in city centres. The people these students are representing have a home, but no actual property rights, are they less worthy than others? Does commerce triumph over the right to have a place to live? What kind of development is right, what kind is wrong?

238-239

PROCESS

SCHOOL GROUND AS GAME BOARD Kristina Nordstrom From the brief.. “The school is one of the most cherished environments in a child’s life. It is critical to their development both educationally as well as socially. Schools are central to our communities. They are usually sited on large tracts of land, yet a quick tour past any number of Winnipeg schools would highlight the contrast between the building as an isolated interior world and the wasteland that is the school ground. This contrast is even more shocking when one considers the emphasis on child-centered learning, environmental literacy and community values within the curriculum. The school ground is the largest and potentially most dynamic classroom available to teachers. Tragically it has seldom been designed to accommodate children either from a curriculum or a social point of view” - Ted McLachlan

Concept: Path as game board; playing and learning as one. Themes: Fall, winter, spring and summer Our tour with Principal Campbell, our discussion with the teachers and staff, and the drawings and comments from the students left me with numerous ideas of St. Avila School’s concerns, needs, wishes and desires. But how was I supposed to bring them together? What was the common link? Obviously the playgrounds are for play but more so they should reflect play as a learning tool. Principal Campbell mentioned that the barren asphalt west of the school parking lot would be an ideal location for a game board. What a great idea for the entire school ground. The game board is designed but not defined. The path is provided but it is up to the students to create the game. They could do it during one class. They could do it in one day. Or it could be an annual event. Or it could be done over and over until the perfect solution is found. It could be a “Field Day” where the senior students design each station and teams of mixed grades visit to accomplish a task: find a plant species, score on the basketball court, locate a compass direction. At the end of the day, the points are added up and the winning team is awarded...but everyone gets a popsicle. The music garden is a mystical whimsical place for you to quietly eat your lunch and listen to the wind chimes designed by students or, better yet, to listen to the wonderful sounds seeping from the music room’s windows.

Outdoor musical instruments are hidden in this garden to be discovered and played.

240-241 HOW DO I DESIGN AN OUTDOOR XYLOPHONE?

242-243 Sandbox Tom Alston

244-245 David Penner, Alumni 1979 B.E.S.1985 M Arch

The plight of the Prairies was explored in a story by Stephen Smith which featured “a hockey player who chews on a puck to quiet pre-game nerves, while reflecting on the suicide ritual an old player in the West performs when his time is over. He skates out onto the ice of the big bay until he can skate no more, to wait for that final thaw.” The story smells of economic obligation and cultural obsoleteness as the player contemplates the final skate. The frontier, as Smith alluded to, may end as “an aging man in hockey pads sliding through the ice into oblivion.” (Gerald Friesen, quoting Stephen Smith, Why the Prairies Don’t Exist?. Pg. 25)

PRAIRIE TIDE Matthew Horch Advisor: Herb Enns

prairie as destination This project explores the changing perceptions within the Canadian prairie region and endeavors to challenge both ideological assumption and landscape representation on the prairies. This will be accomplished using such techniques as development density, varying land use, building typology, and untraditional aesthetics.

“Colonialism: a spirit that looks elsewhere for its standards of excellence.”

-A.J.K. Smith

246-247

Friesen, Smith and Morton, all colour a rather imperative condition for the West; a time where the economic wealth, deepening cultural history, and diverse political collage could become the framework, around which a more honed identity could emerge. The authors could be summarized as asking for an honest region assessment, one that mines its own cultural heritage for interpretation. Friesenâ&#x20AC;&#x2122;s paper ends with â&#x20AC;&#x153;It is time to take stock of a new West. It is time to leave behind the imagined prairie region.

The project explores the potential for developing a prairie resort within a 9,000 km2 virgin prairie region that bridges southern Alberta and southern Saskatchewan. The program of a resort raises new issues of aesthetics commodity, exoticism, and marketing, in contrast to the more colonial considerations of efďŹ ciency, exploitation, and necessity. Also, the building approach would respond to such factors as climate, materials, history, and character of place to create a unique personal experience that can not be recreated elsewhere. Finally, the prairies will not be approached as an agricultural or industry based region, but would be viewed as a destination.

The new ways of thinking about this part of the country are the result of changes in the western economy, in the structure of government, and especially in the cultural and communication contexts of contemporary life.” (Gerald Friesen, Why the Prairies Don’t Exist? Pg. 26.) Ronald Rees, cultural geographer, states that a society needs three to four generations in order to create sufﬁcient history and ‘place-ness’ before artists and writers can draw upon a shared mythology in which a signiﬁcant identity can originate.

Since

their discovery nearly 300 years ago by colonial Europe, the

prairies have undergone a scientiďŹ c and ideological revolution that rivals and sizable migration, cultural manisfestation or ecological alteration throughout history. Our perception of the land and the

terrain itself have been rapidly shifting, and at times, independently of each other. This

evolution is an important characteristic of the region. It is necessary to view the west as a ďŹ&#x201A;uid ideology and landscape, greased with assumptions, agendas, and processes that are perpetually built upon in ensuing waves of settlement.

After discovery, the prairies were accessed culturally through metaphor either as great inland sea or desert. However, as the explorers (Kelsey, Palliser, Hind) threaded up the ribbon of water ways, deeper inspection revealed that the region was uncharacteristic of traditional deserts. Much of the soil proved fertile and workable, but the sparseness of both trees and topography were unprecedented. School books showed the region labeled â&#x20AC;&#x153;The Great Desert, unexploredâ&#x20AC;? and description for prairie features were derivatives of naval terminology as settlers attempted to access the region through the guise of the familiar.

Bouyage

“The real experience of discovery… was when Europeans who had thought their society perfect and complete suddenly encountered the unrecognizable ‘other’ represented by nations not their ken, and were forced to reinterpret themselves in light cast by this ‘new world’.” (Germaine Warkentin. Canadian Exploration Literature. Toronto, Oxford University Press, 1993, Pg XXI).

Entry Pavilion The site can be described as a large 9,000 km2 nature reserve with minimal human impact, governed by local ranchers, targeted by encroaching developers, and home to one cow per 100 acres. The area consists of a large region of virgin shortgrass prairie which is south of the Cypress Hills. It is bounded by the Manyberries badlands on the west, the Eastend badlands on the east, and the Can/US border on the south. It is situated at the very top of the Missouri water shed around 950 m above sea level and is classiďŹ ed as semi-arid rangeland. The only year-round residents are several families of ranchers, and a seasonal inďŹ&#x201A;ux of no more than a dozen environmentalists and ecologists.

Originally, the goal of this project was not to create any particular building, but to explore Critical Regionalism on the Canadian Prairies. As an architect, how does one interpret the complex mythology of Canada ona global scale, characteristically respect the strong provincial mentality of its regions, withstand the demanding climatic ďŹ&#x201A;uctuations, and embrace the myriad of user groups in a country composed chieďŹ&#x201A;y of minorities? I believe this is the daunting task of Canadian architecture.

In a sense we haven’t got an identity until somebody tells our story. The ﬁction makes us real.” Robert Kroetach. Passion for Identity. Pg. 433

â&#x20AC;&#x153;No land is home until it has been imaginatively digested or absorbed.â&#x20AC;? Northrop Frye New and Naked Land. P. 156.

256-257 Glow Chelsea Meuller

1am opinionated

6am optimistic

7am articulate

10am independant

11am passionate

2pm insightful

258-259 LIVING FICTION

Danielle Whitley

-Indonesian writer Y.B. Mangunwijaya, July 16, 1998, No LOGO, Naomi Klein, 2000

“You might not see things yet on the surface, but underground, it’s already on ﬁre.”

260-261

PLANNING DESIGN STUDIO II The aim was to characterize the regional identity of Winnipeg and its associated built environment, identify the inconsistencies/discontinuities between the two, and propose appropriate remedial strategies and design interventions.

POWERS OF TEN Om Joshi and Meagan Henke The intent is to identify the spatial structure and morphological characteristics of a quadrant (5 km x 5km) of the Capital Region through mapping and pictorial representation.

262-263 Transcona

island Lakes

St. Boniface

Downtown

SPATIAL ANALYSIS Allison Lazaruk, Leah Ross, Om Joshi, Christa Jacobucci, Kim Unger This includes an analysis of the built form of “East Vector” of the Capital Region and its ability to represent and support the natural, social, and economic processes that underlie it. The East Vector extends from the Forks (birthplace of the Capital Region) to the outer edge of the urbanized perimeter. The analysis included: -description of the built fabric, its spatial structure and (corresponding) character -a survey of resident perception and assessment of the study area -a review of non-physical aspects of the study area, including a socio-demographic proﬁle, economic activity, local infrastructure and concerns associated with it, environmental factors, and cultural speciﬁcity. The main purpose of the analysis was to identify correlations and/or discrepancies between built form and the underlying nonphysical processes.

Paths

Landmarks

Edges

Tache view looking South

Provencher Bridge

View to Alexander Docks

Victoria Ave. W.

