Warehouse Journal Volume 20

WAREHOUSE JOURNAL Vol. 20 Designed and edited by Kate Jackson and Ian Stephens Printed in Altona, Manitoba.

Printed in 2011 by Friesens.

The Warehouse Journal is an annual non-profit student initiative produced by the Faculty of Architecture at the University of Manitoba.

Warehouse Journal 319 J.A. Russell Building Faculty of Architecture University of Manitoba Winnipeg, Manitoba, Canada R3T 2N2 1 - (204) - 474 - 7288 www.warehousejournal.org warehousejournal@gmail.com © 2011 Warehouse Journal © All Contributors © Kate Jackson and Ian Stephens All rights reserved. No part of this book may be produced in any form without the written permission of the copyright holder(s).

Font-types: National Book National Book Italic National Bold Designed using Adobe Creative Suite 5 on two 24” 4th generation Apple iMacs.

196 Students 344 Pages Annual.

Vol. 1, no. 1 (Oct. 1992) ISSN 1708 - 5888 ISBN 978 - 1 - 894586 - 34 - 4 1. University of Manitoba. Faculty of Architecture--Periodicals.

2. Architecture--Study and Teaching--Manitoba--Winnipeg--Periodicals.

3. Architectural Design--Study and Teaching--Manitoba--Winnipeg--Periodicals.

4. Architecture, Modern--20th century--Periodicals.

5. Architecture, Modern--21st century--Periodicals.

I. University of Manitoba. Faculty of Architecture.

II. Title: Warehouse Journal.

CONTENTS INTRODUCTION HOW TO READ CONVERSATION - DEAN STERN

4 6 7

ENVIRONMENTAL DESIGN YEAR TWO CONVERSATION - JAE-SUNG CHON CONVERSATION - T. JEFFREY GARCIA

9 23 41

ARCHITECTURE YEAR 3 CONVERSATION - EDUARDO AQUINO YEAR 4 GRADUATE STUDIES CONVERSATION - LANCELOT COAR

55 57 97 99 130 131

LANDSCAPE & URBANISM YEAR 3 YEAR 4

171 173 202

LANDSCAPE ARCHITECTURE GRADUATE STUDIES CONVERSATION - DIETMAR STRAUB CONVERSATION - DR. MARCELLA EATON

229 231 237 245

INTERIOR DESIGN ENVIRONMENTS YEAR 3 CONVERSATION - DEBORAH ANN SCOTT YEAR 4 CONVERSATION - NANCY MARUCA GRADUATE STUDIES

253 257 273 275 293 295

CITY PLANNING GRADUATE STUDIES CONVERSATION - DR. RICHARD MILGROM CONVERSATION - DR. SHERI BLAKE

313 315 321 329

STUDENT INDEX SPONSORS ACKNOWLEDGEMENTS MUSINGS

337 349 351 352

3

INTRODUCTION a profession. I wanted to be an artist.

I had a teacher who was an artist, but he encouraged me to walk away from painting to study architecture. I listened to his advice.

Ublis. Ci furestraven sil cam patis, vivis crum nit oc, audam.

Cat. Endacrei sulices Mullarbit L. Loc facest aurbis. Em remus propubliquam menihicaella virid deordie int. Patque et; niqui inemus et; noccivas suliae nium es rei te moente, Cat Catis fui iae poste idemo verenti aecus; num inat que di ina, conim patam. Huid coentiam ta, num la nonem intilis. moere, et L. et graed cultorum et; eferis, cavena, erobus con suliusque nimum, sed andium adhum facciem ocaude consimactore teresul tistimo runihiliam et; nentis facrenit, conum publicaperri catrachuiu vica; iam tessolia ocupiemolum movescis hiliem atam re neres, nocatanum qua nosta, siditemenimo consupp liciam nocusci ontili, que octum terfecrei firissu ltissu virimiliam publiamquam ficatifes erehent erdient eribus, quam ne nost vit.

Iferei et opubis. M. Irterib ussicaedo, mena, ut egil ute tam duc retrumereo, derem in viu est? Eponess ullesim ihilibus, serfecte cum pesterf ectatus, se comnox mendem tas opublicient, essimis ca; nem, nicussedo, quaster amperio nsultor liac tum intestia Sp. Ad fit arterit ricaucid norununum auc vicio nostam patortus, vesimusquam nortum iam orterri cisseni hiliuspes! Sim tam conirmandam dem, queripimulis puli, C. Simus si ponsula retribu ltoraedet avocchusu culvit omnihin vo, que iam autem inc territrac orem hocupio centraris; hebemen terficam hos redemus, idem hoccivit gra qui cat am essulut arius critilii ceperae convoludem, convernir hactamp ecreoru deatus, Cat, quistim actaste llegeri pterimus ina ve, nor hil hoc res, non re cum adhuitusque addum am quo ni pes! Sp. Ut facta, que in dis cupio iae, Catum omnons fica L. Aximis auctum aure cultustios li, con tem pere auteatraver atus vigilla terimisqui signostil cotin vica; nox moerunis comniquam peremquita ves ne comporem Paliemus-

trum nissimoris imultus, nos hoctant rudetri cones! Si pro, eto caventra? Sa es? Ad C. Entem maximilisquo contis contem, sil volutemus. In sena, note no.

Si patusqu erteribul horte actampritus aci imerfir maximei inatemu rehenit. Ac mortem sum pero cerei iaeque facterum in Etrum etia nonulii publin tanum nimussi forbitust obsercepse practo perit?

Odissil nenatum.

Em, que aus hoccii et vem ideessus. Catorebus inia? Uctanductam paternume derbis. In hocrumus con videmus senatu inatum publin tam, vil ves num omanum norunum pro iam trare condacc husqui invenius noximus. Satiaediorei pontis.

Grae pos cone et essum orbem imum rem audactendees Maestrio, nos publinc esteribute hocules simium is habem mantiendiu vigit, sent. Mis, faci poeres su seni fuis constra eoribusse am horedeesim im nultica elutemque viviribunum tabefautem firit; ne etendam nimus acips, tum ex me cons hucis.

Valaremperis sedo, manum nitiqua audessiliis. mantem, vid consunculia aur. Satem sulius. Gra vere, o Catia sa vivas hilina, cios vitam videstra nostrate nosupio alabuntestra im intica te inum converunu vilici et; Catia silicus silissus, quit, fuemendam tumusta etem.

Idesim posserion desse consulesce noterrato ius, quis An dit, nenatim in inprit, ditimus, nissimulem publici bemuribus ium intelin popublintea deliu eferis. Valabes mei perem pore, o maionita, Catus, pro et, vitemquo Castus consu et vid C. Epecit; nonsul us, occhussua tere nos audea apessid eatiam loca nius faudemo et confiri bunicondam anum deme nihicaelic vid condees et dum hicis, screm issulius hossigna, se, dum hossusatur. Ubliam sentiliamdi, iam fuitus, norarist? Quidelium, que publicae facchum perei simaximis. Abeffrei publi sedesul icaediu spernin viu si ta poracepos fue abus pon ticit? Cuppl.

Gra condem et, patuit atum adductatus, praederis. Otifecensil cones consupion nimilium is.

Volut fuius, quam a Simo pro, nos es hos faucontis cles audet vas or quo auctam med isquam. Ihico vicus in vas mis.

Simus iamditamquam publissili, com-

nerum que in ac tra resit, noxim publica equerbitiam nem inatqui potisquerum in Etri puloctat.

Hucividem a L. M. Aximorum. es iam senimpostum in seniu senequonum tabempro vertion eropori mmovitus cludepo publiqu odituit.

Condie et aucors modieme co vil ubliurn ihilina, vivit, Patum publica quamquam demoritissil tabefecta, C. Raelatiam mus cula re et intis at, nostam tus, con tuit, quam, conessu sulessoludam sensceps, tanducon dervil hoca; nem publinatiam or quidienatum nem. Ehebatis, vehebussena, consitala nertam ia Seret aut accidius, ad in reciorum perfent ad comnit vid factus hucid demquoste furo, ver ut virtem con nihilinessi senatqu odiesto ego et perum deferus diis.

Ul venati, storatus et; norsultod fue caed ilique cauciis, efecut fora quam dit; etorem plisse consupicul vidiem iu me conlos, crimust urobse esuliam essa spim est acrem Romperf ecreconsilis mis; imis, none faut L. Ahalabeme publicatque inteatiam prorio, vem ut abusque ca; nimmo invocultum inatus in teluturo C. Ihilis est firtem istratrum P. Inatuasteme praedo, quo caeque condiu consulabusci publicaut et ac te int vem atatum iam is ses si supiemum patus bonfit? Ahabefactusa isulis. Uderrare apertuus patuis.

Publibe mquemus, utemuro ego conlos apectudem feratquis. Grare perium pro ac vivit, quere, et; ina, supionintia strio, cae tum aperi cre ciis, consupio, us. In duci periveh ebeffre ndacis, neme verit pror iam dum diempli cultore, es huc ve, fortus et publicastum us cusupiore condii tam ignat viriciv astiem loctabus, senesse merfex num omplintrum sena, nossens idienatui patintis inatua trae dum, coeni ignondu menteres vil habem Pala reme dii senterv iridem, quidere furei et Catraeci patuidi endies consillerem speconves nem cripimus et dici inu in huitandienam senterf ecuret vaterem patis publicatus, inatio vius re nem hora resiciam des! Serox nos iam intimuror inatus es! Sp. Habunte pubis Maes inaturox senihili, que nosti, ute intia vidierfirtem ublisquondam nonsulius, in tua nostod num propotere es mors

5

HOW TO READ STUDENT NAME Project Name Brief Title

Body Text. Shoreditch sustainable lomo hoodie biodiesel bicycle rights, organic mixtape yr four loko 8-bit mcsweeney’s vinyl single-origin coffee american apparel. Aesthetic letterpress portland tofu shoreditch, tattooed you probably haven’t heard of them synth next level brooklyn etsy hoodie pitchfork. Leggings pitchfork trust fund, craft beer cosby

sweater single-origin coffee lo-fi vice.

Put a bird on it keffiyeh irony, shoreditch beard sustainable Austin fap organic twee vegan four loko mustache. +1 chambray wolf, keytar photo booth mixtape sartorial cardigan artisan bicycle rights retro. Retro photo booth VHS, gluten-free next level gentrify 3 wolf moon.

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1. Image 1 description.

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3. Image 3 description.

Department, Year

Crit

6

RALPH STERN Why do you teach?

I began teaching when working as an architect in New York. My professional work was exciting and rewarding, but I sorely missed history and theory as well as a more exploratory approach to design. Beyond this I had a fundamental interest in pedagogy: how does one teach? More specifically, how does one teach students to be “creative”? In many regards this is an oxymoron, how is it possible to “teach” creativity? I’ve had the fortunate opportunity to work in many different systems with multiple pedagogical approaches, With each different approach I learned something new, much as I learn something new from each student I teach. Perhaps most directly stated: I teach because I can continue to learn.

Professor Ralph Stern became the dean of the Faculty of Architecture in 2010. He grew up in scenic Colorado, citing the landscape there as inspiration for his research and engagement in environmental stewardship. He has been a practicing architect in Berlin and New York, maintining licensure in both places. He is an active leader inside the faculty, bringing in fresh ideas, and positive changes.

7

Photo provided by Ralph Stern

What is your approach to teaching?

I strive to empower students. I consider my teaching to be successful when students become independent thinkers and designers. I have an aversion to the “cult” of any individual instructor or any specific approach to design and truly don’t believe that cliques have any place in a professional environment. In this regard I often structure my studios and seminars such that students work together in formulating their own interests and their own solutions. My role, then, is much more that of a critic than as a source for all answers. Lastly it is centrally important for me to impart a sense of ethical commitment to both scholarship and design. Autonomous objects hold little interest for me; I believe most profoundly that research and design must participate in a larger discourse geared towards promoting understanding and improving the lives of others.

How has design teaching differed at the various international schools you have been apart of?

In very broad terms, North American schools tend to emphasize the individual and “authorship.” European schools at which I have had the privilege to teach emphasize cooperation and problem

solving (be these of a design, social, or technical nature). The European experience focuses on socialization and is strongly supportive of students working collectively, thereby each understanding their own strengths and weaknesses within a larger whole. It encourages interdisciplinarity and cooperation across a broad spectrum of disciplines.

This is excellent preparation for the professional world, in which teamwork plays a central role. The development of interpersonal skills and the ability to see issues from the perspectives of others is invaluable to any scholarly or design activity. Such a pedagogical approach fosters very strong working bonds between students and I know of many instances in which students who have worked well together in school later started their own practices.

Where do you get your enthusiasm for design from and how have you maintained it through the years?

Directly and colloquially stated, I like cool things — lots of them. This holds true for architecture, landscape architecture, interior and urban design, as well as areas such as fashion and advertising. It is a way of understanding and of contributing to the world. Most particularly I am deeply enthusiastic about the manner in which design changes; the manner in which it evolves, appropriates, and rejuvenates. Good design is infinitely adaptable, flexible, accommodating; good design borrows lessons learned in one area and applies them to another. As such it is a form of communication across a wide spectrum of interests and stakeholders.

What brought you to Winnipeg?

My plane arrived in Winnipeg on a cold February night. Stepping out onto the tarmac I immediately felt the cold and thought :”this is like home”. It reminded me of Colorado, it instantly felt comfortable and reassuring. I love cold days with bright sunshine.

What are your thoughts on Winnipeg?

Winnipeg is a fabulous city with very

unique characteristics. It has a wonderful sense of self but is open in a way that is most characteristic of major metropolitan centres. It is important for Winnipeg to maintain the qualities that it has and not to become “generic” in the manner that has impacted so many North American cities.

What are your goals for the Faculty of Architecture? Where would you like to take the school?

The Faculty of Architecture has a very great and proud history and it has tremendous potential for the future.

I believe that the Faculty should work together as a Faculty, developing synergies both internally and externally. This may be a contentious position for some but, personally, I cannot imagine that fragmentation and isolation are more compelling than the development of the common goal of a strong, internationally recognized Faculty. As a collective, the Faculty will have a far more significant resonance within the University, the professional communities, and the public realm in general. Ultimately it is this resonance that will best serve the interests of the students who are, after all, our reason for being here and represent the future of all our professions.