Harbourview

Edge Town

Lagimodiere Boulevard

The Mint

East Edge

Broadway Avenue

The Legislative Building

Assiniboine River

264-265

inventory: building condition

INTERVENTION Om Joshi, Allison Lazaruk, Christa Jacobucci, Jennifer Jenkins The stage of the studio consisted of an urban design intervention as an attempt for the best ﬁt between form, function, behaviour, and values of the identiﬁed site along Selkirk Avenue. The intention of this assignment was to explore the design implications of a regional strategy by providing a set of plans, illustrations, and guidelines for the redevelopment of one ‘site,’ Selkirk Ave. area in this case, associated with a regional strategy. This set should look at the design implications at the neighbourhood area, urban block, site, and detail level and ensure consistency of intent and approach between these scales of intervention.

inﬁll

Urban Catalyst

268-269

DE T AI L

DRAMATIC CONTRAST Brent Cotton

Albert Einstein (1879 - 1955)

270-271

My religion consists of a humble admiration of the illimitable superior spirit who reveals himself in the slight details we are able to perceive with our frail and feeble mind.

272-273

Kristin Ross & Pamela Ritchot

we were required to create a type of advertisement to let the general public know what we do in the faculty of architecture.

more than just the building...

274-275 Radana Trubka

The objective of the assignment was to design an object that mediates interaction between people. A CONVERSATION PIECE not only supports this process through a range of varied combinations, but it ultimately becomes an object for discussion on its own. The prototype was constructed of cardboard, additional developments forsee the piece constructed out of memory foam and a ďŹ nished solid wood.

276-277

SPAN Candace Barton Dirk Blouw Cameron Bradshaw Sylvia Castillo Anastasia Derkson Vance Fok

Andrea Sosa & Megan Yetman

POP COUCH

This couch was designed as a detail for the Corydon Housing development studio Project. The couch can be separated into two pieces, allowing for two chairs. The couch has two reversible tables that are upholstered on the opposite side to create more seating. An important aspect about this couch, is that there was an attempt to ďŹ nd new uses for materials. We cut off the tops and bottoms of pop bottles to create a cylinder. The cylinders when placed side by side can support over 200 lbs/square foot. The upholstered cushions also contain paper that had been shredded from the U of M ofďŹ ces. We packed the cushions in such a way that when someone would sit on the couch there would be no sound from the paper, as well it would feel exactly like regular couch cushion.

278-279

CAMPUS COMMUNITY CALL & RESPONSE Andrew Edge

This eidetic image focuses on a re-introduction of the river system into the University of Manitoba campus, celebrating our agricultural past and river settling history; reconnecting the communities with the campus through integrated social and educational programs; hence the call and response.

280-281 Prairie Essence Captured Angel Tolentino

Site Located at the southwest corner of the Agricultural Fields at the University of Manitoba, the site showcase its beauty through the vast expanse of landscape, inﬁnite sky, the view of the riparian forest and the ever changing Red River.

Design The focus of this project in 1:50 scale is the development of a Library/ Bookstore/Café complex with specific attention to the third floor library reading room and patio space. The context of the surrounding area serves as a strong inspiration for this project. Interior spaces are laid down in a grid-like patch pattern such as seen on the prairie landscape. Artificial lighting mimics the form of the river, which cuts through the rectilinear character of the prairies. Colors of the natural surroundings are captured through the carpeting pattern and wall treatment. As one enters the building from the street (which is an extension of Freedman Crescent), the individual is greeted with mosaic tiles that hang from the rooftop. These interior elements serve an aesthetic purpose, but at the same time it is very functional as it absorbs ambient noise on its fabricated surface. Overall, the building is a simple gesture of embracing the natural character of the area. The wooden beams overhanging the patio space strongly suggest this notion. Moreover, the way the building is oriented to capture morning light, most of the south and dusk light clearly communicates the objective of the design.

NEW LIGHT Steph Neimec

a different experience each time it is visited

282-283

284-285

LIVING FICTION Danielle Whitley

Inclusive Juxtaposition

Andrew Edge

Located between the Administration building and University Centre on the University of Manitoba campus, my design intervention acts as a catalyst, reconnecting the isolated Admin building to the most highly populated area and most central trafﬁc artery that is U.C. The link creates dialogue through building aesthetic, materiality and physical orientation, and physically mediates the level change between evenly spaced stepped plateaus. Positioned atop the University Centre patio looking east towards the Admin building, one may make visual connections provided by “green islands”, resting between the building masses.

286-287

gravity

288-289

suspend

SUSPENDED INERTIA Nathan Kasten

elevation

pendend inertia

290-291

1:50 Justin Wiebe Inspired by the surrounding faculties, the concept of curiosity and the human spirit that drives us to explore oneâ&#x20AC;&#x2122;s natural surroundings underlie the site plans primary motivation to endeavour towards an event-based density. The complexities inherent to the designed plaza attempt to deďŹ ne the notion of curiosity while addressing issues for transition, movement, signiďŹ cant entrances, space requirements and sightlines.

292-293

Ryan Epp

1:50

The University of Manitoba is a unique place. Geographically, it is tucked away in the entrance to a cul-de-sac formed by the Red River. The purpose of my project is to make reference to our location on the Red River and Prairie in an effort to heighten the sense of place for the Campus. The site I have focused on is a transition zone from ground level to an open-air entranceway that leads into a proposed tunnel system. The program of the space is a public landscape that would give people a place to meet, eat their lunch, and circulate through the space freely and at their own pace. The change in height is four meters and the starting point for the design was a ramp that was wide enough to allow full access for everyone. I chose to use a meandering form that would make reference to the river. The stairs are placed directly beside the ramp to offer a more direct route and are wide enough to allow people to linger without slowing pedestrian trafďŹ c. The lawn space recalls the river lot system used by the government to divide sections of land. Each ribbon of lawn is undulating to allow people to lie back on slopes or sit up on ledges created where each ribbon meets the other. The exposed tunnel to the north of the stairs is a reďŹ&#x201A;ective pool that emphasizes the prairie sky, as well as reďŹ&#x201A;ecting the historical Administrative Building. The water of the pool is allowed to fall off its sides, beside the stairs and the entranceway, into a depression that drains the water. The falling water adds an auditory aspect to the site meant to calm the stressed out student, and reminds us that the water of the Red River surrounds the campus. Seating is integrated in the walls in different sections along the ramp and stairs. Materials used for the ramp walls are Tyndall stone and planted area walls are corrugated steel. Planting is vernacular; using Green ash trees to provide shade and shrubs such as Juniper, Manitoba Crocus, and Prickly Rose, add color year round.

UofM 1:50 Kristin Ross

294-295

296-297

TRACES: KITCHEN STUDY Jane Gelhorn, David Girardin & Chris Gilmour

Within residential environments the kitchen has become an important area for design consideration, acting as a public and private space that must function for the daily living of household occupants. Our group observed design issues within a particular kitchen located at 579 Warsaw Avenue, Winnipeg, Manitoba. This kitchen has been part of the residence of Chris Gilmour for the last two months, since joining two roommates. The group observed physical traces of the three occupants within the kitchen environment. Note: observations were done without occupant having speciﬁc knowledge of our study. We will touch upon how people, new to environments, leave traces as compared to permanent residents of that space.

BY-PRODUCTS OF USE Erosions Being an older house, erosion is very evident. The floor has a slight sag in some areas but the most evident wear and tear is where it squeaks, indicating high traffic spaces. The most pronounced squeak is found directly in front of the larger counter, where we imagine most of the food preparation is done. A second indication of erosion is found on the baseboard below the lower cupboards, adjacent to the sink. The baseboard is scuffed with dark marks, indicating that people have been standing in this location and knocking the toe of their shoes against it. We observed this while someone was doing the dishes. We also observed that the arborite corner of the counter near the rear entry has been chipped away, possibly a result of when someone entering the house through the back door and snagged their jacket. The evidence of wear alludes to the fact that this corner is a high traffic area. Leftovers Often dishes will pile up after the preparation of a meal. These dishes will often sit for many hours and, in some cases, days. All the residents of this house are students in intense programs: they have little time to clean dishes. We observed a “wash cycle” where the dishes will move around from various places around the sink. First the dishes are stacked on the long counter adjacent to the sink. The second step is to have someone move them to the sink, where they will sit for an undetermined amount of time. The dishes are then washed and placed on the

opposite counter to dry. Note that the drying rack is always on the counter as it is a part of the wash cycle. Once dry they may be placed in the various cupboards or be used once again and placed back on the counter, continuing this trace cycle. A second example of leftover by-products is the leftovers from meals. Most often, they are left out to indicate that other residents may freely indulge. To emphasize this offering they are often placed on a clean plate in full view on the counter. Other times leftovers are placed in the refrigerator for another meal or disposed of into the trash. A third form of leftovers results when a person enters the kitchen to fetch a snack, with an object in hand from a prior task. We observed that these objects are often left behind for a short period of time. While preparing the snack they are distracted from their previous task and lose their train-of-thought. Often, the person will return for these objects, within ﬁve to ten minutes, when they regain their train of thought. Missing Traces The most signiﬁcant missing trace results from the consumption of food and liquid. For example, when a person eats a can of food, it is removed from its’ storage area, consumed, and the container is disposed of immediately. This leaves an open space where the product once stood - a missing trace. Other missing traces are from the displacement of kitchen items (cutlery, plates, cooking utensils) to other rooms in the house. This commonly occurs, as residents usually eat outside the kitchen.

ADAPTATION FOR USE Our observations revealed many adaptations to accommodate everyday living. For example, oven grills and cookie sheets were stored in between the stove and kitchen counter, due to a lack of space. The spaces above cupboards and below the ceiling were used for storage, while the upper ledge of the stove became a shelf for a spice rack and junk. Miscellaneous materials were placed above the microwave; even the windowsill was used to store tomatoes, with the added beneﬁt that they would ripen from the sun. Props The kitchen contains only minor prop adaptations. The cutlery board has been hung up on the side of the kitchen cabinet with a screw. Many other elements have been placed on a wall or cupboard by using a screw or nail and roommates have added hooks in the shape of cats to support oven mitts and car keys for when you enter the space. Separations Minor separations were observed. Pieces of cardboard were added to the cupboards to divide the food of each household member. Within the drawers we

observed that cardboard had been used to permit further organization of cutlery and household items. The third minor separation observed was the use of drapes on the back entry door to provide privacy from pedestrian views from the alley into the kitchen. Connections Few connections were observed within the kitchen environment. The corner of the basement entry door had been cut out at the bottom right hand corner. This was adapted to allow the roommates cat to gain access to the basement where the kitty litter is located.

DISPLAY OF SELF Personalization There is a photomontage on the refrigerator, along with many magnets from a variety of places. A painting can be found on the wall. Little trinkets sit on the windowsill and above the microwave, most of which are cat-related and demonstrating that the owner of the house is a cat person. Identification The most significant sign of identification found in the kitchen was the labeling of food. Each person who lives in the house labels their food with their name to identify to others their ownership. The labels were masking tape marked with a particular resident’s name in marker. This also happens when someone brings home food from a restaurant. They will clearly mark the take-out box with their name, and a short message: “Judy’s Food, Don’t Touch”. Group Membership There seems to be an unspoken group membership to the kitchen among those residing in the dwelling. These members are those most comfortable in the space, and leave traces with the most impact. This is the room in a house where the greatest interaction occurs. It occurs here because the people in the space are less self-conscious as they are working on a task, like making supper. The people will talk as they perform their tasks and while they eat. In our case, when Chris was new to the house, he said that this is the room where he got to know his roommates. The people who do not belong to this group are visitors of the house, usually friends and relatives. We observed that their comfort within the space is not as high as those who live in the house.

PUBLIC MESSAGES Ofﬁcial In most kitchens there is a designated location to leave messages, and it is usually by the phone. The memo book, the kitchen calendar, the agenda are all objects designed speciﬁcally for use as a public message board. They announce events, scheduled appointments, and provide a space to leave daily reminders to others. In the kitchen we observed there was just such a book, located beside the phone.

Chris had left a message, informing his roommate (Judy) to call her sister. Another public message found was a computer-typed letter (Figure 6), left on the refrigerator. What makes it public is that it was addressed to all household residents, from the owner, informing them that rent was due. This message appears every month. Although left in an unofficial place, its’ contents were official. Unofficial Most messages were unofficial, appearing in places never designed for message posting. The kitchen fridge can be described as the unofficial public message board of the kitchen. In the kitchen, among the many photos that are traces of personalization, there is a small calendar, coupon clippings, and an inspirational card saying, “Listen to your Heart” (Figure 6). As well, we observed two notes clipped up: one, a reminder to empty out the cat’s litter box, and another, stating, “your doctor appointment - cancelled”. The fridge is being used to communicate messages between the roommates. Obviously, this “message center” is the most visible location, when people first enter the back door (see plan drawing). This frequency of message posting on the fridge (with the use of magnets) could warrant it to be considered as an official message board. Other unofficial messages we found were located in the fridge. A paper takeout container from KFC had “Judy - don’t touch” written across it with marker. Certain canned foods, and “prized food items”, had the roommates’ names taped to their labels. A method of identification, this is also a public message as it’s communicating to others to “not touch”. One last unofficial message was a white food container, sitting beside the fridge. “Evil’s food” was written across the top. This is communicating to the other residents the real contents’ of the container - cat food. Illegitimate There were no illegitimate traces found. We supposed that the reason for this was that the space is not especially public, nor one that the owners would wish to violate. The kitchen’s design function as a public and private space raises many issues. Trace analysis gives us great knowledge and the foundation building blocks to understand the environment. Through our physical traces of the kitchen environment we witnessed the daily interaction of three roommates. We discovered how people affect each other in design spaces. In particular we observed the natural tendency for humans to adapt and modify their environment.

Zeisel, J. (1984). Observing physical traces. In J. Zeisel, Inquiry by Design: Tools for Environment- Behavior Research. New York: Cambridge University Press, pp. 89-110.

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SELF-REALIZATION Candace Fempel

THE INTENT OF MY LABYRINTH IS TO SEE YOURSELF WITHIN THE ELEMENTSâ&#x20AC;¦TO COME TO THE SELF-REALIZATION THAT YOU ARE CONTINUALLY BEING DEFINED WITHIN A SERIES OF FRAMES.

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ANDY GOLDSWORTHY

WALL AT STORM KING Andrea Kennedy

Project Name

Wall at Storm King

Designer

Andy Goldsworthy

Programme

Location Design Date Design Intentions

The Storm King Art Center is an outdoor museum dedicated to contemporary sculpture. The center’s aims include acquiring “major works by modern masters” (Beardsley, 1985, p.9), creating “harmonious interaction” between the “striking Hudson River Valley landscape and the monumental works of art” (Beardsley, 1985, p.9), and shaping the landscape “into a coherent whole, to create a uniﬁed setting for these works of diverse styles and dimensions while elaborating the considerable variety of contour and vegetation that is the strength of the Storm King landscape” (Beardsley, 1985, p.75). Andy Goldsworthy was invited to propose a work for the Storm King Art Center. No further restraints or guidelines were provided (Goldsworthy, 2001, p.22). Storm King Art Center, Mountainville, New York Hudson River Valley, between mountains Schunnemunk and Storm King 1995 be inspired by the explorations of the land, intuitive responses, past experience respond to and respect the landscape respond to the social context, echoing cultural values embody the natural and cultural richness of the place “draw the change, movement, growth and decay that ﬂow through a place” (Goldsworthy, 2001, p.36), giving expression to the tension that exists between what was and what will be, and creating a dialogue between past, present, and future echo the experience of, and movement through, the place embrace the process, the evolution and growth of the project

All pictorial form begins with the point that sets itself in motion… The point moves… and the lines comes into being – the ﬁrst dimension. If the line shifts to form a plane, we obtain a two-dimensional element. In the movement from plane to spaces, the clash of planes gives rise to body (three-dimensional)… Paul Klee (In Ching, 1996, p.1)

An analysis of the key formal characteristics of the Wall at Storm King will follow the criteria outlined in Francis Ching’s Architecture: Form, Space, and Order (1996), speciﬁcally the chapter entitled ‘primary elements’. The analysis is based primarily on the extensive photographic representation found in Andy Goldsworthy’s Wall at Storm King (2001) and highlights the complex interplay of point, line, plane, space, and time that characterizes the work. However, one must consider: to what extent was Andy Goldsworthy aware of these formal characteristics when he was designing?

POINT “When the wall is built the individual stone does not lose its own special form, but becomes part of a new order…” (Goldsworthy, 2001, p.17). The Wall at Storm King was built from thousands of individuals stones. If points are used to mark a position in space, the wall acts as an exclamation mark that emphasizes this place. Points also describe (invisible) lines that connect one to another. The (invisible) network of connections among the stones reinforces the dependence of each on the others, as well as defining the underlying formal order of the structure. The ends of the wall, while not defined or articulated specifically as points, function in a similar manner – they define an invisible ‘axis’ about which the wall meanders. They also define a gateway or passage where the wall ‘opens’, such as where the road passes through, while providing a sense of continuity through visual connectivity. Finally, the ends anchor the wall – in the landscape whereby “every stone… tells a piece of landscape history through its location, its type of rock and form, strengthening the relationship of the work to the place” (Goldsworthy, 2001, p.16), and in the cultural context by providing insight into the anatomy of the structure, product of culturally-based construction methods.

LINE A line describes a point in motion, visually expressing direction, movement, and growth. It has also been noted that the line is used to “make the invisible visible” (Weilacher, 1999, p.19). As Goldsworthy aims to re-sensitize us to the landscape, to the subtleties of culture and nature, his preoccupation with these notions explains the dominant presence of linear forms in his work. In the Wall at Storm King, the otherwise ‘static’ points (stones) are ordered into a strong linear form that creates a contrasting sense of motion or dynamism, while the changes in contour and continuity along its length varies the experiential quality.

When conﬁned to the forest the line is loose and meandering, expressing movement as it traces a path through the forest. As Goldsworthy (2001, p.89) states, “The Storm King wall, although made of stone, is not static, but weaves between the trees with an energy and movement that I could not achieve with a straight wall. It has a quality of passing through…” As the wall emerges from the forest and ventures into the meadow the line is pulled taut, its pace quickens, and its linearity is emphasized by the effect of perspective, the dominance of the wall’s horizontal dimension, and vast horizontal quality of the landscape.