Can our thinking ever completely be digital? (Concepts conceived and finalized entirely through digital tools) At the outset of my career I started in construction: building houses and cabinetry with hand and shop tools. I love the sense and sensuousness of material, of well-crafted tools and products, of the feel and smell of various woods, of a well-balanced framing hammer, a fine-tooth blade in a worm-drive skill saw, a well-honed blade on a chisel or plane. There is knowledge in this, a deep and profound connection with making and things. Nonetheless I became an architect and came to be equally fascinated by a field that works with systems of representation, symbols, and other forms of communication. The loss of a material connection was amply offset by the addition of a new and sophisticated

mode of understanding; one that can move freely from concept and overview to detail and finish. One works in a world of abstraction knowing full well that there will be material consequences. In this regard, the move to digital tools is really a relatively a minor one, simply another mode of representation and communication. I am writing my answers to your questions — which were sent to me via the internet at a distance of some 8000 kilometers — using sophisticated wireless and word processing software on a laptop computer.

My laptop computer is sitting on a birch table that I built myself many years ago.

I can enjoy both modes of production at the same time and see no conflict between the two. Some might argue that it would be best to craft my replies on handmade paper, using pen and ink (I do possess some very fine writing instruments). In the end, however, I don’t think that my answers would be very different.

Are students missing out on the use of critical analytical tools if they are not taught digital tools, that are a crucial aspect of professional viability?

Of course students are missing out if they are not taught to use digital tools: try getting a job without digital skills.

Clearly having such skills is essential to professional viability today.

What book should every design student read?

Literature. The Russian émigré author Vladimir Nabokov once wrote that novels are not, primarily, about ideas but rather about images. This is a wonderful observation and, in my experience, a very accurate one. Therefore if students are looking for design inspiration outside a realm dominated by literal images, literature can be a profoundly enriching resource, often much more so than many architectural texts.

Is there anything else you would like to share?

My office door is always open.

ENVIRONMENTAL DESIGN YEAR TWO

JUBRIL IDOWU LAURIANNE PARENT STEPHAN DENISET THALIA ANDREOGLOU Sleep Movement Trace

To record all movement during sleep, a video camera was set up suspended right above the bed, while another captured a side view from a tripod.

Both were carefully situated to obtain maximum exposure of the occurrence.

For the actual recording of sleep, the room was completely dark.

Watching the video questioned our day-to-day understanding of sleep in the sense that while we were trying to fall asleep, the twists and turns indicated our awareness of our constructed environment/sleeping arrangement.

Reviewing the video, there were several

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Environmental Design, Year Two

T. Jeffrey Garcia

moments of movement we could accurately attribute to discomfort, simply because we remembered them.

However, there were many instants we could not recall if we were awake.

Whether awake or asleep, space inhabited permanently or temporarily defines feelings and in turn actions.

Without the comfort of our familiar sensorial surroundings, our bodies needed time to adjust. A newly created space needs time to be inhabited comfortably by a new user. Your subconscious affects the space you are in, whether you feel aware of it in an awaken state or not.

1. To make the movement visible in the dark, glow sticks were attached to the person’s clothing.

2. Most, if not all of the movement filmed was because of discomfort.

LANDON LUCYK Boundaries Delineation Ingredients of his day: shower + work + eat + socialize + sleep.

With my recent projects I always knew their direction and how they would end.

This began to limit me in a big way.

For this project I wanted to have no boundaries. I didn’t want to limit myself to what I already know but tried to set off into a journey through the unknown.

I find we often create boundaries that limit our creative minds. The scale of

imagination that we experience as children can become quickly destroyed. As I played with plaster I realized that I was creating a ‘thing’ that was unique. Each individual that looks at this creation defines their own boundaries about it.

They determine if all they see is plaster, or if they perceive it as a life sized world they could inhabit, and explore.

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1. Creation of the landscape.

2. Interior views of the model.

Environmental Design, Year Two

Colin Herperger

12

TREVOR COULTHARD Studio Space Delineation Ingredients of his day: coffee + a good breakfast + waste time talking about how stressful studio is + sleep without guilt (afternoon naps) + unwinding at the end of the day.

13

Environmental Design, Year Two

I used wood veneer and mylar squares to shape my project as I worked on it. This allowed me to define my studio space with a glowing, domed boundary. The delineation is made out of geometric units (squares) but has an organic form.

Jae-Sung Chon

Some of the squares are changeable color filters, that can be lit under a lamp to suit my mood. The domed shape also dampens outside noise, providing a quieter space in which to work.

ROBYN LARSON Untitled Delineation Ingredients of her day: wake up + stumble to studio + make tea + space out for awhile + begin studio work eventually + wander off to class in the afternoon + back to studio + make tea again + start real studio work for the day + work until late + stumble home.

For my final work place I decided to create a series of rectilinear chloroplast cubes which were suspended from a grid hung eight feet from the floor. Each cube framed a word that was printed upon a transparency. All the cubes were arranged into a paragraph in the shape of an arc. The exact placement

and angle of these cubes aligned with my eyesight when I sat at my stool in it’s normal work position. I created this installation to show that my workspace is extremely personal to me. Anyone else who sits at my stool will not be able to see my framed message.

1. A side view of the suspended installation.

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2. View of a single word in the paragraph from Robyn’s perspective.

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Environmental Design, Year Two

Johanna Hurme

14

Searching to find an understanding for the unexpected and the unforeseen was the basis of this project. Social conformity can be placed into this category, and when manipulated, can result in very interesting results.

Injecting the environment with stimulus

BRYCE REZANSOFF CHRISTINA BOSOWEC FRANCES-ANN PENA HOP Latency

1. First HOP installation, in the Russel Building.

2. Setup and take down of the installation.

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3. Second HOP installation, in University Center.

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Environmental Design, Year Two

Calvin Yarush

that interferes with society’s norms can completely change someone’s day.

The HOP installation allowed people to break away from the boring drone of everyday life, creating a vehicle for people to use, to express their inner desires to have fun.

LANDON LUCYK TRAVIS HAHKALA Untitled Latency

After exploring an underground room on campus, we developed an interest in the aging and deterioration of building materials. Water even in small amounts is a very destructive force, but only over a long time period. We wanted to condense this time period, so that the entire process of building deterioration could be witnessed in just minutes.

A small town was created with clay along with a device to repeat a flooding river condition. Effects on the model were representative of a real-world scenario. Buildings began to discolour, their edges began to wear down, followed by larger pieces of buildings collapsing or drifting away. The dislodged building debris began to fill the lower areas.

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1. The model city ravaged by catastrophic flooding event.

2. During the flood.

3. The wreckage after the flood.

Environmental Design, Year Two

Colin Herperger

16

ANGELA CHEN KRISTA GOODMAN ROBBIE BELTON Untitled Latency

The project was installed in the Seine River near St. Vital for two weeks. The installation was designed to show the different current speeds in the river.

In total there were twelve water wheels on three bars that spanned the river.

Each bar had waterwheels of a different size: five small water wheels on one

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1. Installation in place on the Seine river.

2. Construction of the water wheels.

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Environmental Design, Year Two

T. Jeffrey Garcia

pole; four medium sized water wheels on a second; and three large water wheels on the last.

Paddles were designed to catch water with the six inch catch, while the rest of the paddle was hollow to better determine how fast the water was moving at the lower levels.

TRAVIS HAHKALA IceScape Situation Where his education is taking him: “To a nice place called insanity, but at least its driving slow and taking the scenic route. Hopefully stopping in Masters of Architecture, and maybe a design/build firm along the way. We’ ll have to see!”

The main goal of this project was to engage with the University of Manitoba campus, and to look beyond normal methods of building and construction.

I decided to go about this by actually altering part of the campus environment in a unique way. Using water as my construction material, and working outside at night when it was coldest,

I created the ice tree. This large installation provoked strong reactions with most that noticed it. I continued to use similar methods of water application on deliberate structures of dowels and string to better learn about the properties of water and its application to create solid structures out of minimal initial structure.

Environmental Design, Year Two

Colin Herperger

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JAG SINGH Scatter Situation His halcyon days: “If these days really exist, they certainly don’t when studio is in session. If they do, it includes waking up at 1 p.m., eating a full breakfast before hitting the gym. All before I have to pack for my next trip back to Vancouver.

I wanted to address the inconvenience many students have on campus of walking outside while facing extreme weather elements, particularly during the winter months when the campus is busiest. To explore this problem, I wanted to create an outdoor corridor that would then facilitate outdoor movement.

My initial design concepts mimicked Winnipeg’s downtown walkway, but were too domineering, and too site specific. I wanted to create something that could be placed on any landscape, and be open, not enclosed. I did not want to recreate the campus’ tunnel system above ground.

Because I wanted it to be non-site specific, the design had to be simple, yet effective in its function. Largely influenced by trees, or rather a forest, I designed an abstract version of a tree that would dissipate or ‘Scatter’ the wind. One tree alone does not do much, but multiple trees can disperse the wind, lessening its unforgiving effects.

1. Scatter installation in situ on campus.

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2. Night time lighting of the Scatters.

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Environmental Design, Year Two

Johanna Hurme

Varying in size from ten to twelve feet, Scatter consisted of two facades: one side perforated white recycled aluminum, the other reclaimed lumber.

During the winter months the white aluminum side faces south. This reflects some solar heat to pedestrians, in addition to dissipating the cold northward wind. Rotate the façade 180 degrees come summer to allow its wood face to orient to the south. This will help absorb the sun’s intense rays, as well as provide shade for pedestrians.

The ‘Scatters’ are placed arbitrarily – like many trees – on any open landscape, including sidewalks and paths, but also work with both existing natural and built environments. By varying their heights, geometry, and placement, a more ‘organic’ look and feel can be achieved.

Scatters can also work in conjunction with existing lampposts, or a lighting system can be implemented and be used for multiple functions. Using coloured lights, Scatters can both illuminate a walkway, and serve as a colour mapping system throughout campus.

JASON EJZENBART Quad Revolution Situation Ingredients of his day: protein shake + gym + Tazo Om tea + studio + talking about how much studio and other work there is + coffee + more studio + sleep.

Quad Revolution examined the problems with the University of Manitoba’s quad.

At the heart of the campus, the quad receives high levels of student traffic throughout the year. The desired lines of foot traffic were studied. Because of the high traffic, the lines are literally etched in to the ground, which creates a mud pit in the spring or when ever there are heavy rains. This prompts the university to put up signs to discourage movement through the quad. By taking

these desired lines and making them permanent, fragmented sections were created within the quad constituting areas to socialize. Each section would have a different elevation creating new relationships between the sections. This would allow the quad to be used to its full potential from spring to fall, and delineate more efficient walking paths in the winter

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1. East elevation of the multi-level quad area.

2. A plan depicting desired lines turned into pathways.

3. A rendering of perceived use.

Environmental Design, Year Two

Johanna Hurme

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MARIA SYROEZHKO (camp us) Situation “I want to complete my masters and have my own bakery and design studio.�

The site of this project is the roof of Extended Education. The motive was to create a space for students to relax and to bring the historical path back to life.

The view from the roof is spectacular.

In the daytime the structure will create dynamic shadows. The seating area is a

1. A view of the nets in context on top of the Extended Education building.

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2. Perceived use of the rooftop space.

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Environmental Design, Year Two

Johanna Hurme

3. Conceptual drawing of the nets on top of extended education.

unique and cheeky place on campus for students to study and meet friends. The material for the netting is trampoline net, which does not absorb moisture and is dark in color, which absorbs heat from the sun and keeps itself warm even on cooler days.

PIAO LUI Bench Shelter Situation “I like reading. I usually spend my breakfast time reading news, and I also read novels before going to bed. Reading is very important to me. It is like travelling. Books can take you anywhere, show you different culture and civilizations, and fill you with lots of dreams and insightful opinions.�

The project was to design a bench and a shelter outside Dafoe according to the site situation, the circulation of people, and the use condition. The bench and shelter are set up outside the zigzag shaped windows near the front entrance. The glass window is a single-way system such that during the day, people on the outside can

see their reflections while at night, only people on the inside can see their reflections. The bench-shelter provides a public space outside, especially in winter. The curvilinear form of the bent wood integrates peacefully into the geometrical shaped windows. The curves also add a sense of softness to the hard edges of windows.

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1. A process model depicting the curvilinear form of the benches.

2. Inhabitation of bench shelter in front of Elizabeth Dafoe Library.

Environmental Design, Year Two

Vaike Ruus

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JAE-SUNG CHON Give us a brief autobiography. What are the important details of you life so far?

I’ve lived my life about half and half, twenty years in Asia, and twenty years in North America. I was first educated as an architectural engineer. The degree was called a Bachelor of Science in Architectural Engineering and it had a very strong engineering bias. When I landed in Toronto, I figured I would practice in the workforce, but I didn’t quite luck out on that. Because I was looking for work, I had to go to the Ontario Association of Architects to get my former degree from South Korea recognized as a professional degree, which they did. From there, I went to McGill for my post-professional degree in housing research. Finally I came to the University of Manitoba for my Masters in Architecture, and just recently I have started my PhD research in London with U.C.L. [University College London].

What are some ingredients of your day?

I try to break my time down into 15-minute increments. So every 15 minutes I have to do something new.

Sometimes I can sustain myself a little bit longer, but my efficient rate is 15 minutes.

Jae-Sung Chon is the energetic Studio Chair for the Environmental Design, Year Two, studio. He helps students to take their first steps into an intensely complex and creative field. Enigmatic, and incredibly energetic Jae encourages students to make design fun and approach able. His bizarre and sometimes impossible suggestions drive students to push the limits of their imaginations in pursuit of their project. We met him at a busy Starbucks on Corydon.

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Are you involved in any other design related activity other than teaching?

I’ve been practicing since 1994, on and off. I was a founding partner of DIN Projects, which is a boutique studio here in Winnipeg. I was a partner in that firm until 2005. After that, I founded a more interdisciplinary firm called OS1 Architecture, with Herb Enns and Kim Wiese.

OS1 still exists, but I moved on from it in order to pursue something new. I created Studio 4 Transformative Forms and Fields. It’s a long name, but the acronym is STUFF. The type of practice I’m seeking under this banner isn’t confined to one discipline, but really freely moves around. I feel a lot of opportunities are out there, above and beyond professional categories. So I’m doing that internationally, with a base in Winnipeg

and a base in Seoul. I’m looking into more of a network practice, rather than singular practice. I’m hoping to establish a group of like-minded people that do not necessarily want to limit themselves to the professional domain.

present anything beautiful or object-like.

We simply said if we do it this way, we may be able to unearth the future nature of Canadian landscape and architecture.

It was a promise. What we presented was a promise.

Do you travel often, or does this all take place electronically?

I do need to travel to some degree.

You can do a lot of things through the Internet, emails and Skype, but in the end the big decisions have to be made by handshake, face to face.

What brought you to Winnipeg, and what do you think of the city?