PLANE “A line extended in a direction other than its intrinsic direction becomes a plane” (Ching, 1996, p.18). The line that Goldsworthy has traced through the landscape at Storm King emerges from the ground plane, becoming a vertical surface. The extension along its length is uneven, with the highest or greatest extension in the forest – as if the dense nature of the landscape has compressed or squeezed the wall to a greater height, or that it is echoing the vertical quality of the trees. It is here that the wall plane dominates, as the trees interrupt the ground plane, reducing its dominance in the field of vision. In the meadow the opposite occurs, illustrating the influence of surrounding landscape elements, the contour of the wall plane, and the contour of the ground plane on the relationship between planes. When viewed in ‘elevation’, the contours of the wall are visually perceived as a series of intersecting planes, particularly when viewed in close proximity. The interplay of shade and shadow plays an important role in our perception of the wall as a continuous entity, enhancing our perception of curvature and continuity. In addition, prior imaging by virtue of distant views as one approaches the sculpture, as well as exposure to photographs, enables conceptual reconstruction and understanding of the overall form by ‘filling in the blanks’ and enables one to conceptually situate the immediate, proximate image within the image of the whole. In contrast with many of the other contemporary sculptures present on the site where the landscape has been modified or ‘sculpted’ in order to enhance the individual sculpture, the wall adapts to the nuances of the landscape and is presented in a scale that emphasizes and reinforces the vastness of the Storm King landscape. From a distance, the wall appears small relative to its surroundings. As one approaches however, the extent and considerable size of the wall becomes increasingly apparent. This juxtaposition of images or perceptions emphasizes the scale of the landscape; wall appears small relative to the landscape – wall is large – landscape is therefore of great scale.

SPACE The Wall at Storm King does not create or displace space per se, but instead ‘embraces’ space through partial enclosure that deﬁnes more intimate spaces that remain inseparable from the vast space of the site. The sense of enclosure varies

throughout the piece, but is particularly evident in the forest where the contours tighten, curving around the uneven repetition of imaginary circular voids; the sense of movement creates the illusion that the wall’s ‘embrace’ is ﬂeeting. The spatial qualities created by Goldsworthy’s wall depend equally on the perception of the individual user. For a child, for example, the wall would seem relatively longer and higher and may appear to divide space, whereas for an adult the wall may simply appear as an object in the space, due to their ability to see across and moving around the wall.

TIME The concept of time has been incorporated into Andy Goldsworthy’s Wall at Storm King in several ways: In contrast to many of the pieces at Storm King, where maintenance preserves the work, the wall will be allowed to change over time, vulnerable to the forces of gravity, of tree growth and decay, of the shifting ground. The trace of the old wall, inspiration for the current piece, is a testament to this change and Goldsworthy’s preoccupation with referencing the passage of time. The spatial qualities and relationship to the landscape changes with the passage of time – the wall as marker for the passage of light, of the seasons. The Wall’s use of traditional method of construction passed down through time and space. The wall’s movement through the landscape implies a temporal dimension of experiencing the piece and the landscape through which it ﬂows.

CONSIDERATION + REFLECTION In his book Wall at Storm King, Andy Goldsworthy discusses the process and meaning of his work, the site, the people that he worked with, his inspirations, and his challenges. The following brief discussion outlines several additional considerations and reﬂections. The title of the project under consideration is ‘Wall at Storm King’. What is inferred by the name of the work?

WALL : a wall is a vertical plane with reference to a cultural construction, a product of architecture with culturally-bound connotations and associations. Wall as marking territory, dividing space creating opposing sides, as political force that initiated immigration, as tradition, as monuments, as metaphors for private property and permanent settlement, as nostalgic image of the past or barrier to future progress, a measure of passing time (Goldsworthy, 2001, p. 11-13).

AT STORM KING : implied is a connection to the landscape, to this landscape, along with the existence of walls elsewhere in space and time. If similar walls exist elsewhere, is it still ‘of this place’? Can a form reference more than one place? Does it reference a ‘spirit’ that can reside in more than one place? Can it be placed anywhere? Goldsworthy (2001, p.41) describes this ‘spirit’ or energy as, “Two holes worn out of two stones in different countries are nevertheless an expression of the same energy at work”, while also stating that “the way a wall is made is determined by the type of stone, the site and the surrounding area” (Goldsworthy, 2001, p.46). Perhaps a wall is a product of common cultural and natural forces that collide repeatedly in space and in time, while the individual expression is uniquely situated in both time and space? In terms of PROCESS , the methodology employed by Goldsworthy in the translation of conceptual idea to physical form differs in several ways from the traditional implementation of designs in landscape architecture and potentially offers the discipline some unique insight: Open-ended and ﬂexible approach in which incremental, additive decisions are made as a willingness to experiment, to ‘backtrack’ or modify the design, helps to respond to speciﬁc site conditions enabling the conceptual idea to merge with the physical reality. DESIGNING through CONSTRUCTION .

COLLABORATION and REFLECTION throughout not only the design, but also the implementation and construction. REPRESENTATION derived predominantly from post-construction work, and is strongly influenced by reflection on the process. Does this accurately represent the work? How does this compare with traditional representation of landscape architecture? Pre-construction plans and perspectives? Would there be value in a studio project that began with design through construction in the field, followed by representation of the work and of the process? How do the ‘LABELS ’ placed on work influence the perception of that work?

LAND ART / LANDSCAPE ARCHITECTURE : what is the distinction? Is there a distinction? Into which ‘category’ does Goldsworthy’s work at Storm King fall? Stern (In Beardsley, 1985, p.10) states, “His [William A. Rutherford] work with the terrain has produced graceful hills and slopes that support, balance, and enhance the sculptures resting on them”. The earth is sculpted, much as the Wall was sculpted. Is there a difference? Of scale? Of medium? In describing land art Bielefeld (In Weilacher, 1999, p.11) states, “Sculptures are not placed in the landscape, rather the landscape is the very means of their creation. Interventions by the artist, which use earth, stone, water and other natural materials mark, shape and build, change and restructure landscape space…” One could consider that perhaps the distinction between land art and landscape architecture is one of deﬁnition whereby for landscape architects ‘landscape’ is a cultural construct or

entity where materials are not limited to those that are ‘natural’ and locations are not limited to those that are remote. Does this help situate the work within the ‘disciplines’? What happens when we consider that Storm King, while appearing accessible as a highly visible and recognized exhibition space, may in fact be more remote as one questions for whom it is accessible.

CONTEMPORARY : is this label appropriate for Goldsworthy’s wall? What does contemporary mean? If many sculptures at Storm King share this label, they must share other qualities – are they all products ‘of their time’, regardless of whether ‘this time’ differs amongst them? Does the array of work at Storm King begin to tell a story about the changing notion and expression of ‘contemporary’? Does Goldsworthy’s work at the Center represent a shift in thinking from placing sculpture within the site to designing work that is part of the site? Does the Center’s collection document this shift?

Beardsley, J. (1985). A landscape for modern sculpture: Storm King Art Center. New York: Abbeville Press. Cerver, F. A. (2000). The big book of environmental design. Barcelona: Atrium International. Ching, F. D. K. (1996). Architecture: form, space, and order, 2nd Edition. New York: John Wiley & Sons, Inc. Fawcett, L. (1997). The geometrician. Landscape Architecture, (87), 46-51. Gardiner, S. (1990). Avant gardeners. Landscape Architecture, (80), 70-83. Goldsworthy, A. (2001). Wall at Storm King. London: Thames & Hudson Ltd. Heartney, E. (1986). Nature and culture. Art News, (85), 11-12. Martegani, M. (2001). Ephemeral art in solitude. Abitare, (412), 90-93. Weilacher, U. (1999). Between landscape architecture and land art. Basel, Switzerland: Birkhäuser.

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MATERIAL ENCOUNTER: FULL-SCALE MODEL CONSTRUCTION Pawanpreet Gill, Colin Herperger, Scott Field, Sonya Kohut, Chelsea Mueller

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WALL PROJECT Carla Biedron, Brent Cotton, Michael Hiebert, Aaron Lam, Rachelle Lemieux, Danielle Whitley

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CONCRETE LAMP Brent Lauman

AROUND THE WORLD WITH A T-SQUARE Alaina Prokopchuk “This course will explore a community-based project through a designbuild method. It has been prepared in collaboration with a Turkish nonproﬁt organization committed to providing services to low-income families in rural communities. The course will provide an opportunity to live on site while learning about culture, construction, materials, and design. The outcome will be the design and restoration of a small community building” Course Outline, Professor Kelley Beaverford, assistant professor, Karl Burkheimer

Nine design students one male eight female, and one professor, all from a variety of disciplines within the Faculty of Architecture, participated in the renovation of a 400 year old hamam, or Turkish bath. Location: the fruit-farming village of Deydindler, home to approximately 200 residents, and situated roughly 100km from the city of Bursa, Turkey. The site itself was relatively small, the interior of the hamam was essentially gutted, and the exterior was an undeveloped site of disheveled and sloping, bare earth. Our tasks included the complete remodeling of both interior and exterior elements; marble selection and design, paint and lighting, window and door treatment and detailing, furniture; hard and soft landscaping, grading, planting, fencing, and the design and construction of a small boiler and storage unit. Upon pre-departure, it was often asked in a less than supportive manner, from both design professionals and various friends alike, “Why would you go to Turkey to build a bath?” “Why don’t you just do something here?” At first it seemed a slightly off-putting question to me, well, why not, I thought? But then I began to think about it more objectively. Why do I do these things, why is it that I always go? Why do we travel? Why do we design? And what ultimately, do they have to do with each other? I began to peruse through my sketchbook, personal experiences, emails I had sent back home, and a series of course readings in an attempt to address some of these fundamental inquiries. Travel opend the mind to exploration and reflection upon infinite possibilities and perspectives; it provides not only feelings of anticipation and excitement but also satisfies in a more elemental way as well: “in a more fugitive, trivial association of the word exotic, the charm of a foreign place arises from the simple idea of novelty