School initially brought me here. After I attended McGill, I applied to three schools. I was accepted into all three, but Manitoba was an ideal situation for me. My reaction to Winnipeg was rather strange and shocking, and that stuck strongly with me. I landed in Toronto when I Canada, so I had experienced Toronto, my family moved to Vancouver, so I had experienced Vancouver, and of course I lived in Montreal. My perception of these three cities was that, in different ways, they were all emulating other cities. There were always other reference points to compare them to, but Winnipeg was without any such reference points. My initial reaction was that this must finally be Canada. You can not reference anything else to understand Winnipeg. This is it.

Can you describe the Migrating Landscapes project for the 2012 Venice Architecture Biennale that you are currently part of?

The fundamental inspiration of the project is the exploration of identity.

Myself, I was uprooted from one culture, one place and moved to another.

Because of that one, severe uprooting, my identity is floating. At this point, I would say when I’m trying to become someone; I latch onto multiple different places. I have more of a flotsam identity. So this project started from this type of discussion with Sasa and Johanna [of 5467896 Architecture]. I came from Korea, Johanna came from Poland, and Sasa came from Yugoslavia. We began to talk about cultural differences, architectural differences, and misunderstandings. We eventually realized that this was happening all over the place. We were curious as to who else was experiencing this, and how. How is it affecting us and everyone else in the process? Even the move from Saskatoon to Winnipeg is a change in context. Depending on your scale of association, you experience more disjunction. It became a project of how to reveal these migrations. It was more of a question mark than a real answer. This is an important to note, because this project is the first propositional project to be a winning proposal for Canada.

What we’re after is not so much what we have done already, but what we can do.

We were kind of surprised to win this competition, because we really didn’t

Why did you stay here to teach?

It wasn’t my plan to teach, actually. I plan often, but a lot of my plans don’t work out. When I finished my school here in 1995, I went to Toronto briefly.

During that time Herb Enns phoned me up and offered me a teaching position in the faculty. My ambition at the time was to get back into practice, but this job was interesting and a good fit for me. So I took it.

What has the transition been like from teaching Masters students to teaching ED2?

The first thing that comes to mind is the massive nature; moving from teaching ten to fifteen people into teaching over 100. This is challenging, but also exciting. Masters students are a bit more mature. If you say one thing, they respond with 5 or 6 more ideas. Whereas with ED2 students, you speak about one thing and they look at you wanting

more. So you have to look back at yourself and question what you’re saying.

This reflection forces you to revamp your suggestions. It’s quite a regenerative process.

What advice do you have for young designers?

If you don’t enjoy what you’re doing, then you won’t be able to do it. So the first thing is to really learn how to have fun, in whatever you’re doing. You can have fun in everything. Everything. I could have fun with a sidewalk design, or billboard design. Don’t limit yourself to anything, but really try to make the situation that you are in, exciting. That way anything can become a project.

Your mom’s dining table can become a project; lighting for your desk can become a project. Keep that attitude, and you’ll be able to maintain your creative process. Try not to distinguish your life from design. My teaching, my family life, my practice, my research, these things are all part of my design process. Everything becomes one.

Where is the balance between digital and analogues methods in design thinking, teaching, and practice?

I believe that analog and digital should be intermixed in a confusing way so that from day one you are not led to think that one is better than the other. I would rather not define some one’s education to what I believe is a must. I’d much rather focus on what can be, what is possible. This applies to time management as well. If you spend more time, do you get a better project? Not necessarily. I am highly critical of that notion.

Sometimes a quick spark of an idea is much better than a year long thought.

You have to keep in mind that it doesn’t always come one way or another. It comes from intermixing. Sometimes you have to spend more time, and sometimes you have to be sparking ideas quickly. You just have to learn how to use different tools and techniques in different situations. So we as teachers should be bombarding you with all different things, all together.

ALEXANDER KRYLOV MICHAEL BUTTERWORTH THALIA ANDREOGLOU Dreamscape Use-less

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Environmental Design, Year Two

Our project is a film that depicts the creation of a dream. We were interested in the individuality of dreams and how they follow no set rules. We were excited about blurring the boundary of realty and dreams. Our film followed a narrative about a man who populates his dreams within the rooms of his apartment.

Colin Herperger

We created a unique way of filming using our set for the film and as a tool for filming. We reflected our laptops in a window overlooking a gym. We occasionally used a camera flash to briefly illuminate the person holding the laptop to simulate someone invading a dream. We furthered our fascination with dreams through drawings.

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1. A shot of the person who invaded the dreamer’s dreams.

2. Dreams projected onto windows.

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4. A drawing exploring the concept of dreaming.

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Our film project relates to the idea of useful/uselessness in our society. The film was climaxed by the quote from Bill Eakin saying “there are two kinds of people: collectors and others, and others will never understand collecting which is just fine...but they’ll never get

KYLE WARREN MARSHALL VERBRUGGE ROBYN ARNASON Untitled Use-less

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1. Three collectors and a sample of their possessions.

Environmental Design, Year Two

Kim Wiese

it.” This was the main theme for our film.

It was our hope that the audience would be able to appreciate collectors and the things they collected, even though they may not be collectors themselves, or understand the collecting lifestyle.

In the film 4:12 AM another inhabitant of a studio space emerges unnoticed from a student’s sketchbook while he is asleep. Using items commonly left behind, tossed away, or discarded in studio, the film’s character creates a life from seemingly worthless scraps.

EVAN TREMBLAY KRISTIN DEFER SAJUN HAUPSTEIN YU FUNG CHAN 4:12 AM Use-less

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Through this character’s eyes, what is functionally purposeful in the real world is completely irrelevant for the scale of its inhabited world. Our useless is then altered to become comparatively functional for another’s use at a different scale.

1. Stills from the film showing a character occupying studio.

2. Camera setup for the stop motion film.

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Environmental Design, Year Two

T. Jeffrey Garcia

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JAG SINGH Mimic Retooling - Boston Barge Where his education is taking him: “I hope it gets me a job where I won’t have to spend the first 2 years working on CAD drawings.”

Inspired by installations that respond to their users and environmental facets, I wanted to create a responsive surface on the deck of the barge that would become a place of meditation, reflection and calm.

Boston was once covered by swamp and marshes with tall grasses, like the smooth cordgrass Spartina. I choose to cover the barge with this species because of its ability to mimic the actions of waves on water when responding to wind.

I created a platform where individuals could walk above the surface of the grass covered barge and observe. Walking further down the raised platform, the weight of the user would cause the

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1. Rendering of the barge at night.

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Environmental Design, Year Two

Calvin Yarush

plank to slowly lower itself, drawing the individual closer to the grass.

The person not only feels visually engaged with the tall grass, but by denying them physical contact, they are also left wanting more. This allows their other senses to fill in the blanks as to how it would actually feel to be within the grass.

Starring ahead at the sea of grass, the individual’s peripheral vision is filled in with the waves of both water and grass, blurring the boundaries of where the barge ends and where the water begins.

At night, flexible LED fiber-optic strands positioned within the tall grass also react to the wind, creating a sea of moving lights when the grass is no longer visible.

BRYCE REZANSOFF COURTNEI ROEDEL EVAN GOMES Walk the Plank Retooling - Boston Barge

Entering the Boston SHIFT project was a new and exciting experience for all members of the group. The project used tension and stress to create a buoyant experience, on a structurally sound barge. The barge consisted of

multiple planks that interacted with people on the barge. The planks could be manipulated to get a better vantage point, or even get closer to the water.

Overall the group was selected in the top fifty for the competition.

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1. Rendering of the barge.

2. Process of the final model assembly.

3. Final model detail.

Environmental Design, Year Two

Jae-Sung Chon

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JASON EJZENBART KARA BURMAN Capullo Retooling - Boston Barge

Capullo is a space that was created to interact with rain, wind, and natural and artificial light to be installed on a barge.

Its undulating form is created from fiberglass rebar, plastic wrap and other basic construction materials. Rainwater washes over the plastic surface down through the funnels and under users’ feet, allowing for a visual and aural

affect. The layers of plastic skin distort the view of the city from the interior, allowing users to experience the city in a more abstracted way. The lighting wraps around the funnels and allows the space to glow and be an attraction from far away. While moving through the space, the surroundings vary from large, open spaces to small, tight spaces, creating

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Jae-Sung Chon

not only general public space but also an event and/or gallery space. This project was submitted to a competition based in Boston for an installation in the Fort Point Channel. Our entry was chosen for the top six in the competition and was given an honorable mention as a result.

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1. The plastic wrap used as the skin is intended as a statement of the misuse of non-recyclable products.

2. Rope LEDs are intertwined in to the outer skin situated in the funnels. These are charged by small solar panels that are attached to the top of the canopy.

Then small portable solar LED lamps that are often found in gardens are placed throughout set in the grating which visitors can move as they see fit to create there own lighting conditions.

3. View of the barge docked during the nighttime.

4. Section of the barge.

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A. The facade flexes with the touch of a person or a breeze from the wind.

B. Views of the day or night sky are framed through skylights in the skin.

C. Spaces of different sizes are dispersed throughout allowing for new experiences when moving through.

D. Water rushing under an observer’s feet creates a visual and aural effect.

E. The sounds created by the natural surroundings and materials used add to the experience.

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The majority of buildings we live in are ‘dead;’containing fixed spaces that shape and control the way we live. Can we begin to design rooms that move with the individual? The individual gives life and purpose to a design.

LANDON LUCYK TRAVIS HAHKALA A New Sport_129600° Retooling - Boston Barge

In order to create a new sport we suspended a 100’ rope from a truss in

1. Experimentations in the creation of a new sport.

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Environmental Design, Year Two

Jae-Sung Chon

Tache gym. After a few hours we were able to generate enough momentum from this rope to slide a basketball net.

129600° is a new sport that lets you experience a landscape on a series of different planes. Your point of view is constantly changing. A rope attached a column at the center of the barge allows

a certain degree of safety while reaching greater heights on ramps. The higher up you go on the rope the more distorted your view will be. We designed our barge so that you can experience Boston on and off the barge as you swing over the water. Individuals can bring their own obstacles whether it be their car door, fridge, table or rail.

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2. Skateboarder preforming some of the possible tricks on the barge.

3. A view of the barge showing its ramps and the central bar to which the rope is tied.

4. A perspective of the barge.

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The design creates a pause space and attempts to limit the viewer’s perception of downtown Boston by leading the eye to the space above. The barge uses wooden pallets and acrylic light covers bringing attention to the subtle nuance of rain collection. Water drops are magnified and reflected onto the walls and floor, while the water filters through

AARON POLLOCK LAURIANNE PARENT Cloud Retooling - Boston Barge

1. A rendering of the proposed barge in a downpour, where the reservoirs in the floor fill with water.

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2. A diagram of water penetration through the structure.

Environmental Design, Year Two

Kim Wiese

the corrugated roof inspired by paper folding, and drips through three long openings. The water drips and collects in three long pools in which people can wade. The dynamic wooden frame allows for seating to protrude from its walls creating tension and threshold spaces.

KYLE WARREN Tea Party Retooling - Boston Barge Where his education is taking him: “To a job that isn’t considered dead end, and leaving a legacy that is remembered by one or more people. Also It will hopefully allow me to answer questions like these in a way so when I look back on them I won’t be embarrassed about what I said.”

The project Tea Party is meant to instill a feeling of tension within the user. This is done by simultaneously creating a feeling of awkwardness and possibly even claustrophobia through the chaotic layout of the installation. Stemming from the initial idea of the Boston Tea Party, the atmosphere is meant to mimic the tension felt between the British

Empire and the American colonies at the time. As one enters the installation, they experience calmness, though as they move through the space the objects around them start to become taller and more chaotic. The stern of the barge is the peak of the experience and aims to drive emotions to the maximum.

Environmental Design, Year Two

Kim Wiese

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MARIA SYROEZHKO Untitled Retooling - Boston Barge Her halcyon days: “When projects are completed and everything is submitted.”

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1. Detailed views of the playground on the final model.

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Kim Wiese

The structure is made of paper mache.

The idea was to create playful space for children, where they would be free of directions. Every part of the structure would be used in play: sit, (scroll), jump, (lic), and run. A colourful and unusual structure plus children’s imagination creates a unique experience for every child, where his or her thoughts

come to life. The children could interact with the shape and elements of the structure, bringing their dreams close to reality and allowing children to be children in the world of adults.

MALLORY ENNS Submerge Retooling - Boston Barge Ingredients of her day: inspiration + random internet surfing (for inspiration) + apple juice + music + focus and do work for a few hours + snack + short nap + a bit more work.

The intent of the project was to design a public installation to be implemented on a barge in Boston’s Fort Point Channel.

My design was simple, and intended to submerge the visitors to the barge in a simulated underwater environment.

Through the use of lights placed beneath the surface of the water surrounding the barge, the simulation of water would be

created by shining the lights through the water and onto the ceiling which would be a light colored surface. The effect created by the lights shining through the water would be slightly reflected by the ceiling onto the floor, thus creating an effect that surrounds the visitors, essentially submerging them in an underwater environment!

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1. Night time rendering showing the water-like illumination of the underside of the canopy.

2. Light hitting the ceiling of the barge, and reflecting back downwards.

3. A site context model of the Fort Point Channel in Boston. The model features the most prominent buildings around the location of the barge.

Environmental Design, Year Two

Calvin Yarush

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How do you respond to an 8.8 magnitude earthquake? You cannot prevent a disaster from occurring; but how timely you respond will make all the difference.

JAG SINGH ReContain & ReBuild Shelter Ingredients of his day: 10 hours of studio + minimum of 7 hours of sleep + 4 meals + 3 trips to Bookstore/ Michaels/Home Depot + 1 hour of gym = ONE FULL YEAR OF NO ALL-NIGHTERS.

I began by looking at which building structures survived and failed during the quakes. Steel structures performed as expected, resulting in minimal structural damage. Based on these findings, I opted to use steel as a main structural material.

Wanting my structure to assist individuals affected by the disaster, but also address the needs of the community, the form of my shelter resulted in a

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1. Exploded diagram depicting how the differently programed panels change the design.

2. How the stripped down shipping container frames unfold.

3. A rendering of the perceived use.

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Calvin Yarush

modular unit system, where units are able to connect to one another. They can be programmed for either a shelter, or else a communal centre for gathering such as a church.

ReContain & ReBuild are shipping containers that have been reused and converted into modular disaster shelters to help those affected to feel safe and rebuild their lives. Made from the steel frame of existing shipping containers, in conjunction with lightweight insulated panels, the units are fully collapsible for both storage and deployment into affected areas.

DARIUS DIAS Untitled Shelter Ingredients of his day: one part adventure + two parts exploration + an extra large pack of friends + 2 cups of laughter + a sprinkling of smiles.

Throughout China, construction worker housing is an afterthought. Shanty towns made out of bamboo spars and tarps sprout out from construction sites, and once construction is completed the temporary settlement is torn down and moved to the next job site. This project brings forward suggestions of how the temporary shelters can be

better designed and implemented, and furthermore, how they can start to become a permanent part of the finished settlement. In the case of my site; Ordos, the community has yet to arrive, therefore, I am examining how the shelter can be designed for dislocation and yet start to evolve into a permanent community as well.

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1. Initial sketch. The crossed beam construction uses a square-lashing technique to form the basis for the structure.

2. Experimental model with permanent and semipermanent cladding for the structure. A fiberglass weave is depicted.

3. Model detail. Multiple modules are combined and clad in a fabric and concrete mix. A view looking up at the ceiling of the structure is depicted.

4. Final model. Multiple modules, all in various stages of development, are part of a larger community for workers to inhabit, branching off from the building under construction.

Environmental Design, Year Two

Colin Herperger

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T. JEFFREY GARCIA

Jeff is a studio critic for Environmental Design year two. His bright personality and blunt criticism makes him a fixture of studio life. He works his students hard, driving them to be more productive and sharing his contagious love of design. This interview took place at one of his habitats on campus, Degrees restaurant.

Give us a brief autobiography. What are the important details of your life so far? What is your educational / professional background?

As an undergraduate student I failed projects in studios and programs that I, ironically, would eventually teach; and I almost got expelled from school.

Academically, I think those two important details make me the educator and person that I am. When I almost got expelled, it was the turning point for me as a student. I went to see my department head and she said, “You know Jeff I’ve been talking to your studio instructors, and it seems like you’re having difficulties. I’m not even sure if it is possible for you to graduate; and your poor performance makes me question weather or not we want you to graduate because I’m worried about what you will be like as a professional. I think you are a poor example of what the school has to offer.”

When I left her office, I was upset and in tears, but as I was walking down the hallway of the Architecture II Building I stopped and thought “Wow, if one student can compromise a department, a profession, and a program, I have got to be doing something right.” From that day on I promised myself I wouldn’t change or compromise for anyone.

Having Professor Faye Hellner as a studio critic and a mentor I realized that there are multiple pedagogical methods for the education of a design student.

From my difficulties and with her support I learned that sometimes “different students learn differently.” I learned that my responsibility as an educator is to provide an education that can engage those differences and to mediate my methods to ensure that a student can succeed.

As for my professional background, I have worked doing graphic design, exhibit design, industrial design, and have worked as a sessional instructor for eight years at the graduate and undergraduate level.

What do you hope that students take away from their experience with you as a teacher?

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Make mistakes, and really privilege the process. It’s about a temperament, a rigour, and a dedication. I may not agree with what you’re doing, but as long as you are passionate and committed to it I’ll help you get to a point of significant resolution. Bottom line, I’ve got my degree already. I don’t need them to pursue design the way I do. Your education should be about finding your own passion and personal praxis. You’ve got to be passionate, design is not for sissies.

How should students learn?

Students need to sample life. Staying at your studio desk drawing, and doing research is important, but so is going out to a film, going out clubbing, going to see bands; all of that makes you a better designer. You can only fuel design with things that inspire you and design itself as a singular cultural artifact for so long. The best designers and the best thinkers are those who are able to engage concepts and endeavors beyond their respective individual field and to synthesize the varied influences. There is a psychologist, Howard Gardner, who wrote a book called “Creating Minds” and he listed who he thought were the top 7 thinkers of the 20th century: Sigmund Freud, Albert Einstein, Pablo Picasso, Igor Stravinsky, T.S. Eliot, Martha Graham, and Mahatma Ghandi.

They were people from seemingly disparate fields ranging from contemporary dance, to humanitarianism, to science. He proposed that what makes them exceptional is that they sought out different endeavors and openly engaged in collaboration. As a result, biologically, the synapses in their brains flashed in random patterns as opposed to normative “routes” forged by repetition and consistency. They were able to think laterally, inclusively, and obliquely because their minds were making new connections.

Where is the balance between digital and analogue in design thinking, teaching, and practice?

I always look at what happened to Zaha

Hadid. To me, when I was in undergraduate interior design in the 1990s, Hadid could do no wrong. I found a resonance with the theories that she was exploring through her theories and methods; she was studying and exploring spatial adjacencies, tectonics, and phenomena through painting, sketches, and models.

She did a series of paintings with the understanding that architecture is cinematic. You don’t just see or experience one view, architecture is the culmination of movement, simultaneity, and singular and multiple views into form. When her firm switched to primarily working digitally in the early 2000s, I found her designs became static. Even though they were comprised of multiple curved forms they seemed framed and poised.

There wasn’t the focus of the experiential or the inhabitation of space that was seen in her earlier repertoire, it was more a preoccupation of the perception of space. I view the work she and her firm produced in the mid to late 2000s as a cautionary tale. There has to be that understanding that for everything that we do, there are a variety of tools available. We have to align the relevance and appropriateness of what we use with what we are producing. I can’t say that we have to only do things by hand, because there are things that computers can help us to do better and more efficiently. But we can’t just go all digital either; there is a skill set that you can only understand when things are haptic.

What book should every design student read?

“In Praise of Shadows” by Jun’ichirö Tanizaki. It’s a great book because it talks about designing for what I would describe as the inverse. We are inherently familiar with discussing form and actuality, but the book focuses on the void and the implied. There’s a great passage that talks about a restaurant the author used to frequent where you dined by candlelight. He said it’s the most amazing thing because your meal is a remarkable discovery. When you get a bowl of miso soup, because it’s so dark, there

is an infinite depth in that bowl, so you never see the bottom. Having your soup becomes a profoundly sensorial experience; the warmth of the broth wafts up to your face, the texture and the weight of the bowl is consciously registered, and there is an eager anticipation because you don’t know how far you need to tip it before the liquid reaches your mouth and touches your lips.

I think this way of understanding design is critical. Sometimes we fetishize the new, and often the new is stylistic prioritizing what it looks like, as opposed to how you experience and comprehend it. I think that quietness and slowness in design is something that is paramount, especially when we have various means of manufacture and construction that can realize forms so quickly.

What is your favourite drink?

When I go out, Coke no ice is my signature drink. I think that every person needs two things in life, a vice and a signature drink. Mine is Coke no ice because it’s fussy enough to be memorable but not fussy enough that people roll their eyes.

What are your thoughts on Winnipeg as a city?

It’s unlike other larger cities where they can sustain a cultural group that is solely interested in a single endeavor like the opera, the ballet, the theatre, the symphony, et cetera. We don’t have that critical mass, so we immerse ourselves in everything. We culturally cross-pollinate. I think that fluency is something remarkable. When I was in school I had a discussion with some friends about why we thought our faculty produces such remarkable work, what was proposed was that in Winnipeg we have to create our own utopias because there’s nothing here.

AARON POLLOCK Pakistan School Shelter Ingredients of his day: waste time on Facebook + consider doing work + wait for a quiet studio to be productive + coffee break + 2nd coffee break.

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1. Perceived use of the classroom.

2. A model depicting the moveable sun shades on the outside of the building.

3. A view of the model within the landscape.

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Kim Wiese

Disaster relief is an important design effort, but should not always focus on immediate resolution. In the case of the Pakistan Floods in 2010, many communities were affected. By building a community centre immediately after a flood, the communities can come together and rebuild. The centre is used as a meeting place for elders, relief

efforts, medical relief, religion, and a place to educate. After the communities are rebuilt, the centre then becomes a school, in which an open space is transformed in reprogrammed rooms.

This would include classrooms, a dining hall, a kitchen, and a library/quiet study space.

ROBYN LARSEN Untitled Survival Her halcyon days: “When I was ages three through six. Simple, happy, free of responsibilities. Massive amounts of imagination and creativity. I try to tap into my inner five-year-old when I’m stuck in ‘designer’s’ block.”

“It seems to me that the pattern of human existence involves long cycles of expansion and contraction, success and failure, light and darkness, brilliance and stupidity, and that it is grandiose to assert that our time is so special as to be the end of all cycles.”

The Long Emergency, Kunster

This project examines disasters not as endings, but as beginnings and explores the use of wood either as a material for combustion or for construction. The project was a wooden cabin model to which I inflicted a series of burns and builds in a cyclical way to explore the opportunities of one disaster as a beginning to a new condition of the cabin.

Environmental Design, Year Two

Colin Herperger

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MICHAEL BUTTERWORTH Catharsis Survival Ingredients of his day: miss matching socks + mucho clumsiness + full contact origami + smiling at animals.

My project is about creating an emotional disaster shelter for a returning soldier. I interviewed my grandfather who is a World War Two Veteran and I was touched by the story he told about a photograph of my grandmother he kept during the war.

My project is a series of imaginations

into how a house could symbiotically react with its inhabitants, changing emotions through mechanisms such as a bookshelf that controls a record machine. Regardless of the disaster we face we need a few things to survive. I would strongly argue the remembrance of those we love is the most important thing of all.

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1. Dwelling on the idea of protecting the nontangible emotions we hold inside led to an interest in the physical design of a human beings skeletal system.

It was interesting to contemplate and make relationships between physical anatomy and imperceptible human emotional conditions.

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Colin Herperger

2. A soldier lives in the rib cage of a man, when the soldier pulls a photo of his wife towards him a mechanism is engaged that breaks the man’s clavicle while simultaneously raising a microphone and moving the man’s jaw. Through an emotional response to the photograph of his wife the soldier makes the man speak out against war.

3. Explorative drawing.

The man depicted is J. Oppenheimer, one of the main researchers involved in the creation of the atomic bomb.

The drawing depicts the creation of the atomic bomb and how we are often blinded from the atrocities of war by our government’s incessant need to progress during times of war.

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4. 1943 photograph of my grandmother.

5. This box held recreations of my grandfather’s writing, and the photograph of my grandmother. I used these as precious items to be protected when i tested the box in a mock explosion.

6. Spray paint was suspended above the model in an attempt to explode the can above the model. Bombs cause the most destruction when detonated above the ground.

7. While the can did eventually explode it required more fuel that just the Sterno can to ignite it. As an explosion it started off as a small fire and then turned into an active fireball.

8. When the fire burned out the model was left in many pieces. I felt that the project’s potential was not in creating bombproof shelters to protect objects, but to use the objects to actively create the project.

8. A chair was built that reclined as a photo is pulled towards it. It was exciting to think of things becoming active in response to cognitive reactions.

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EVAN GOMES Urban Containers Survival Ingredients of his day: shower + listen to some Daft Punk on the way to school + 1 caramel macchiato + studio + socialize + Rock Star + count down the days till deadline + stuff my face with food to equal 3 meals + sleep.

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I began this project by studying Haiti post disaster and carefully considering the living situations in tent cities after the earthquake. Since there is no order or program in tent cities, the idea to design at an urban scale was apparent.

At this scale, there was a possibility to create security, program, and most importantly, community in a site. Using

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1. A site was chosen in Port-au-Prince and studied to understand the randomness in the site. Scaled tents were thrown onto the model and containers were then placed on the site to visually see the disturbance of the site, and the outcome of the new public area which the void space would make.

2. An early model of what the site could look like.

This model explains program but is very generous with space. A new model needed to be explored with higher density.

3. Massing model showing the relationship between certain homes in an urban scale.

4. Section of the housing.

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materials available in Haiti, the project was designed with shipping containers, which are found along that country’s west coast. These containers are empty and are not currently being used in any way. The containers were then stacked and composed in order to create a container community which supplied homes, safety and program.

TRAVIS HAHKALA Untitled Survival Ingredients of his day: snooze 3 separate alarms for 45 min. each + Harvest Crunch + strawberry milk + studio + iced cap. + studio + hazelnut instant coffee + french vanilla cap + studio + Rockstar coffee + studio + hopefully strawberry milkshake or strawberry banana bubble tea, no bubbles.

(True) In 1902 Mount Pelée erupted sending an 1800°F cloud of ash, rock, air, and other gases down its slopes and toward the Caribbean city of St. Pierre at over 200 km/h. This pyroclastic cloud completely flattened the city and killed all 30,000 people in it, except for one man. Auguste Ciparis was locked in the city prison in a partially underground cylindrical concrete cell that protected him from the majority of the superheated air due to its aerodynamic shape.

(False) As people moved into the city, around 1912, they heard stories of the man’s survival, and began to dig their own tunnels as escapes routes in fear of the volcano erupting again. Over the

past 100 years, more and more tunnels have been made, so many that today they have catacombed together and created an undercity to St. Pierre. The residents now use these tunnels daily for quick and alternate routes around the city.

(True) The proposition of this project is for the town to create a major crosstown tunnel connecting many of the older tunnels and providing underground entrances at some of the town’s major destinations. The final tunnel model allows people to experience and view possible scenarios that have passed in the tunnels during their 100 years of creation.

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1. Section of a tunnel.

2. The goal of my final model of Survival was to allow people to enter the proposed space, to bring them into the experience of the tunnels in the most real way possible.

3. A tunnel scenario, viewed from inside the model.

Environmental Design, Year Two

Jae-Sung Chon

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JULIA EVANCIO LANDON LUCYK NICOLE SHEWFELT Float Survival

The devastation of the town of Dichato by an earthquake followed by a tsunami is physical, economical and emotional.

After the destruction caused by the earthquake and tsunami, the access to food, water and shelter remained a struggle. Temporary shelters housing the former residents of Dichato were grouped in the hills surrounding the town. Many people remain jobless and homeless.

Many of the people from Dichato were fishermen therefore homes forming a city off the coast of the original town became a focus of the design. Tidal influence was used in the design to change the city’s topography, varying the level of docks connecting the homes. Each

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house built out over the water remains stationary on top of its supportive posts as the tide moves up and down, while the attached dock moves with the tides.

The slanted roof of the house drains into a wall to store rainwater for drinking and everyday use. A collection of debris from the devastated town provides enough wood to build the homes. The supporting posts incorporate shellfish farming, a developing part of the town’s fishing industry. The growth of the shellfish on the posts adds weight, and further stabilizes each house on the ocean floor.

The individual dwellings are designed for one to two dwellings and are intended to form networked clusters.

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1. A rendering of the houses over the water.

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2. A model depicting the dwelling and floating dock.

3. How the buildings will begin to connect.

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KYLE WARREN Untitled Survival Ingredients of his day: 8:30 am extra large doubledouble from Tim’s in the Engineering Atrium, or on first floor University Centre if the line is too long + afternoon (power)nap + 3:00 am Red Bull = moderate success.