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THE LONELY ARCHITECT:

and change…we may value foreign elements not only because they are new, but because they seem to accord more faithfully with our identity and commitments than anything our homeland could provide” (De Botton, 78). I have lived and worked overseas on various occasions, and these travel opportunities have enriched my understanding of the importance of cultural diversity, its relationships, and its modes of cultural production. It is necessary to move beyond the veneer to discover richer and more profound personalities and elements of place that foster global understanding which in turn, is a vital proficiency when working in a creative career field. The prospect of integrating and collaborating with other cultures in an effort to encourage and advance the professional field of design, social activism and international cooperation are ideas of great personal interest. The following is an excerpt from an email that I sent to a friend while practicing the art of designing abroad…

Merhaba. Turkey is great. The city of Istanbul still had a European flavour, but this village thing is a whole other world. My home-stay family speaks no English and four generations live in the same space. Most of the women wear the full Muslim attire and are usually married with children at 22, so at 25 and single I suppose I am a bit of an anomaly to them. Maybe I’ll be able to find a husband here… It is very intense to be immersed in, and experience another way of life so entirely different from our own. I am one of the few households with a western toilet, but this water jet shoots out of it that gives Niagara Falls tough competition. Most houses use only squats, ‘a la turk’ as they are referred to, but I always forget which way it is that I need to face, and we eat all our meals on the floor, and share plates. But more importantly, everyone is kind, generous, hospitable, and they try to do everything for you. The villagers are so welcoming and eager to please. hey have opened their homes to strangers, rearranged and rescheduled their own daily routines to cater to us, accommodate, and feed us, well over-feed us at any rate. For them to see a group of students, primarily female, as architects doing construction, is perhaps a bit odd to them. Actually, it’s a lot odd. But they are excited about the restoration of the hamam, and are more than willing to be active participants, so hopefully it all works out. The bath is an intrinsic part of their traditional way of life. It is equally a ritualistic, functional and social venue. You know the lengths I’ll go to for a good massage, but to get scrubbed down by a naked stranger who slaps you on the backside to signal ‘turn over’ can be very alarming, but liberating at the same time. One of the books I have on the topic of Turkish baths is titled, Cathedrals of the Flesh, and only now can I fully appreciate this allusion. We chose the marble for the interior yesterday and it will be laid early next week. The piping is being completed during our design phase and we will hopefully start to get our hands dirty soon, and we also have the opportunity to work on plans for a tea (chai) garden. They drink it about 20 times a day, no joke…

Designing outside of a typical studio environment can be a very daunting task that can be both frustrating and releasing. Concepts, abstractions and theories remain critical, but one must learn to do this quickly, efficiently, aligning the science to the art. Making it work for you and them, accepting the happy accidents, and not loving your ideas so fully as to not be able to let them morph into something so totally different than you first imagined are essential lessons. Using what is donated or afforded in both time and materials. This can mean hundreds of units of tacky, floral-patterned, iron fencing panels. But you make it work; you turn the granny into gotti. I once had a professor who always tried to impart the importance of the concept, ‘back to the hoe, back to the hand’, when encouraging us to unshackle from the limiting confines of our computers: “because the human hand is a specialized anatomical adaptation of physical precision and emotional expressivity, it seems reasonable that we should find both pleasure and meaning in making” (Dissanayake, 100). This design-build experience has further reinforced my understanding and belief in this statement. We worked, we sweated, designed, sketched, hammered, painted, planted, marbled, and welded. We drafted with a t-square, communicated through charades and Latin roots, listened, learned, mixed concrete, spoke Turkish. We cooperated, collaborated, were exasperated, exhausted, exhilarated, we bitched, we laughed, we worked our butts off and we drank a heck of a lot of tea. And in the end we were proud of what we had accomplished. The villagers now have their village bath back, and they allowed us to be part of that fantastic process. The individual did not exist. We formed relationships, not only with our respective host-families and villagers, but with each other, my fellow hamamas as I have come to endearingly refer to them. It is not only the satisfaction of making, but it is in the making within the larger context of a social group or community that is so gratifying. The quests of both design and travel become merged. No where else could a quick graphic, demonstrative sketch be transformed into a working drawing in moments, or a larger male body be used as counterweight for machinery. Having participated in a similar design-build at home would have been just as enriching, but in different ways. No better or worse, just different skills and lessons acquired. After leaving the village we headed east towards the region of Cappadocia, the bus stopped momentarily at a bus depot—a transitory space where I was met with an incredibly overwhelming scene. It was a perfect cacophonic weave of synchronized madness and chaos. Men linked arm in arm, a baker, with the highest mound of half-crescent pastries perfectly stacked and balanced on his head as he navigated his bike through the jostling crowds, a donkey cart, a Mercedes Benz, shoe shiners, chicken and lamb on a spit, rotating over an open flame, garbage, food, chai, animals, the hawkers and vendors, floating, brightly coloured highlights of flowered and patterned head scarves, a constant buzz of words, shouts and laughter through the impermeable haze of cigarette and nargili smoke, the call to prayer reverberating across the undulating domed and peaked landscape of the mosques, people waiting, leaving, coming, going. It is for moments like these, and

“THE INDIVIDUAL DID NOT EXIST.”

the others I have described, that I both design and travel, ones that seem to satisfy in a much deeper way—when I can experience a world so very different from my own, yet in some ways is so very the same. And it seems in some respects in North America, we have become over-civilized, lost some of our humanness. For me, it was one of those ﬂeeting but vibrant moments from which Wordsworth came to coin the phrase, ‘spots of time’—or “certain scenes that stay with us throughout our lives, and every time they enter consciousness, can offer us a contrast to, and relief from, present difﬁculties” (De Botton, 154). There are in our existence spots of time, That with distinct preeminence retain A renovating virtue. . . That penetrates, enables us to mount, When high, more high, and lifts us up when fallen. (William Wordsworth in De Botton, 154).

“A WORLD SO VERY DIFFERENT FROM MY OWN, YET IN SOME WAYS SO VERY THE SAME” Although Wordsworth attributed these ‘small critical moments’ to be the result of a powerful experience within nature or the ‘natural world’, I would argue that they undeniably exist in the urban and built environment as well. I would further go onto suggest that as an architect, designer, writer, or artist, one is trying to arrest these ‘spots of time’ to then share these experiences by translating them into the tangible. To articulate the inarticulate, “to push the world in a certain direction, to alter other people’s idea of the kind of society that one should strive after” (Orwell, 5). These types of qualities or “valuable elements may be easier to experience in art [or architecture] and in anticipation, than in reality. The anticipatory and artistic imaginations omit and compress, they cut away periods of boredom and direct our attention to critical moments and, without either lying or embellishing, thus lend to life a vividness and a coherence that it may lack in the distracting woolliness of the

present” (De Botton, 15). Maybe as architects that is what we are ultimately striving for, to capture those feelings and moments in the built form—the accumulation of endless hours of jumbled thoughts, sketches concepts, crits, and process, all to crescendo in a ‘vivid’ and ‘coherent’ final product. So that someone else can say, “yes, that’s’ it, that’s why I love that building, that room, that landscape, I get it.” Despite the thrill and pleasure that travel can provide, I have to admit that I missed the creature-comforts of home. Not only does travel enhance appreciation for other places and cultures, it also intensifies awareness of Canada’s own beauty, diversity and uniqueness. It is nice to be back and have those modern conveniences restored. And as I write this now, I wouldn’t want to be anywhere else—the tsquare is retired for the time being, my laptop is back where it belongs, in my lap— my extra wide screen Toshiba as necessary to facilitate those CAD drawings with ease, and my second-of-the-day, XL Timmy’s coffee remains faithfully at my side. But that doesn’t mean that I have forgotten what I have learned or experienced, and it doesn’t mean I wouldn’t do it again in a heartbeat, because I know I probably will. Another place, another project, another time. I guess it’s all about the realization and awareness—the taking and learning from these experiences that help to form my own life-views and purpose that is so vitally important, even if sometimes I have to learn to embrace the hypocrisy. And that is why I went to Turkey—to build a bath, and to have one as well. satisfies in a more elemental way as well: “in a more fugitive, trivial association of the word exotic, the charm of a foreign place arises from the simple idea of novelty and change…we may value foreign elements not only because they are new, but because they seem to accord more faithfully with our identity and commitments than anything our homeland could provide” (De Botton, 78). I have lived and worked overseas on various occasions, and these travel opportunities have enriched my understanding of the importance of cultural diversity, its relationships, and its modes of cultural production. It is necessary to move beyond the veneer to discover richer and more profound personalities and elements of place that foster global understanding which in turn, is a vital proficiency when working in a creative career field. The prospect of integrating and collaborating with other cultures in an effort to encourage and advance the professional field of design, social activism and international cooperation are ideas of great personal interest.

De Botton, Alain, The Art of Travel. Penguin Books. New York: United States of America, 2002. Dissanayake, Ellen, Art and Intimacy. University of Washington Press. Washington: Unites States of America, 2000. Orwell, George, Why I Write. Penguin Books. New York: United States of America, 2005.

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In the right light, at the right time, everything is extraordinary. -Aaron Rose

HAMAN PROJECT Layne Arthur

320-321 Christiane Pham

Aileen Zubriski

Brad van Schie

Martina Riva

SPAN Our intent for SPAN was to use minimal materials and be self-supporting. With this we only used four materials: wood, wire, metal turn-buckles and copper piping. Our SPAN can be closed and left standing up tall, or opened and used as a bridge in four different directions. The holes are intended to eliminate redundant material and to create a unique design that letâ&#x20AC;&#x2122;s light ďŹ&#x201A;ow through the structure.