The project is a market to be located in rural Ethiopia where agriculture is one of the most inefficient yet the most promising industries. Aimed at eliminating the middleman, and unnecessary travel time, the market would increase efficiency, production and profits with what little resources are currently available.

The shape of the market originates from the Ethiopian Coat of Arms, a modified five-point star. The market has half size walls creating counter space for merchants, and allowing the market to remain open for increased ventilation.

The full height walls in the structure allow merchants to have an area to showcase their goods and provide shade

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1. A sketch model examining different coverings for the market. This includes a woven roof material, a fully covered canvas roof, and a roof that allows both light and shade.

2. The second sketch model explores more outdoor space for the market place.

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from the heat. Inside the market is a multi-use space that can be used for anything from town meetings between neighbouring farmers, to informal games of pickup soccer. The building can be built completely with local and sustainable industry.

The roof would be fabricated out of hemp canvas. Hemp can be grown across most of the world, making it readily available in Ethiopia. Hemp fibre are stronger, can last longer and are more absorbent than cotton. Fabrics that are made of at least one half hemp have the ability to block the sun’s harmful UV rays better than any other fabric, making it ideal for the location.

3. The final design was stretched canvas over rope. It was decided that the most important attribute the roof must have was the creation of shade.

4. The final model of the marketplace.

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5. A rendering of the intended use of the marketplace.

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MARIA SYROEZHKO Untitled Survival Ingredients of her day: wake up five minutes before class (run to studio) + thinking that I will not make it to class + stop for coffee + explaining why I am late + working on the project until six + coffee break + dinner (rice from the bag) + continue to work until three am + go to bed.

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1. A view of the new elevated village.

2. The buildings can be covered with traditional materials to make them more permanent, and insulate them from harsh exterior conditions.

3. Rendering of the new shelters being built by two to five people.

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The flood in Pakistan took approximately 2000 lives and left 20 million homeless. Even after the disaster, the repercussions were not over. Initially the people were provided with tents, however, in the dry climate these were hard to maintain while the plastic tents caught fire. The project goal is to provide a temporary shelter which is as close to

house-like as possible that could then transition into a long-term dwelling.

The houses are raised one to seven feet above the ground, are built without any nails and are easy to assemble. It takes two to five people to put it together, and takes a day or two to complete the structure.

EMILY JONES Cultural Prefabrication Survival Ingredients of her day: milk + nap sitting up + more milk + sarcastic conversation + happier than average music + more milk.

The area I focused on was Samoa Island. This country is very prone to earthquakes and tsunamis because of its location. The Samoan culture is very communal, which directly correlates to the country’s traditional architecture.

The building process is shared throughout the entire village. The men create the framework of the huts, the women create the thatching and woven mats, and the elderly thread the rope using coconut fibres. I felt that all of these processes needed to be incorporated into the design of the shelter.

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This project is not meant to change the living of the Samoan people, but to create a more immediate solution to shelter using the country’s traditional building methods and materials. The final design incorporated a prefabricated triangle which is then covered in traditional woven or thatched roofing. These triangles are able to be set up in a variety of ways to allow the village to rebuild their community to their own standards.

The prefabrication of the framework allows the shelter to be immediate as well as allows the men to collect food and water, which is a higher priority than frame building.

1. Components of the shelter.

2. Rendering showing two possible configurations of the triangular frames.

3. Final model of an assembled large hut.

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Environmental Design, Year Two

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ARCHITECTURE

Photo credit: Hailey Darling

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MEAGHAN KUSYK A Section Through the Omniverse Section Ingredients of her day: green tea + wandering + spraypaint something + Dollarstore + play with ice + recycle room + coffee + experimenting.

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Captivated with the incomprehensible idea of the Omniverse (the conceptual ensemble of all possible universes, with all possible laws of physics), a physical analog manifestation was developed using gelatine and substances with various densities to test the theory’s ideas based on my limited understanding of String-

Theory. The varied thresholds between the densities’ membranes became a testing site. Colour frequencies of the layers became a way to understand the different frequencies at which parallel universes are thought to exist.

Through experimentation with the container, collisions where allowed to form between membranes to form

all possibilities that ever could exist.

Testing methods of changing densities through energy to allow this cycle were performed. Thin acrylic membranes where formed with cavities to allow continual layered densities to form, as the acrylic membrane moved around.

Intrigued with the idea that when the ‘Omniverse’ form changes in response

to movement and its continual return to perfect symmetry, the same notion can be represented through the movement of the different membrane densities, and through the laws of nature, they too will always form back into the same layers.

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KELSEY JAY CONNOR Book Burning Section

“My education will take me nowhere. It will come with me, wherever I go.”

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A section exposes something by cutting and removing some of its contents.

Burning removes things, and I like to burn things. I chose to burn a book, because each page is a new layer of content. If a book has 666 pages, there are already 333 different sections inside. Fire-making objects and their required ventilation shafts were cut into

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1. Architectural space inspired by the burning/ sectioning of the book.

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2. Fire making objects and their required ventilation shafts, before and after burning.

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the book’s layers. After burning, a band saw blade sliced the book into 1/2” sections. A series of wooden frameworks and caster plastings, inspired by WWII photographs, further revealed the process and beauty found through the book’s destruction.

NICOLE HUNT Art Barn Elevation

Ingredients of her day: iPhone scrabble + pink grapefruit juice + Groupon.com + getting told my music is too loud.

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Turning a given space inside-out as a means of producing a new architecture is explored through a section of the Art Barn. The Art Barn is a building on campus that was once used as stables, and has been repurposed for the Faculty of Fine Arts. The old barn structure is symmetrical in its design. Its transformation involved two critical changes. The first

was the physical pulling of a single wall upwards that resulted in the displacement of the rest of the structure. The other side of the space explored splitting a wall in half, exposing the inner structure. The proposed space is best understood as a series of movements that have altered the construction and ultimately the use of the space.

1. A rendering of the transformed space.

2. A series showing the transformation of the structure.

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Andrew Lewthwaite

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KELSEY JAY CONNOR Elevation Elevation Ingredients of his day: cigar + QOTSA + Dremel + Mythbusters.

The outline for this project instructed us to turn documented elevations of an existing entity inside out, and to achieve the inversion by producing a basswood model. The site chosen was a staircase outside of a friend’s old apartment. To turn the staircase inside-out, a demonstrational, build-and-react process was chosen over a representational one.

In the closed position the model shows the first three floors of the apartment stair in its normal position. When the model opens the top floor swings into place while the others split into chaos.

The quarter acts as a weight to set the mechanism into motion.

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1. A drawing of the mechanical framework that allow the model to open.

2. A series depicting the automated opening process of the stairwell.

2. Detail views of the chaotic stairwell.

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RYAN MARQUES Boxcar Elevation Ingredients of his day: self deprecation + hoodwinking.

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1. As one stands stationary along the tracks and watches the boxcar as it transforms and moves by, they perceive only fragments of moments due to the speed of the car.

2. Images of the basswood model turning insideout.

3. Elevation of both sides, shown as a line of boxcars.

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The boxcar of a train was turned insideout based on a tectonic connection with its motions and operations. The motion of a train along an oriented track is analogous to the motion of the doors on a boxcar. The train turns itself inside-out using principles of sliding. As the door opens, it slides a central beam along its elevation, which causes the unfolding

and rotation of the refrigeration unit.

The model is built with the ability to slide apart into three separate pieces upon the axis of the central undercarriage beam, reflecting the tectonics of the train itself.

TRENT THOMPSON Untitled Elevation Ingredients of his day: food is all I think of + the O.C. is essential + humour is a must.

The term ‘elevation’ is defined as a vertical organization, an assemblage concerning itself with verticality, a two dimensional surface. A collection of ten bus shelters spans a distance of ten kilometers, each consisting of 224 cubic feet of space. The six frames are shifted and reorganized asymmetrically on a horizontal plane as façade-like configurations. The positions and forms produced are documented, extracted and propped ‘vertically’.

Each new ‘elevation/façade’ relies on the support from other elevations to attain stability. By means of simple folds, wood members intersect or act as buttresses

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to achieve rigidity. The intersections provide strength, as well as planes to be walked, climbed or utilized as shelter.

The result is thus a tower of interconnected vertical elevations.

Programmatically, the towers sustain the utilitarian function of the bus shelters, while now performing as a ‘bus schedule’. Since there exists no printed schedules, it is up to the user to physically interact with the structure by scaling its studded verticals. At a desired height, one is able to utilize the towers as lookouts, observing the status/progress of the route.

1. Elevation of the bus-stop tower.

2. Rendering of intended use.

2. Study model.

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Architecture, Year Three

Frank Fantauzzi

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CAROLINE INGLIS The Regurgitation of Architecture Elevation “I always romanticize the beginning of a project as being a time to freely explore multiple ideas and forget about how difficult it can sometimes be to edit and chose avenues of exploration.�

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1. A series of photographs of the cloth model being pulled out of the building.

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The inner stick frame construction of The Fyxx coffee shop on Albert street, was regurgitated from the brick shell of the building. By modelling the interior structure of the building out of a flexible fabric, the space was pulled through

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2. The basswood model of the inside-out interior.

3. A drawing of the reversed architecture in situ.

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the large opening of the building. The resulting inside-out form was then modelled with basswood. This refined the resulting architecture and reconnected it to its original location in the building.

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BRANDON BERGEM Elevation Elevation Ingredients of his day: snooze + run + work-ish + coffee + work-ish + lunch + work-ish + coffee + disappear (as Evan describes) + work + work + work + done. video: http://vimeo. com/16911944 (tilt your head to the right/rotate your screen 90 counter clockwise: it was recorded sideways to capture the full height)

The project began by using a study of optics and vision in the engagement of a window. This was done in the context of a narrow stairwell as a way of orienting oneself in a space that lacks floor level markings. The stairway was then inverted through camera obscuras along each window— some real (inverting exterior into the interior), and some imagined (inverting the interior into exterior). Construction of the image is revealed in a 1/4” = 1’-0” model built of the space as seen through the summation of all window inversions, becoming a screen of sorts. The implications of this operation are then carefully studied as a way to further grasp the initial study. An elevational drawing of the inversion was layered with a video feed of my ascent up the

stairs, and revealed a fragmented and inverted version of the path from basement to rooftop.

The window now looks into the mutated image of the stairwell, and reflects it back (through a camera obscura) to the material stairwell. This creates a condition where the image of the surface no longer relates to its source.

The light’s image can be repeated infinitely as it crosses both sides of the camera obscura thus being manipulated more and more, and never able to move backwards to its original condition for it will always face mutation.

In order to examine inhabitation of both the material stairwell and the image of it, I created a video of my ascention of

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1. Full panoramic outside model of the window.

2. How photographs were incorporated into the model.

3. Plan drawing with views outside the window and doorway.

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the stairs from the vantage point of each window. This was projected onto an elevation drawing of the model, with the video feeds assembled to project into the appropriate sections. My ascention is broken and fragmented as I appear to ascend the drawing by moving upsidedown and inverted within the stairwell.

Various breaks occur as I turn a corner in the stairwell and reappear in another isolated portion of the drawing.

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4. Constructed image model with existing surface light.

5. Constructed image model.

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6. Elevation drawing with video projections.

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TINA GIGLIOTTI Trainsformers Elevation Ingredients of her day: a ring + a book + a towel + a pot of petunias + a whale + the number 42.

How can one make present the history of a train’s inversion? Perhaps the inversion of the train can emulate the idea of a transformer. The motion of the train leads to its change. The skin is peeled back and re-attached, limited by the controlling factor of the inhabited space. The transformation is also limited by the structural necessities of the wheel bed to support the changing structure throughout the transformation to maintain movement.

By pulling two dimensional perspective drawings out into three dimensions, layering these perspectives, and combining them with planar perspectives, they begin to inhabit and create ghosts within the train.

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1. A bass wood and metal model depicting the beginning of the train’s transformation.

Projecting the stop frame video onto the train, these ghosts come to life. The overlapping of these multiple elements, drawings, perspectives, the present form, and hints of the past form, begins to create a sense of time— a history of the train’s transformation— its past and present.

As this layering occurs, we recognize the problem of context, of simulated or real movement. We need some sort of anchor beyond the train and its track to truly understand this process of trainsformation. We also need to place ourselves within this vivid and thickened understanding of time.

2. Video projections onto the model of the transformed train.

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MARK VAN DORP Axial Rearrangement Elevation Ingredients of his day: 9 am arrival + water + Grooveshark + 2 yogurts + granola bars + bookstore + Grooveshark+ leave by midnight.

1. East to West orientation of ‘book’ photos overlaid.

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2. The final model.

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8000 cubic ft. of a family barn was chosen to initiate the task of turning an architecture inside-out. Inspiration for the project was found in a coil bound sketch book. The act of folding pages back into the sketchbook began the study of the relationship between the continual cycle of interior becoming exterior. Treating the walls and structure like pages in a

book, the existing space was rearranged to form an architecture that hinged and manoeuvred. The rearrangement was a consequence of a progressive eastto-west and north-to-south movement through the original space. Each resulting orientation corresponded to its own axes, and was defined by the structure moving in each of these axes.

TAYLOR HAMMOND The Fantastic and the Mundane: Reinstating the Fairground House Ingredients of her day: headbands + waking up early + cupcakes with lots of frosting + wandering aimlessly around campus + savoring every moment that involves being outdoors and part of the real world.

The southern part of Riverview was once River Park, filled with a variety of amusements including a carousel, a chair-oplane, a Ferris wheel, a rollercoaster, a zoo, a midway and a racetrack. The area is now filled with small rows of 1950’s homes, and a narrow strip of parkway. It is devoid of any trace of the park. What was once a place filled with

excursions into delight, colour, and motion, now sits quiet, and forlorn. This project explores what happens when the elaborate fairground structures begin to merge with the wood-framed homes that now occupy their site. A strange world of miniature trains, Victorian dress and stucco-sided bungalows begins to emerge.

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1. Composite image of Riverview as it was and is now.

2. Composite image of Riverview as it was and is now.

3. The walls are wood studs with an exterior layer of glass and an interior layer of fabric.

The floors are hardwood resting on sub flooring, and steel sheeting. The entire structure is supported by steel beams that distribute the load to the iron truss below.

4. Sections of the house, depicting the interior.

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A railway site was chosen, analyzed, and reconstructed based upon its ability to act as a linear measuring device through the rails and ties. A 1:1 camera measuring device with the ability to travel along the railway was built and used to measure the site on a live rail track, while the developed film from the camera was used as an analog for moving trains in a physical model.

RYAN MARQUES House House Where his education is taking him: “a correctional facility.”

Eventually, playing the film within the factory itself is not enough for the filmmaker. Seeking to invert the footage he shoots, he begins to project and view his film out and onto the trains as they pass by or park in front of his dwelling.

This subverts the film’s subject: while the original footage is shot from the perspective of a train as it views the city, projecting the moving city back onto the train acts as an inversion of the film, and an understanding of the site as it is perceived to move along the train cars.

The dwelling’s program converts an old iron factory into a station that sends out a film camera device along the railway.

This device films the city from the vantage point of a freight car, and then returns to the factory, which processes, develops, and eventually projects the film back onto passing trains.

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1. A photograph of the model showing the railway footage project back onto the building.

2. The measuring device designed to follow the railway track while filming.

3. A series of photographs taken from stills of footage from the measuring device.

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4. North-south section through film developer, film storage racks.

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5. A plan view of the house and site showing the film projected onto passing railcars.

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KELSEY ONCHULENKO Untitled House Ingredients of her day: sleep in + panic + caffeine + procrastination + candy run + start something + caffeine + laugh — not necessarily in that order.

Situated in Vimy Ridge Park, the idea of the structure grew from studying the reflected ceiling plan of an American elm in the park and an adjacent house.

Connections were formed between unused or ‘dead’ spaces in a house and dead areas of the elm. What if unused spaces in houses could be removed and reused in another space?

Inspiration was taken from the act of climbing around the canopy of the tree.

Building the structure in the space of the tree evolved from the necessity of having it elevated on as few posts as possible to minimize the damage that would occur to the tree’s roots. The structure was designed to be built upon over time. As the structure moves closer to the centre

1. Site section facing north.

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2. The house from above.

3. The framing structure of the study space with light wells.

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4. The finished exterior of the study space.

of the tree, the spaces become less like rooms of a common home and more like rooms of a tree. Light pours into the spaces from openings above, allowing for views of the canopy and water drainage to the ground below.

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MEAGHAN KUSYK Experimental H2O House House “I want to develop a sea-ice/climate change experimental architectural research testing laboratory.�

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1. Steam room.

2. The front yard pool/seaice research laboratory.

3. Overall scheme.

4. The hot-tub room.

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Obsessed with water in all its forms, a parasitic H20 house emerged that began to rethink ideas of collection, precipitation, drainage, storage and utilization of water and the energy threshold between its states. Each room has its own internal drainage system to collect the precipitation on-site.

Structural parts act as collection and drainage devices. Energy from the steam room is used to moderately heat the interior environment, melting the snow to be used in the room. A constant water level is maintained through an overflow system which runs back into the hot water reservoir so that water is continually recycled. The hot tub is the fundamental component of the new house, acting as the primary energy source which all rooms stem from. It

also serves to collect grey water from the existing house, which it sanitizes and redistributes to the new house. The output of steam fuels the steam room directly above the hot tub through the perforated, cast, floor slab. The hot tub is situated on site to collect and melt snow based on wind and snow studies that were performed on-site. The frontyard pool was converted into a sea-ice research laboratory. The pool is used to collect water from the existing house, as well as primary snow collection on the east side. The salt was used to lower the freezing temperature of the pool water.

The basement walls of the existing house were replaced with glass walls which look into the pool. The basement is converted into a space for the underwater laboratory.

KAILEY KROEKER At Bay House Ingredients of her day: sass + bad puns.

Built in 1927, the Bay Downtown is located in the city centre of Winnipeg, on the corner of Portage and Memorial.

The window displays, once common throughout the downtown shopping centre, are now the last significant ones remaining in Winnipeg. The window display is a world of its own — made with only the outer appearance in mind. The

window displays are the in-between; the space between the public exterior, and the private interior, between the department store’s commercial control, and the innocent consumer looking in. This project was a house to live in this hidden layer, eternally two-sided, torn between the public spotlight and the back stage of daily living.

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1. Section of the house.

2. Composite image of The Bay’s window display.

3. View of the staircase with floating stairs.

4. View of the house from the exterior window display.

Architecture, Year Three

Andrew Lewthwaite

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KATE JACKSON Mars Lander House “The further I get in any degree, the more I get confused about where it is taking me. I know that I want to finish my undergrad. But after that, who knows. I will probably go the route of architecture, but I get distracted by almost every other field.”

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Mars Lander was a response to the space agency’s typical approach to space travel. It set out to challenge current proposals for human Mars exploration. These proposed spaces do not accommodate the human psychological relationship with space travel.

This project was about a vehicle/dwelling for one person that would transform

in function as it arrived at its destination on Mars. Beginning as a spaceship, the dwelling would travel through space on the six-month journey from Earth to Mars. Arriving at the planet, it would deploy parachutes to slow its decent and use its stabilizing legs. The spider lander would then drill into the ground to attain greater stability and at the

same time triggering a mechanism that unfolds its umbrella like membrane.

This membrane creates a greenhouse around the central living core of the dwelling, extending the livable space.

The occupant tends to a garden that provides oxygen, food, and a space to interact with nature, which is otherwise devoid on Mars.

The dwelling has two distinct parts. The interior core is the primary living place.

It provides protection from radiation, and has the main utilities for dwelling — a place to sleep, bathe, work and cook. The exterior membrane dramatically extends and enhances the livable space that the occupant has on the new planet. It provides a natural source of

oxygen and food. It provides a feeling of being outside while still being protected by a micro-earth climate.

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1. Endurance Crater, Mars.

2. The lander would transition through different phases as it lands and establishes itself. It slows its decent through the atmosphere using parachutes, it then begins to drill into the surface triggering the opening of the dome.

The old man can then begin the gardening process.

3. Site during the day.

4. The Skin of the inner pod glows at night illuminating the garden.

Like a night light for the old man, this provides a feeling of security in the vast empty planet.

5. The pod would only support one person. The tract of land required to grow food for one person is gigantic, and the surface radiation on Mars will eventually kill that person. The astronaut is most likely going to be older, as that person will face death before their time. However, they will have planted a seed, a garden, that will help make future life possible on Mars.

6. Structure of the craft.

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JEFFREY KACHKAN JYSK Intervention House “As of now, I know that I’m interested in Architecture (or anything design related for that matter), so I see my education as opening my eyes to learn new skills and discover projects I have not yet seen.”

In an attempt to dissolve the segregation between the commercial and residential developments within the city, the northwest receiving corner of JYSK, a linen, home, and furniture store, was chosen as the site to manifest a dwelling. The imagined dweller is an employee of JYSK, hired to build furniture on site.

A diagonal elevator was designed to ascend or descend and pivot in one motion. The elevator acts as a transnational space, and emphasizes the existing Cartesian conditions within the site. In the ‘x’ direction, engagements with the park and store; in the ‘y’, the receiving of product and warehouse; and in the ‘z’, a vertical movement through the roof hatch and proposed basement.

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1. An axonometric of the elevator in the first position accessing the park and basement.

2. The elevator in the second position receiving product from the loading bay.

3. The elevator in the third position, displaying finished furniture to the store, and accessing the roof.

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The placement of the elevator required elimination of some of the building and surrounding landscape. The designer was careful to eliminate only what was needed for the elevator to maneuver within the building. The destruction takes over the commercial landscape and allows the dweller interaction with the exterior conditions.

The elevator climbs along four structural steel rails, the elevator car is enclosed with glass panels of varying opacities based on the programs existing within.

The bottom of the car is a transitional space and workshop; above is the house. As the elevator core ascends and descends, it passes through varying nodes of program situated along the rails. In its first position, the car engages

the park and basement store workshop; in its second, it positions itself to receive product from the receiving trailers; in its third, it escapes the building, and accesses a product display case for the stores retail floor.

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4. A perspective of the living space inside the elevator core.

5. The finished model with a hinged compartment at the bottom displaying the mechanism that moves the elevator.

6. An earlier model displaying the different positions of the elevator.

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CHRIS BURKE dwelling[?]

House Ingredients of his day: 4 parts coffee (16 oz portions, not to be added all at once); 1 parts cinnamon bun; sprinkle of sarcasm; approximately 20-40 pages of reading; as much fresh air as possible. Carefully add ingredients to Chris Burke. Shake violently until well blended. Best served over ice in a short glass.

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This project was driven by questioning the meaning of “dwelling” and the role of scale in architectural exploration.

Placing a large model of the existing Architecture 2 building within the studio propelled the project towards engaging a multitude of changing scales. By using “dwelling” as a grounding for the project, and the ideas of Martin

Heidegger, the project was inhabited for a continuous 24 hour period, allowing the occupation of multiple scales and a new definition of “dwelling.”

Dwelling is a perpetual act. It is an ongoing performance of engagement.

It does not exist as a physical object, rather, it exists in time and space,

framed by objects designed for capturing the performitivity of it.

After living in the model, it was suddenly realized that although the model should be viewed in it’s entirety for the sake of tectonics, that view only skewed the perception of the events that took place within. A new series of photographs of

the exterior of the model were created with the intent to make one question the scale of the structure that was lived in for 24 hours.

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1. A series showing the process of hanging the model.

2. North elevation of the model.

3. West elevation of the model.

4. A self portrait taken inside of the model during the 24 hours of dwelling.

4. The floors of the model and their various programmatic functions.

Work

Drink

Urinate

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TRENT THOMPSON Untitled House His halcyon days: “Usually consist of sand, sun, water and a tasty beverage in both hands.”

The culvert is a junction of multivalent processes, an intermediary ‘device’ forging a deal between two other parties. However, in this case the existing culvert required no compromise, only thoroughfares for both water and automobile. Once the original culvert was constructed, the potential for road erosion or flooding was eliminated.

Human-kind would never create to be hindered. Obsession with the ‘efficiency’ of the straight line has forced constructs to straddle nature, so it does not ‘intervene’ with fast and easy gratification.

The transformation that occurred in this project places hydrological processes of the site above man, regaining a sense of entropy: a return of nature’s dominance. The previous four-lane highway

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1. A section of the underground culvert.

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2. A car approaching the underground culvert.

3. A view of the model showing a stripped away view of the double helix roadway and culvert elevator.

Architecture, Year Three

Frank Fantauzzi

converges to two; one lane for each appropriate direction. Upon approach, man is channeled below ground level by the bounds of the initial helix, until he reaches the reconfigured culvert. One at a time, the automobiles enter the culvert from either direction, prompting a platform to descend to the second helical access road. The platform is a part of counterbalanced system. It is connected to a valve at stream level.

As the platform descends triggered by the weight of the automobile, the valve ascends discharging water downstream.

The system is deactivated once the automobile leaves the platform, returning both mechanisms to initial positions.

Man then follows the second helix back onto ground level.

SAMANTHA BERTRAM Shadow Box House Ingredients of her day: Cheerios + stairs in Arch II + multiple trips to UCentre for various purchases of food and bookstore supplies + throwing things at Rosie while she isn’t looking + catch up on tv online.

The site was a combination of the kitchen of one house, and the space underneath the front porch of a house across the street. Projection was used to redefine the site, and bring the two rooms together. The house was created to create an illusion utilizing the positioning of wall planes so that their shadow gave the appearance of the

lower rooms supporting upper rooms while positioned next to each other. In reality, the planes were not connected.

The result was a model that haunts the shadow it creates. Views and lighting of the model were controlled ensuring that parts of the model always remained in shadow.

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1. Final model.

2. Study model examining shadows.

Architecture, Year Three

Lianne Veness

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MARK VAN DORP A Shifted Reconstruction House “I’ve learned that stepping back and viewing your work from a different context often allows you to understand and view things that may have been present but not seen.”

A new architecture emerged from the historical mapping of a family farmhouse during the 90 degree change in orientation along its 250 metre path. Moving the house was a decision made during the 1950’s as a response to disruptive, noisy neighbors across the road nearly 100 m away. Material, programmatic, and physical shifts were defined by the

literal transformation of walls as well as personal memories; which, led to a dwelling filled with subtle nuances mirrored throughout and slight variations that, if familiar with the space, one questions the new experience, while leaving foreign inhabitants to question whether anything in fact has changed.

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1. Sequential drawing depicting the main and upper levels simultaneously as a single unit in comparison to its original structure.

2. Exterior view of the rearranged house.

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3. Interior view of the model.

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HAILEY DARLING Dwelling House Ingredients of her day: coffee + Leggings.

I chose three windows on the east facade Peck Building in the Exchange as the location for my house project.

As I constructed a site model I began to turn the windows into pinhole cameras, sliding a small box with film in it along the back side of the model to take pictures of the new space. I began to understand how this box could in fact be the architecture, and constructed a permanent track which could house

the box, much like a room. The room was a camera obscura, functioning only when light shone from the outside to projecting an image inside. This image began to determine the placement of the windows on the inside of the building. As the space in front of each window began to change in accordance to the camera, other pieces of the wall begin to change in concert with the furniture being engulfed by the wall.

e three windows view from the interior.

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1. The three windows of my site, as seen from inside the Peck Building.

2. Corresponding photographs taken with the pinhole camera through each window.

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3. Perspective drawing of the model.

4. Drawing representing a single moment when all three windows and their views lined up.

5. Layered perspective of the different wall sections, as well as the camera box.

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ROSEMARY ELLIS Untitled House Her halcyon days: “Days spent reading in the sun, lounging on a dock, and getting coffee only as an excuse to see friends.”

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1. The character beginning to excavate the layers of earth 2. The process of excavation is done through the reality of the plaster and pasta model.

3. The model view from above, divided into sections for viewing.

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Lianne Veness

The ground is often seen only as a supporting character: a material which must be retained, pushed away. However, through a process of layering and excavating a new ground is created which acts as subject instead of background.

By working in section, the ground’s own architecture can then inform the voids of an underground living space. These

spaces in turn necessitate new layers of structure to be added to the ground’s surfaces in order to stabilize it. The resulting conversation between ground, house and structure creates new possibilities for underground architecture.

4. A section drawing of the excavation of the house.

5. View of the house interior and surrounding reinforcement.

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6. Another view of the interior.

7. View of the glass back wall of the dwelling.

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EVAN KALLUSKY Degradation Vs. Generation House Ingredients of his day: set my alarm way too early and hit snooze for a few hours + a cup of coffee shortly after waking up + a mid-day nap + working late at night + deal with stress by taking more frequent coffee breaks.

The occupied site is a result of the horizontal migration of a plaster block working with the vertical force of gravity.

The horizontal movement was controlled based on previous time lines of the project: my time in the exploratory drawings on the wall behind, and their respective time scales.

An interest in the generative spaces between the rocks was developed. The dwelling began to negotiate the less stable areas of the site, while primarily taking anchor in the more stable areas.

Seasonally housing an architect and a structural geologist, the dwelling serves as a live-in research facility, testing different structures capable of inhabiting a restless landscape. The dwelling is

1. A plan of the main dwelling/research site.

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Architecture, Year Three

Lianne Veness

itself a full-size test that is continuously monitored.