355 DAYS + 10 DAYS CELEBRATION An Exploration of How Museum Behaves in Multicultural Fabric Ben Chen Advisor: Prof Herb Enns Counselor: Prof. Jae-Sung Chon

I don’t have a car, so I took the bus and spent the whole week traveling in ﬁve different parks in Winnipeg. I found it would be very interesting if build several museums in various destinations rather than only one site. The contents are different, but all for same contemporary mission or idea 我没车，坐公共汽车花了整整一个礼拜的时间在温尼伯五个不同的公园闲逛。我发现在不同的场地建多个博物馆是件很有趣的事情，至少比一个好玩的多。她们承载的内容虽不同，却是为了同样的一个现代的想法和目的。

Relationships with people from different backgrounds in our communities seem to result in negative social outcomes, such as lack of civic participation, lack of networking, dissatisfaction with quality of life, and decreased levels of trust. The main problem is “congestion of culture”, resulting in misrepresentation of clutural beliefs and behaviors. Although those social boundaries are invisible, they threaten our multicultural development and block the community’s ability to grow in a healthy and vibrant manner. Multi-Culturism as Phenomenon Since its early days, Winnipeg’s multicultural fibers have been important creators of the city’s fabric. Now, according to Statistics Canada, Manitoba is the most ethnically diverse province in the country and more than 100 languages are spoken across Manitoba. Winnipeg reflects that diversity with large Ukrainian, German, Polish, Icelandic, Filipino and Chinese communities. Winnipeg also boasts the largest French speaking community west of Quebec and has a substantial First Nations community. Multiculturalism as a Barrier? As we enter the 21st century, multiculturalism and cultural exchange are recognized as vital to our continuing growth and development. Winnipeg immigrants, particularly first generation, continue to be conservative in their lifestyle and way of thinking. Their value system is based on the overriding importance of the family and a strong attachment to their origins. Naturally this value system was bound to conflict with modern realities posed by life in Canada. The result has been a gradual adaptation to the North American way of life through the amalgamation of old and new.

Why Museum?

“Museums are emerging in the 21st Century as among the most

powerful media of communications, teaching and inspiring their growing number of visitors. A museum is a place where minds and hearts can be engaged.

Using the many techniques and technologies available to museum communicators and designers, today’s museum can inspire, educate, and even

change people’s lives in a positive direction.” “To visit the museum is to

keep an appointment with

history and to understand that we are not mere onlookers, but personally involved.” http://www.canadianmuseumforhumanrights.com/

NESTING A new comer moving into Canada, like a bird ﬂying into another bird’s nest, needs time to adjust and accept a new environment. The deﬁnition of nesting doesn’t mean now immigrants need totally give up their traditions, values and personalities. INTERWEAVE In most cases, multi-cultural society doesn’t provide only one solution when dealing with the issues of multiculturalism. The interweaving nature of a multi-cultural society can cause “culture-congestion” or “culture-

shockâ&#x20AC;?. SUPPLEMENT This diversity beneďŹ ts our society and community. The relationship of supplement can be expressed through different aspects, such as food, clothing, language, cultures, and games.

326-327

CANOPY AND GROUND CONSTRUCTION Matthew McFetrick

Part A This project involved making a 6” x 6” (inside dimension) x 1.5” deep wooden frame. The frame was to be joined so that it may be taken apart and reassembled. I was then asked to take this frame and go out into the world to search for two physical ‘events’. The ‘events’ were to mark an interesting co-existence of the built and natural worlds. I record them by placing the frame on the ground ﬁlling the frame with plaster. The two ‘events’ I selected were a manhole and a grouping of rocks.

Part B The next step involved cutting out a 3” x 3” “window” from a piece of bond paper. This window was placed over the plaster recording to “mine” one interesting fragment. The ﬁnal task required great care in observing the view through the window. Two reproductions were required of the single selected view. I created a black and white version in graphite pencil and a colour version in watercolour. Each enlargement was a 100% enlargement of the origional 3” x 3” view.

Part C I then cut out another 3” x 3” square from a piece of bond paper, and now “mined” the graphite and watercolour renderings in order to locate an interesting fragment. I then used my favorite fragment to create a model translation of the site/sight. Constructing a 9 square grid, I attempted to accurately represent and communicate what I observed through the window by integrating the grid with a mixture of sand and glue. The purpose was to sculpt a three-dimensional landscape enlargement of the view.

Part D I then deﬁned a “situation” through an installation/construction that embodied both “canopy” and “ground”, that responds to my particular landscape context. In the 1:50 scale construction I considered the sequence of approach and departure and places of pause, reﬂection, and repose along the way. Light and shadow were important considerations in this stage of the project. The design used inspiration from the rigid square shapes created in the impression of the manhole. I incorporated the square shapes into the design by repeating it, breaking it up, and transforming it. The design involved 2 canopies, designed with the proper support systems to resolve the forces and transfer the loads. Staircases were provided for interaction with the environment and connection to the different elevations. The tree points outwards to the exposed landscape’, inviting the occupant to engage with the environment. The occupant can encounter various points of interest presented by the strategic placement of translucent and opaque walls. The ground is exposed to reveal its intricate nature and to tie the landscape and the structure together. The construction allows the sunlight in during the early hours and provides shading for the peak and late hours.

JUST A SUGGESTION Spencer Tromblet

328-329

SANDBOX Image submitted by: Tom Alston work by PMQ Arch

330-331

332-333

BIO-HELP BIODEGRADEABLE SHELTER FOR DISASTER RELIEF Todd Blackman, Cassandra Hryniw, Matt Vodrey, Darcie Watson

Mission Bio-degradable Habitable Emergency Living Pod has as its mission the provision of temporary emergency housing to the vast majority of the tens of millions of people around the world who face housing loss from natural and man made catastrophes. Bio-HELP provides basic temporary amenity of shelter, water and security to enable the individual or community to re-establish itself over a 6 month period. The structure is portable and easily assembled. At the end of the structure’s life its shell structure biodegrades and the nutrients of the shell’s material feed the embedded seeds that can be used to grow staple foods leaving no other residue than biodegradable products. Research and Precedents Initial research into existing emergency relief shelters and temporary structures as well as the global situation of displaced or persons facing home loss enabled the formulation an alternative brief and ideas that incorporated bio-degradability and the consideration of alternative materials for construction. These preliminary strategies and ideas were tested and a critical and detailed brief was developed along with and specific performance criteria. These criteria had to consider factors such as the diversity of locations, climatic conditions, the range of cultural and individual uses, the degrees of portability and the material issues of bio-degradability and duration. Material Tests Bio-HELP aims to transcend cultural specificity, avoiding the negative connotations of refugee camps. Geographic adaptability is configured by the different rates of bio-degradation and different embedded seeds. Shelter Design The shelter design developed a series of interlocking double curvature (self supporting) shell parts that can be deployed around a central column and a series of floor mats. Erected the shelter is big enough for 5 persons. The shells are stackable for transportation purposes and can be individually used as sleds for example or single person shelters. The shells are made from seed impregnated bio-polymers and are loosely connected along their seams and allow for ventilation and light to come in through the gaps whilst keeping out insects. The central column is termed life stack and stores a small supply of water and a secure place for valuables. Shell Creation Various material explorations were carried out to determine the viability concepts, and the balance between the structural stability and integrity bio-polymers in thin shell design. The tests utilized readily available starch polymers to cast the shells and floor elements incorporating impregnated and meshes for additional stiffness.

source: http://www.umanitoba.ca/architecture/ arch/works/new.building.material/newbuilding/biohelp.html

of the of the based seeds

RING TIGHTENS OVER FLOOR BASE CLIP ATTACHING FLOOR TO LIFESTAKE

LOLLIPOP

The proposed use of this lounger is for social gathering. Lollipop is to be placed in an atmosphere that is vibrant with social activity. The lounger encourages social interaction by people sitting all around the chair not just in the traditional place, but also on all edges. The dynamic shape of the piece gives it a distinct look that will draw participants towards encouraging use.

338-339

Designer: Matthew Vodrey Design Advisor: Herb Enns Metal Fabricator: Wilfred Funk Upholstery Advisor: George Goldstein Palliser Furniture Coordinator: Jack Cammarata Palliser Furniture Advisor: Paul Dureault Abrasive Water Jet Cutting Services: Trevor Hancox @ Coolcutz Vehicle Transportation: John Toole Special Thanks to Everyone in R+D at Palliser Furniture who helped with upholstery, sewing, and just plain helpful curiosity.

VIMY RIDGE MEMORIAL PARK PUBLIC ART COMPETITION PROPOSAL

342-343

spmb_projects (Eduardo Aquino and Karen Shanski with Jia Liu)

PROCESS: PARTICIPATIVE DESIGN But a central objective of community-based site specificity is the creation of a work in which members of a community – as simultaneously viewer/spectator, audience, public, and referential subject – will see and recognized themselves in the work, not so much in the sense of being critically implicated but of being affirmatively pictured or validated. Miwon Kwon, in One Place After Another The engagement strategy will create a dialogue around the project to establish a link between the people of Wolseley and the artists. If there is something in common with all Wolseley neighbours it is language. Through language we establish relationships and build community. Words become the link between people, private and public, past and future. We will invite the people of Wolseley to contribute WORDS to the project. Each household will be asked to donate a maximum of 4 words that represent a sentiment about the place; a desire or a dream; or the memory of an event that took place in the neighbourhood. E.g.: blue skies forever; playing by the river; running through the park; cleaner streets; we first kissed here; the tree on the street, etc. With all the collected phrases we will compose a narrative, a story, a history of Wolseley.