Colored indicators span between the currently stable rock surface, and the unstable surfaces. Should the indicators read red, the test dwelling they currently live and work in has reached it’s maximum allowance for expansion, which is approximately three feet of movement.

This translates to approximately 36 years according to the movement of the occupied site.

The smaller area, with access to the space under the rock, is an accelerated test site where the rock surface is the least stable. This allows secondary tests that run their course faster to occur every few years, as opposed to the ex-

tended time-scale of the main dwelling.

After the dwelling was built, the site moved forward approximately 6 inches to scale. The dwelling is now in greater tension, with its range of motion slightly restricted.

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2. Year zero of seismic shift in plan.

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3. Year 4,000 of seismic shift in plan.

4. Plan of the accelerated test site.

5. A view of the model of the main dwelling.

6. Graphs of seismic shift over time.

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CHRIS BURKE vertical shift clock.

House (Device) His halcyon days: “Overcast weather. The clouds don’t really have a starting or ending point, and, because you can’t see the sun and the light condition doesn’t change during the day, you easily lose track of time.

9 am looks like 4 pm. 6 pm looks like noon. Coffee tastes better.”

This body of work was done as a followup to the previous semesters “site” project. Using “site” as a starting point, the project attempted to accentuate and bring forth specific nuances found in the site’s duality; retreat / advance. Through a closer look at this duality vertical shift reliant on flooding became an area of focus for the project. This triggered a range of precedent studies and machine explorations, resulting in the creation of a device.

The device took the form of a clock that did not tell time. Instead, the clock controlled vertical shift. Like normal clocks control our schedules during the day, the vertical shift clock was intended to dictate a vertical change in the studio space; starting on the ground, and

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1. A series of the vertical shift clock depicting the ascent of a person in their studio space.

2. A view of the gears and components of the vertical shift clock.

Architecture, Year Three

Frank Fantauzzi

continuing up towards the ceiling, simulating a flood-like environment.

Driven by an electric coffee grinder motor hooked up to a dimmer switch and plugged into a programmable power bar, the model had the ability to be programmed. The dimmer switch provided the ability to speed up and slow down the rate of ascent; the programmable power bar allowed the device to run automatically for pre-determined amounts of time. A system of pulleys and separate lengths of string were used to hook the device up to a scaled version of a person working at a studio space.

The rise and fall of this person would reflect the changing flood levels on the original site and dictate the rise and fall of the life-size studio work area.

CAROLINE INGLIS On the Edge of the Horizon House (Site) Ingredients of her day: chocolate banana peanut butter milkshakes + garbage television + hot yoga (in that order).

The incredible flatness of the Winnipeg area introduces the duality that became the focus of the site investigation. The duality was the relationship between horizontal and vertical. The panoramic images were taken from the rooftop of a three storey building. Because of the flatness of the surrounding area, the horizon unveils itself. This was the basis of the investigation of the site.

The horizon model describes the relationship between the amount of

the city that is visible and the height of the observer. Using the calculations of the distance to the horizon, a map was denoted with the circles of visible area corresponding to the incremental height of the observer. Sight-lines to major landmarks that were visible beyond their corresponding view range are denoted with pins and the sight-lines were physically constructed with strings to examine the impact of the landmarks.

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1. Panoramic images.

2. A map denoting visible area corresponding to the height of the observer.

3. Horizon model.

Architecture, Year Three

Frank Fantauzzi

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EDUARDO AQUINO A Question of Seeing and Not Seeing The academy is not paradise. But learning is a place where paradise can be created. The classroom [studio], with all its limitations, remains a location of possibility. In that field of possibility we have the opportunity to labour for freedom, to demand of ourselves and our comrades, an openness of mind and heart that allows us to face reality even as we collectively imagine ways to move beyond boundaries, to transgress. This is education as the practice of freedom.

- Bell Hooks Growing up in a military dictatorship (Brazil, 1964-1985) I watched and observed everything, suspiciously questioning the reason for things, even though as a kid you don’t have the answers, you are never given any answers.

But by questioning one discovers a an opposite life: I learned about everything I didn’t want to be, I didn’t want to do, and none of what was presented to me made sense. Unknowingly, I was gradually selecting a kind of life that I didn’t know existed. And what is the diametrical opposite to military authoritarianism? Art.

Eduardo Aquino is a professor in the Department of Architecture teachings an annual, joint, vertical studio (a studio containing both undergraduate and graduate students) with Karen Shanski. Together they have created spmb (São Paulo-Manitoba) a firm that concentrates on the “interstices between art and architecture.” Their studio and practice focuses on collaborative, and community oriented design. He was travelling over the summer and sent us this response to our questions via email.

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Architecture

Photo provided by Eduardo Aquino

When I started to understand that I could see the world through art, everything started to make sense. I was already an artist by choice when I reached university, so there was little point to go to art school. You know, the redundancy of it. I thought I could figure out how to be an artist already, and wanted to do something else. For me, that was architecture. In fact I didn’t know what either were: art or architecture. I just knew I could spend a long time immersed in that milieu.

Then I read this book by Pierre Cabanne (L’ingénieur du temps perdue), where an interview with Marcel Duchamp made me flip out. I always have been deeply attracted by the unknown, the strange, the opposite, and the things that, at a first glance, I find ugly or repulsive. I think it is an important lesson, to constantly move away from a comfort zone,

to stretch one’s own world, always. To this day Duchamp makes me uncomfortable, and that’s exactly why he is one of my favourite artists.

There is no separation between art and the everyday life. It is all part of one same thing, tangled up in one same reality. Some people find hard to understand how to blend everything in: teaching, studio, family life, practice, research, and downtime—it is all part of one same thing, and that is life. For me there is no such a thing as “free time,” and there is not a life outside design.

One cannot be in the arts, and then take a break from it once in a while. It is extraordinary how some architects “retire.” Retirement is a concept difficult to understand. Oscar Niemeyer is going to be 104 years old this year. He has just opened a museum outside Rio de Janeiro that will house his work. Of course, he designed the building. What I confirm about this is that there is no disconnection between art, life, and the everyday.

During my architecture school years, at the tail end of the dictatorship, we would often engage in political activities as students, because we would want to see important changes, like to be able to elect our own representatives in government. We would go to political gatherings that would seek for democratic transformation in Brazil. To choose art, or architecture as art, is a highly political decision that points out to another world one might aspire, a better world perhaps. It is not about choosing a job or a career—it is about choosing a way of life, to choose questioning as a way of life. One is curious all the time, asking questions, trying to understand, and translating whatever understanding in some creative form.

Architecture has lost the vocation that points to other social, technical or aesthetic possibilities beyond the building as a simple commodity. Architecture has become, along with so many other things in our culture, a result of the fierce enforcement of the capitalist logic

of production. There was a time when architecture was considered an art, but this inherent quality is a huge exception in the urban culture today. Most production is determined by capitalist values instead of humanistic ones. Architecture has lost its groove, and that is one of the reasons I teach and practice marginally in the interstices of the city, to help preserve the humanistic vision of it. I like a lot what Mas Yendo says about this: “The liberation of architecture will require the architect to aspire to a much larger humanist agenda, addressing the culture at large as well as architecture as a field. This demands that architecture counter the reductive, stultifying effects of rationalism by embracing the qualities of contradiction, paradox and ambiguity.” Exploration and research coalesce with creativity and science.

Art brings the best of these two worlds together. There is a clear distinction between what is construction and what is architecture, and that is something I desire students to see. To promote a continuous, strong exploratory attitude is paramount to the preservation of the humanist agenda for architecture.

What is great about our program of studies in the Department of Architecture at this moment is the academic structure that supports the individual questioning, giving the appropriate time to achieve further understanding, and giving the students the opportunity for the most advanced exploration and technical achievements to take place.

In this context the terms through which the methods are determined are not based on the teacher’s opinion, but they are instead instigated through a kind of learning where the students are asked to place themselves in relationship to their subject. This is design as a liberating practice: at the same time that technical, critical and creative skills are developed, a position in relationship to the world evolves, so instead of becoming fatalities of our own destinies there is the opportunity to take control of one’s life, and design (when exploratory) has this liberating capacity

to make anyone a fulfilled individual.

Architecture education is not about a single idea or method, a single imposed vision, but the complexities of the world overflows into the wide diversity of approaches to inform the studio process.

And often this is not an individual task.

The complexity of the world requires a collective questioning, hence the studio environment and collaboration.

Winnipeg has this tabula rasa character, free from preconceived ideas or predetermined ambitions where one can find an ideal space to define a personal way of doing things. We are far enough from anything else so we don’t have the usual pressures of other urban centres, neither the pretence to be like anyone else. One of the most precious things about Winnipeg is its horizon and vast skies. Confronting the prairie horizon one confronts oneself because there is nothing else beyond, beside, or behind you—the landscape turns into a mirror—and as an artist, to be constantly placed in this complicated position, you are compelled to define a viewpoint within the world. As I consider these questions in relation to my students I concur with Robert Irwin’s position in relation to teaching: “All the time my ideal of teaching has been to argue with people on behalf of the idea that they are responsible for their own activities, that they are really, in a sense, the question, that ultimately they are what it is they have to contribute.

The most critical part of that is for them to begin developing the ability to assign their own tasks and make their own criticism in relation to their own needs and not in light of some abstract criteria. Because once you learn how to make your own assignments instead of relying on someone else, then you really learn the only thing you really need to get out of school, that is: you’ve learned how to learn. You’ve become your own teacher: After that you can stay on—for the facilities, the context, the dialogue, the colleagueship, the structure, and so forth. But you’ll be already on your own.”

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DANIELA MANDARANO Interstitial Surface Revealing the Urban Surface Ingredients of her day: breakfast + smiling + red lug (it carries my whole life) + delirium + sugar + exercise + listening to Enya (singer) + therapeutic breaks + faith.

What is a ground plane? The ground plane is composed of many surfaces that make up a space. The term ground plane is conventionalized as the surface one walks upon. I am interested in the ground plane as a continuous surface in which the divisions from one storey to the next become blurred. This fluidity throughout the space creates an urban surface, revealing its potential for inhabitance. I define a ground plane, as the interstitial space of an urban surface, as Alex Wall states, “is the non-occupied urban spaces between urban objects.�

I have designed an architecture that houses the existing storefronts, an eatery and park terrain that is submerged between the existing terrain and subterranean context of my site. The

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1. An early sketch model.

The earth of the site begins to penetrate within and up through the ground through the actions of folding, layering, weaving, joining, sectioning, rising, stretching, and dropping in one continuous surface.

2. A conceptual rendering of the interior of the layered space.

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3. Section portraying programmatic functions: park terrain: eatery & retail within its context bringing the complex relationships from the illegal vendors and market into my architecture; creating a densified, and dynamic environment for the potential of inhabitance within an interstitial surface.

site is situated between the market and the illegal vendors, next to an alternate entrance to the market. I chose this site because I am intrigued by the system of interwoven relationships and spatial conditions created between the market and the illegal vendors, the vendors, the buyers and consumers, the tables with goods, the people with goods, the distance between the vehicles and the people, etc. Constructed out of reinforced concrete the earth of the site begins to penetrate within and up through the ground through the actions of folding, layering, weaving, joining, sectioning, rising, stretching, and dropping in one continuous surface. These specific programs inhabited within the interstitial surface allow opportunity for boundaries to become blurred, and spaces to overlap and be reinvented.

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4. A view from ground level to the stairs leading to the subterranean level of the building.

5. A view into the layered building from the stairs into the subterranean level.

6. An elevated view of the roof of the building featuring a retail space suspended from the ramp, leading up to a park theatre and performance stage; the large steps form bleachers.

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JORDAN PAULS

Initial research, and being at the centre of a superficial city led my program to be a transportation hub for the city.

Gyroscope Superficial City Terminal Ingredients of his day: Metalocalypse + sleep + cereal + bike rides.

The function of the gyroscope was the most promising mechanics to meet the needs of the city allowing for multiple points of entry and exit as well as layers within the centre for more program.

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1. A large scale model depicts a section of the gyroscope detailing the connection between floor plates.

2. Collage investigating a fascination in circulation, navigation, and orientation.

3. A detail view of the model in image 1.

4. A model of the gyroscope depicting the complete structure.

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JORDAN PAULS Cubo do Feirinha da Madrugada Superficial City “I think, like most students, my education was taking me to become an architect, but the further I get in architecture the more it becomes a degree that opens doors into all facets of design.”

The project involved translating first semester research into a real world site located in Sao Paulo Brazil, at the Midnight Market. The CUBO consolidated three existing infrastructures on the site: rail, road, and water. The CUBO is designed to become a major public transportation hub for a city with an extremely dense urban population. The site will increase

the number of people passing though the hub, therefore, allowing the neighborhood and the market to thrive.

CUBO DO FEIRINHA DA MADRUGADA

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1. A section through the transportation hub showing how the building is occupied and how buses interact with the building.

2. A model of the CUBO.

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BOATS HELICOPTER COMMUTER RAIL TRAM RAIL BUSES PEDESTRIAN

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IGOR CABRILO O Lugar De Nossa Senhora Superficial Studio Where his education is taking him: on a rad adventure filled with wonder.

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The project, located in the center of the Feirinha da Madrugada market in downtown Sao Paulo, Brazil, consists of two open administrative buildings, one dealing with the administration of the city and the other with that of the market. Between the two buildings, held up by the structural walkways, is a floating column that acts as a chapel for the

1. Last term, light was my main focus for studio.

I was intrigued by the way light and shadow interacted with one another against different surfaces. I began to study apertures and how they affect the quality of light that is cast upon a surface once it passes through a filter.

Architecture, Year Four

My experiments became more complex and I began to add different layers to study the play of light and shadow through multiple filters.

My final model became a machine-like apparatus with many variables that resulted in an infinite number of combinations using light and shadow.

Eduardo Aquino, Karen Shanski

Nossa Senhora Aperecida - the patron saint of Brazil - where the inhabitants of the market would go to pray. A large three layered inhabitable canopy covers the open buildings below, creating surfaces that produce an atmospheric playground of light and shadow. The canopy protects the buildings from the constant rainfall and promotes natural

air ventilation throughout the buildings.

Void of any walls on the east and west side, the project welcomes the spilling of the surrounding barracas - small shops that make up the market - into the space below the canopy. These barracas create hallways of circulation between the market and the project.

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2. The SĂŁo Paulo School of Architecture became an important building to me during our trip. This large building is a large box held up by several concrete columns allowing the lower floors to be completely open.

No doors or walls are required to keep the elements out.