COMMUNITY ENGAGEMENT

Art that is rooted in a “listening” self, that cultivates the intertwining of self and Other, suggests a ﬂow-through experience which is not delimited by the self but extends into the community through modes of reciprocal empathy. The audience becomes an active component of the work and is part of the process. Suzi Gablik, in Connective Aesthetics: Art after Individualism If the project is not about other heroes from other times but it is about the people, everyday heroes of the present, then it is about the people of Wolseley, the primary users of the park. The ﬁrst character of public space is the public. We propose an engagement strategy to create an opportunity for direct participation of the community in the project. If public space is about the people, then the people should participate in the process.

LIVING HISTORY

Being involved with the arts can have a lasting and transforming effect on many aspects of people’s lives. This is true not just for individuals, but also for neighbourhoods, communities, regions and entire generations, whose sense of identity and purpose can be changed through art. Peter Hewitt, in Who will be transformed? Monuments, including the ones in Vimy Ridge Park, commemorate heroic past moments. Even though Vimy Ridge represented a victory towards freedom and democracy, creating a hopeful path for generations to come, maybe, after these 87 years, we are in a historical threshold where the notion of celebration will also shift, promoting and celebrating peace and communication among people. Public art challenges the traditional notion of monument by reinventing public space, unfolding new modes of celebration, placing the public at the centre. Our notion of a living history should address qualities of the present, to remember the present as it is lived, about/for the people that are alive and participating in the life of a community.COMMUNITY

TABLE The dinner table is the center for the teaching and practicing …of conversation, consideration, tolerance, family feeling, and just about all the other accomplishments of society… Judith Martin (Miss Manners) Traditional monuments in public space have, for most of the time, glorified a moment or an individual. This glorification has lent the convention of obelisk-like objects and statues: frontally presented, privileged sitting, usually taller than the people, placed straight up, installed on a base, etc. These overpowering features have unconsciously distanced the people and altered their interaction with public space. We take an opposite position by inverting these features in order to bring the people to the project, and to develop a situation where interaction is valued – the return of the public. We consider the project to be horizontal, close to the ground, harmonious with the existing landscape, accessible, and appealing to the most diverse activities. When getting-together around the TABLE participants engage physically, socially and emotionally as ideas, inspiration and a sense of community take place. A TABLE can make a family of strangers connect through sharing, talking, listening, etc. The unpredictable nature of what happens around a TABLE sets the stage for an event to occur – not prescribing the event, but having the community to establish it. The WORDS donated by the community, to be imprinted on the TABLE, will allow the people to recognize themselves around the TABLE by being affirmatively pictured and validated. The TABLE and collection of WORDS become not the main subject but the canvas that will create the space of happening.

SITE CONSIDERATIONS Q. Why didn’t you make it larger so that it would loom over the observer? A. I was not making a monument. Q. Then why didn’t you make it smaller, so that the observer could see over the top? A. I was not making an object. Tony Smith replies to questions about his six-foot steel cube. The designated site for this public art project plays an adjacent role to the whole park’s program. It moves away from the primary vocation as a playful ground for kids, as we see along Home Street, to a more isolated, quiet zone along Canora Street. The path network present on the site privileges the orientation north-south, servicing pedestrians moving in and out of the neighbourhood via Portage Avenue. This elongated disposition clariﬁes the vocation of the site as a passage. The project will preserve this function adding to a network of speciﬁc spaces along the proposed table, to respond to the diverse set of activities that may take place. In this manner the project is responsive to the site by creating these spaces without restringing to the existing uses. The table will assume the size of the community, to be carefully observed during the community consultation process.

PAYMENT FOR BEING THE PROJECT MANAGER OF WAREHOUSE JOURNAL 14 $11,000.00 -Endowment Fund

COST OF WAREHOUSE JOURNAL 14

Warehouse is a non-proﬁt design journal, edited and designed by the students of the University of Manitoba Faculty of Architecture. Warehouse intends to foster discussion towards the education and activity of design on the Prairies through the work of both students and professionals. Warehouse is also interested in exploring the notion of collaboration; the designer with the musician, artist, contractor, craftsman, biologist, and writer to name but a few. We welcome outside contributions in the form of critical review and exchange of ideas presented. Warehouse welcomes, and in fact requires, sponsorship.”

$ 14,016.00------------ printing cost $ 1,977.90------------------- dvd cost $ 3,000.00------------dvd authoring Sean Radford ____________________________ $ 18,993.90------------------total cost

It should be noted, that the Warehouse Journal would not be possible to sell at it’s current price point without ﬁnancial aid. This year, we had greater sponsorship than ever before, and we are very greatful to our sponsors for their generosity.

SPONSORSHIP:

It should also be noted that in no way did sponsorship inform the content of Warehouse 14. However, we wish to acknowledge sponsorship in a truthful and thank-ful manner. As such, we have allowed these two pages in Warehouse Journal 14 to be dedicated to the acknowledgment of sponsorship.

Breakdown:

348-349

From: “Warehouse volume 1, number 1 October 1992

2 Project Managers: $7,250.00-Jennifer Antoniuk $2,750.00-Hope Gunn 1 Assistant Editor: $1000.00-Andrea Kennedy

$ 5,000.00--------EQ3 $ 1,500.00--------Raymond C. Wan Architecture $500.00-----------LM Architectural Group $250.00-----------U of M Bookstore $250.00-----------H.T.F.C. Landscape Architecture $100.00-----------Superlite Lighting Ltd $100.00-----------Supra Builders $100.00-----------Loewen $100.00-----------Number 10 Architecture $100.00-----------G.P.P.A. $100.00-----------BridgemanCollective $100.00-----------AGB Arch $100.00-----------Andrew K. Wach, Arch $50.00-------------Corbett Cibinel Arch ____________________________ $8,350.00---------total sponsorship BOOKS PUBLISHED: 900 COST: $20.00 ___________________________$18,000.00-------possible revenue

As a ﬁnal note, projects contained within Warehouse Journal 14 were chosen based on several factors. Special effort was made to search outside the Faculty, in order to respond to the original intentions of the Warehouse Journal, as well to respond to Dean Russell’s personal example. All projects printed are from students, instructional staff, and alumni of the Faculty of Architecture at the University of Manitoba during the 2004-2005 regular session.

above: furniture studio hosted at EQ3 ofďŹ ces

For believing in the Warehouse Journal and the students of the Faculty of Architecture year after year... a special thank-you to...

EQ3

Abdulhardh Andrishak Anthony Aquino

PROJECT INDEX

Arthur Banman

Barton Borton

Benoit Blackman Blouw Boulet Boulton Bradshaw Bradshaw Braun Cantalejo Castillo Cheam Chen Cholakis Chou Clarke Cochrane Comeau Cotton Dai Derkson Doran Dorward Dunford Edge

Ediger Emek Enns

Epp Fempel Field Fok Forster Gelhorn Gill Gilmour Girardin

Ansam Gary Jamie Lee Eduardo

E.A.M.E.S. 150 Human Rights Museum 191 Annerito [Blackened] 124 Design Build 138 Vimy Ridge Memorial Park Public Art Competition Proposal 342 Layne Haman Project 318 Michael Hundert Jahriger Platz 222 Library Reclaimed: an Annexed Relay 188 Screen Casting 194 Candace Span 276 Ken /A New Facility for Collaborative Research, Production, Exhibition and Performance in Music, Art, and Design/’ 221 Adrian Light as an Experiential Phenomenon 182 Todd Bio-Help: Biodegradeable Shelter for Disaster Relief 332 Dirk Span 276 Cedric Design Build 146 Wiliam Steve E.A.M.E.S. 150 Lag2 Interstitchal 198 Cameron Design Build 146 Span 276 Kyle Design Build 146 Extended 087 Andrea Seoul Trip 160 Heidi C.A.S.T. Building Analysis 086 Sylvia Span 276 Tat-Liang Professional Ofﬁces240 Kennedy Street 192 Bin 355 Days + 10 Days Celebration 321 Urban Soft Vessel 214 Anne Human Rights Museum 191 Jeff Human Rights Museum 191 Kasey jak 116 Maya Truth About Wallpaper, the 154 Jac Monopoly Reailty 148 Brent Dramatic Contrast 270 Tian Kapyong Urban Reserve Site Analysis 102 Anastasia Span 276 Kelly Hundert Jahriger Platz 222 Craig Light as an Experiential Phenomenon 182 Julie jak 116 Andrew Campus Community Call & Response 278 Inclusive Juxtaposition 286 Living/Space 100 Erin Edinburgh Sketches 097 Matthew Turning a House Into a Home 091 Herb /A New Facility for Collaborative Research, Production, Exhibition and Performance in Music, Art, and Design/’ 221 Ryan 1:50 292 Backlane Mobile 079 Candace Self-Realization 300 Scott Material Encounter: FullScale Model Construction 308 Vance Span 276 Ryan Spiritual Space 234 Jane Traces: Kitchen Study 296 Pawanpreet Material Encounter: FullScale Model Construction 308 Chris Traces: Kitchen Study 296 David Backlane Mobile 079 Traces: Kitchen Study 296

Gordon

David

Gougeon

Monique

Gould

Marilyn

Green Harvey

Anita Andrew

Heibert Henke

Michael Meaghan

Herperger

Cloin

Horch Hryniw

Matthew Cassandra

Hsieh Hui

Yu Ping Becky

Hunter

Meaghan

Hylnski Isfeld Jacobucci

Katie Steve Christa

Jenkins Joshi

Jennifer Om

Kasprick

Lisa

Kasten Katz Kennedy Kirton Klassen

Nathan Alec Andrea Marshall Michael

Kohut

Sonya

Krautheim Lamoureux Lanterman Lauman Lazaruk

Romy Lindsey Sam Brent Allison

Lehenbauer Maggy Liu Jia Mah Malanchuk

Priscilla Kirk

MarcincoJerris

Audrey

Marnoch

Evan

McAlister McFetrick

Melissa Matthew

McVeigh Melo

Miranda John

Meuser

Abby

Morphy

Kyle

Light as an Experiential Phenomenon Refugee Project, the: Exhibiting Exhile Kapyong Urban Reserve Site Analysis C.A.S.T. Building Analysis Hundert Jahriger Platz Railmarket Trails End Camp Fusion Building Powers of Ten Winter Cities + Movement Menningarhus a Akureyri Material Encounter: FullScale Model Construction Prairie Tide Bio-Help: Biodegradeable Shelter for Disaster Relief To Play is to Learn bill eakin house: living fiction Vivisection Kapyong Urban Reserve Site Analysis Hundert Jahriger Platz lifePOD Intervention Spatial Analysis Intervention Intervention Powers of Ten Spatial Analysis Exchange Studio Professional Offices240 Kennedy Street Screen Casting Suspended Inertia Human Rights Museum Wall at Storm King Screen Casting Metropolitan Slice Kapyong Urban Reserve Site Analysis Material Encounter: FullScale Model Construction Spiritual Space *Construction Kit System* C.A.S.T. Building Analysis Human Rights Museum Concrete Lamp Intervention Spatial Analysis Landscape Lookout Vimy Ridge Memorial Park Public Art Competition Proposal Design, Studio + Lifestyle Suburban Development in an Urban Setting Aboriginal 21st Century Habitation: A Spiritual Rebirth 176 Hi_Cube [Studio] Modus Operandi Screen Casting Canopy and Ground Construction Urban Intervention Night Club Design Professional Offices240 Kennedy Street Transformed Fiction Into Architecture

182 203 102 086 222 136 108 101 260 178 186 308 246 332 084 236 132 102 222 104 264 262 264 264 260 262 162 192 194 288 191 302 194 120 102 308 232 212 086 191 312 264 262 076 342 088 125

110 098 194 326 106 168 192 122

Temporality vs. Permanence 164

Mueller

Chelsea

Murray Neimiec

Allison Stephanie

Nejmark

Josef

Nesbitt Neufeld

Lindsay Colin

Nordstrom

Kristina

Pabustan Pauls

Chito Zach

Penner Perry

David Adrienne

Petrak Pham

Dan Christiane

Prefontaine Guy Prokopchuk Alaina Pyszczek Radford

Przemek Sean

Reimer

Don

Rempel Ritchot

Warren Pamela

Riva Rogers Roper

Martina Natalie Matt

Ross

Kristin

Ross Rudd Scanlan Shanski

Leah Joshua Catherine Karen

Siemens Sosa Spence Stechesen Sturgess Sun

J. Andrea Evan Les Jeremy Wei Ching

Surasky

Damian

Tennenhouse Rachel

Thomas Tolentino Tromblet

David Angel Spencer

Trubka Unger van Schie Vodrey

Radana Kim Brad Matt

Glow 257 Material Encounter: FullScale Model Construction 308 Design in Canada 170 Facial Expression 229 New Light 282 Professional Offices240 Kennedy Street 192 Sanctuary 206 Professional Offices240 Kennedy Street 192 School Ground as Game Board 240 Human Rights Museum 191 Hundert Jahriger Platz 222 Library Reclaimed: an Annexed Relay 188 Modus Operandi 098 Electric Museum 244 Midplane 112 Kapyong Urban Reserve Site Analysis 102 Screen Casting 194 Design Build 144 Span 320 Esplanade Riel 138 Around the World with a T-Square 313 Process 238 /A New Facility for Collaborative Research, Production, Exhibition and Performance in Music, Art, and Design/’ 221 Professional Offices240 Kennedy Street 192 Human Rights Museum 191 Light as an Experiential Phenomenon 182 More than just the Building 272 Span 320 Body Mediation Device 118 Light as an Experiential Phenomenon 182 1:50 294 Carbon Copy 147 Just Another Run-Down Neighbourhood 126 Light as an Experiential Phenomenon 182 More than just the Building 272 Spatial Analysis 262 Spiritual Space 233 Human Rights Museum 191 Vimy Ridge Memorial Park Public Art Competition Proposal 342 J. A. Russell 045 Pop Couch 277 Human Rights Museum 191 Human Rights Museum 191 Human Rights Museum 191 Kapyong Urban Reserve Site Analysis 102 Human Rights Museum 191 The Dynamic of Decay 114 E.A.M.E.S. 150 Prairie Essence Captured 280 Cubes and Rods 078 Just a Suggestion 328 A Conversation Piece 274 Spatial Analysis 262 Span 320 Bio-Help: Biodegradeable Shelter for Disaster Relief 332 Lollipop 338

von Tiesenhausen Mike

Voordouw

Johan

Wall Watson

Crystal Darcie

White Whitley

Todd Danielle

Wiebe Wiese Williamson Wojnarski Workman

Justin Kim Micheal Kelly Andrew Wormsbecker Amanda Yetman Megan Yeung Stephanie Zeng Jiameng Zhang Geng Zubriski

Aileen

C.A.S.T. Building Analysis Cubes and Rods Design Build Library Reclaimed: an Annexed Relay Spiritual Space Berlin Studio 172 Bio-Help: Biodegradeable Shelter for Disaster Relief Human Rights Museum Living Fiction Living Fiction 1:50 Berlin Studio Winkler Odd-itorium Winkler Odd-itorium Design Build jak Pop Couch [Quasi] Meditate, the E.A.M.E.S. E.A.M.E.S. Lag2 Urban Habitation Span

THANK-YOU...

086 078 142 188 230 332 191 258 284 290 174 226 226 146 116 277 080 150 150 208 320

This process has been insane. While I have been able to balance most things in my life, there are many people for whom I am grateful and to whom I owe a great debt. I would like to thank those who worked with me. Hope, you are a rock. You kept me grounded and sane and inspired. Thank-you for your patience and hard work. I remember the day I dragged you from the studio into the interview room. Thank-you. I could not have done this without you. Andrea, you have always been there to lend a hand and an ear. You are thoughtful and wonderful. Sean, you have always had a smile and an easy-going attitude, in spite of the fact you were working under a condensed timeframe with fairly openended directions... Thank-you MAINstudio! All of the students at the MAINstudio were so kind to take the Warehouse Journal in during the construction. You are all so very friendly, kind, and supportive. Thank-you for putting up with the mess! Thank-you Herb. For a million reasons. You are the reason this journal took such a long time! ...and for that, this journal means so much more. Your guidance and involvement is so very valued. You inspire. For that, we thank you. A special thank-you to John Sellors, Nancy LeBlond, and Liz Hutchings. Each of you has openly shared your knowledge of Uncle Jack. You have been more than helpful in every respect. Thank-you for allowing a stranger to hear some of the more personal aspects of your memories of a man who was a father and an uncle to so many. To Marcella, I would claim you as my personal mentor, but I would not be the only one. You have an entire student body open and awake to design because of your passion and ability to teach. You are so very strong and caring, inspiring and motivating, and patient. You are wise and wonderful. You are Marcy. Thank-you for everything! I would personally like to thank all those who helped with our questions, the large and the small. Linus and Denise, Ken and Mandy, your words and your journals were so motivating! Brian and Mike at Proliﬁc: thank-you for your patience. Dean Witty and Robbin Watson; for your guidance and support. Kristina and Susan; for getting us started. Rosemarie, Shamina, Yvonne and Gloria; for mass emails galore and more! All the Staff at the U of M from private funding to purchase requisitions! All those who sponsored us and put up with my relentless phone calls, faxes and e-mails. I would like to thank my parents and my sister. My parents have no idea what I do, but hopefully this journal will explain a lot. Ellen, thank-you for having an absent minded maidof-honour! I promise to get your storybook done now that I have some time. To my friends; those who haven’t seen me in a year and wonder if I am still alive, the answer is kicking and screaming! And we will all make plans soon! Suzy, I have missed you terribly! Gina, Jamie, Kham, you are my fountains! To anyone that I have not named, please know that you are in my heart, and for all your help and patience, I would like to thank-you! And ﬁnally, to my best friend, love, and main squeeze... You keep my head high. 1-4-3, Jay. My world is bright because you are there. :Jennifer ________________________________________________ To my friends and family, thank you for your patience, support and good humor. And to Jenn, thank you for sharing this journey with me. :Hope

John A. Russell, furthest right, standing photo courtesy: John Sellors

COVER COMPETITION WINNER: Melissa McAlister DVD COVER COMPETITION WINNER: Kerry West and Paige Wilson