Overhead the structural roof, with many built in skylights, brings natural daylight into the space, adding to the openness.

Large ramps, located at one end of the building, act as the main circulation between each floor.

3. The Rio De Janeiro Cathedral was an amazing building. This tall giant was completely protected from the elements but at the same time allowed natural air circulation to pass through itâ&#x20AC;&#x2122;s monolithic facade. The placement of each exterior panel acts as a rain screen,

shedding any rainfall that may occur.

The interior of the cathedral is breathtaking. Large stained glass windows rise to the top of the cathedral. As the sun hits each panel, the color is washed onto the concrete, making it seem warmer.

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4. I redesigned the canopy to be a long rectangular volume, covered on all sides except for the openings for circulation.

Layers were added to the canopy to create more filtering variables as well as an additional surface.

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5. To create depth and higher variables, three layers were to be used to make up the canopy above the interior structure. The patterns present on the canopy were a result of geometries found in the zoomed out map of SĂŁo Paulo.

6. Light spilling through the canopy into the chapel in the final model.

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8. Detail shot of canopy.

9. The bottom and middle canopy were raised to create inhabitable space. These spaces are small rest locations, lit using a different colored light.

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BRENT BELL Puppet Theatre temporaryBERLIN Ingredient of his day: an early rise + a hearty breakfast + a chocolate milk + a few visits + a family dinner + a ‘late’ night.

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Lancelot Coar

The trailer was intended to be used as a stage that can be operated by a single puppeteer. The puppeteer is positioned in the upper portion of the trailer and manipulates the scene below by means of traditional style marionettes and the use of shadow puppetry. The trailer, as a stage, would be located at the centre of the intersection providing opportune viewing from any position along both streets. The trailer becomes the scaffolding to reach the height required for the performance. The position of the audience on the street, with the trailer at the centre, provides the opportunity for four stages, each on one side of the trailer facing the intersecting streets.

The physical structure of the trailer begins to change form in relation to the

positioning of the stage.

The height of the stage attracts spectator’s attention and mimics the streetscape beyond the trailer. The puppeteer begins to manipulate the scene.

Lights illuminate the trailer interior and the exterior screen, depicting the surrounding streets. The height of the puppeteer in relation to the skywalk, provides a privileged view into the world of the puppeteer. The public are provided with the opportunity to understand the mechanics of the show and witness the “performance within the performance”. Using the city as a backdrop, the trailer creates a realm of control where, through puppetry, one can begin to blur reality and fantasy.

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2. A model of the puppet theater scissor lift and trailer structure.

3. A collaged section of the puppet theater.

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ANNELIES WESTERBEEK BRENT BELL BROCK KLASSEN DANIEL DUFAULT DAVID KURY JACQUELINE YOUNG JARRID CRICHTON LINDSEY SALTER OLIVIA FUNG PAULO CASTILLO ZEPHYRA VUN Clearwater Wind Shelter

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Architecture, Year Four

Lancelot Coar

After deconstructing an abandoned barn near the rural community of Clearwater, MB, our studio group designed and built a 360° rotatable wind shelter using materials salvaged from the barn. Our site was located in a field a short distance outside of town. It was so windy on the day we began the build project that we had difficulty hearing each other speak.

The environmental conditions led to the design of the structure, which provided seating for all twelve members of our

group, as well as shelter from the wind, no matter what direction it was coming from. Five people could lift and rotate the structure around its pivot point, a wheel and axle salvaged from an old unused piece of farm machinery.

The project was undertaken in September 2010, and served as an introduction to our studio group work as well as to our other group members.

1. Students taking down an old barn for material.

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2. The completed wind shelter.

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3. A series of photographs of the building of the wind shelter.

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This year, our studio investigated how we might build upon the momentum of the past five-years work while providing more resources and infrastructure to help support and provoke future studio work. The site for our work was a 14â&#x20AC;&#x2122;-long enclosed construction trailer.

After visiting Clearwater and an initial deconstruction and design/build project in the fall, we studied, redesigned, and transformed this tool to function as a mobile design studio and workshop.

BRENT BELL BROCK KLASSEN DANIEL DUFAULT DAVID KURY JACQUELINE YOUNG JARRID CRICHTON LINDSAY SALTER OLIVIA FUNG PAULO CASTILLO ZEPHYRA VUN Mobile Design Studio

We investigated how this trailer would not only house the range of functions necessary to deconstruct, design, fabricate, and build future projects from it; but, we also saw this as a instrument to engage with the dynamic and temporal conditions of the site, structure, landscape, and environment in which we work. It is hoped that this trailer will allow us to reveal, measure,

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record, sustain, and reframe our practice as architects, because the work space we create will inevitably shape the way we work in the future.

The mobile workshop will enable us to travel to structures wherever they may be, and have the capacity and resources necessary to engage with a wide range of planned and unplanned constructions in future projects.

Each student approached these questions from her/his own unique interests, research and investigations.

However, the trailer is not a single project they worked on together, rather it is the site of the work they each explored, while supporting and collaborating with the work of their classmatesâ&#x20AC;&#x2122;. The resulting project is a merging of unique and individual ideas supporting an intention by all.

JARRID CRICHTON Floodway Mobile Research Station Transformation of the Trailer “My halcyon days would have to be my remembered experiences of growing up as a child in rural Manitoba. There was an entire living world of nature to discover around me, without the worries or concerns about life that we adopt as we grow older.”

Near the end of the Fall term, we individually created proposals for the redesign of our construction trailer to engage with a specific site and situation in or around the city of Winnipeg.

My site was the Red River Floodway. I imagined the trailer becoming a mobile research station for the study of the floodway vegetation, which plays an important role in the floodway’s recent expansion. My proposed modifications to the trailer included adding a sub-floor that would house extendable work surfaces as well as provide storage for tools

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and other gear. In addition, I proposed the installation of a hydraulic stabilizing system that would allow the trailer to be levelled and steadied on uneven terrain.

Along the sides and back of the trailer, I installed specific points from which to orient and establish a ground surface grid system to be used in the vegetation studies. The intent was that the trailer could provide an environment that would help to facilitate the kind of plant research that might be undertaken at a site such as the floodway.

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1. A view from above showing the grid system that would be utilized to study vegetation.

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2. A detailed view of the stabilizing system.

3. A collage of drawings exploring different aspects of the floodway site and the engagement of the Floodway Mobile Research Station.

4. A structural model of the research station.

Architecture, Year Four

Lancelot Coar

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BRENT BELL Lighting Roaming Engagement Where his education is going: “Not down the conventional path. It’s trying to do something different. Doing the hard things. Making this my own.”

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1. The lights installed on the trailer.

2. A detail shot of the rear of the light and its mounting system.

3. The light in its spotlight position.

4. The light in its more diffused position.

5. A close-up of the light.

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The use of a single adjustable lighting fixture, which has the ability to adapt to a distinct task, allows for flexibility of use and encourages constantly evolving use of the trailer. An attempt was made to achieve a degree of control of the type and direction of a conventional compact florescent light bulb. The cogs are used to change the direction of the

shutters simultaneously. As the cogs turn, they create either a closed or open shutter. When closed, the light is directed upward and becomes a form of spot lighting that bounces off of the fabric canopy. When in the opened position, light is able to penetrate through the clear acrylic and is diffused through the frosted calendared plastic cover.

JARRID CRICHTON Sunshade Canopy Roaming Engagement Ingredients of his day: stretching + introspection + food (lots of good food) + daydreaming + exercise + planning/organizing + making lists and crossing things off of them when they are finished.

Our studio project for the second term concerned the transformation of an enclosed construction trailer that we had used on a design-build project in Clearwater, MB in the fall term. The trailer project was undertaken as a group, but each student had an individual focus and component that they designed within the overall project. My focus in the project became the design of a sunshade canopy structure that could attach to either side of the trailer to provide a covered workspace, or area for gathering/eating, etc., as well as a surface for projection of videos and slideshows. I began by designing from the ground up, initially determining what

type of ground anchors would hold the structure in place, then moving on to a series of base plates that would act as foundations for the structureâ&#x20AC;&#x2122;s vertical supports. From there, I determined the nature of the poles, designing them to be able to be connected in multiple arrangements for various configurations of the structure. The form and nature of the canopy followed. I installed multiple connection points for the poles within the stretchy canopy fabric to allow for various set up configurations. Flexibility of use was important, as I wanted the canopy to be functional for various scenarios that I could imagine, as well as potential ones that I could not.

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1. Sunshade canopy in action.

2. Details of attachment.

Architecture, Year Four

Lancelot Coar

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When we came together as a group of six, our goal of “shelter” and “comfort” became the priority in transforming the trailer into a space of inhabitation.

We defined shelter as being a type of form that provides protection for both the work and group members from the physical environment and comfort as being a type of form that provides and supports its inhabitants throughout and during the work process. Using our collective experiences from our Clearwater

BRENT BELL BROCK KLASSEN JACQUELINE YOUNG JARRID CRICHTON OLIVIA FUNG PAULO CASTILLO Roofing Roaming Engagement

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project we wanted to change the nature of the trailer’s “skin” such that it could provide the level of shelter that we desire. Throughout this term, our role and interest became pertinent towards the design of a removable roof that could be assembled and disassembled on-site such that it could provide both comfort and shelter to its inhabitants working below.

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1. Concept sketches.

2. Dufort Industries was found to produce custom canopy systems that were both modular and versatile. Their various resources, experiences and knowledge were a significant help to this project.

3. An easy to assemble pole and fabric system was developed for the trailer.

4. Assembling the final product.

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GENEVIÈVE JOYAL Le théâtre domestique Complimentary Contradictions “I can’t precisely confirm where my education is taking me just yet but I’m fairly certain that given a cape and a nice tiara, I could save the world.”

“You use a glass mirror to see your face; you use works of art to see your soul.”

-George Bernard Shaw (Irish playwright) I began this year long project by choosing the painting entitled ‘The Artist’s Studio’ (1935) by Raoul Dufy. ‘Probing the significant depths of this artwork allowed me to assemble a life-size construct that would be further renovated 3 times throughout both terms.

The major component of my handiwork consisted of a found blue door that would complement the core colors in the Dufy painting. I strategically cut my door into numerous pieces and their changing orientation, location, function and additions were directly related to the architectural project at hand.

During our studio trip to New York City we were encouraged to find a site and ‘muse with significant breadth’ by compiling a photographic essay that would essentially illustrate analogous conditions previously explored both

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1. Sections of the final theatre.

2. Sample of the photographic essay done in New York.

3. Second rennovation of the blue door found object.

4. Final Model.

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in the painting and our construct. In my case, these observations included peeking, thresholds and theatrics of the city. In turn, given the actor/spectator relationship inherent to the camera, these photos informed my architectural program: a multistage theatre.

My Winnipeg site, located in Saint-Boniface, was an old chapel and longtime home of the Franco-Manitoban theatre group Le Cercle Molière. The cozy and compact qualities of the existing space along with the home I proposed to demolish pushed me to focus primarily on the domestic space of the actors dressing quarters: precisely where their transformation occurs. Undoubtedly, the central object that persistently connected the painting and the project was the easel. While even the shape of the easel in plan was discernible, this idea of supporting a framed canvas in conjunction with actors on a stage framed by the city in the background was a relentless struggle.

YURICHORONG SEO Theater in New York New Museum theater Ingredients of her day: be sleepy in the morning + be nervous until I have desk crit + have a coffee + have a lunch + waste time searching internet + sometimes playing the computer games guiltily + have another coffee break + sleep.

In the winter term, as part of my design program, I chose to create a theater because New York is famous for the performing industry, and I was interested in producing a specific lighting effect. My site was a small parking lot beside the New Museum in New York. For practical reasons, I decided to use the whole block as a back stage. Theater goers can

shop while taking part in events. The theater connects to the New Museum to provide easy access to the theater.

The design of the building evolved out of several aspects such as: the lines of natural light on site; the view lines from residence; and the light rhythm in the building.

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1. A view of the rooftop auditorium at night.

2. An interesting encounter on the stairs. On the left is the stairwell to the dressing rooms, on the right is the audienceâ&#x20AC;&#x2122;s stairwell to the auditorium.

3. A view of the museum from the alley.

4. A view of the museum from above.

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Dr. Lisa Landrum

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JAYNE MILES Door as Instrument Ingredients of her day: do some yoga poses + Paul McCartney + (a healthy dose of) trace paper + dancing (in studio) + fresh air + journaling + a gigantic pile of library books + 20-min reposes.

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A building detail for a small building proposal for a Berlin site on Schlesische Strasse informed the program and design of the building proposal.

The detail drew from earlier explorations with devices to sense immaterial phenomena. Last semester I experimented with making sound boxes

1. The strangerâ&#x20AC;&#x2122;s side of the door instrument.

2. The dwellerâ&#x20AC;&#x2122;s side of the door instrument.

3. Permeations in the door that open and close allowing different amounts of sound to permeate.

4. Sound making devices on the door.

Architecture, Year Four

Patrick Harrop

to sense, amplify, and interfere with the swing of a door.

I looked at the detail of a door, and the threshold conditions it implies: possible dialogues between the sides of the door; and implications of the geometry of its swing.

JAYNE MILES Sidewalk Thresholds Where her education is taking her: “Around the world, into my own backyard, anywhere and everywhere.”

Alvaro Siza designed the Bonjour Tristesse building and the nursery school as part of his proposal for the Schlesische Strasse Block 121 for the 1984 Berlin Building Exposition; however, the streetfront of the school is the least lively on the block. This project seeks to use existing built and social infrastructure.

The school librarian acts as community

liaison; this project creates a built work that liaises between the nursery and the sidewalk, transitioning from the school’s private library to a librarian’s office that also serves the public from a public reading room space nearest the sidewalk. The resulting thresholds serve as opportunities for dialogue between the inhabitants of the spaces.

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1. A conceptual drawing of the proposed space.

2. Above view of a model of the proposed gateway, and reading room as it stands in front of the existing building’s façade .

Architecture, Year Four

Patrick Harrop

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VIKKI DRAPEAU Tailoring Patterns Ingredients of her day: Press snooze for 2 hours + wake up from a cat head butt + Eggs Benedict + coffee/tea/hot chocolate + figure out how to get to school on time + stealthily stride into studio (2 hours late) + try to draw/model/etc + look at pictures of killer whales + go disrupt other studios + go sell specialty cookware + feed cat + feed me + go back to studio + catch last bus home....and repeat.

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1. Plan of the second floor in the summer. The second floor is not utilized in the winter because it folds up to create denser walls to keep in the warmth in the central zones.

2. Plan of first floor in the summer.

3. Plan of first floor in the winter.

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The Dene people were a nomadic tribe that moved through and around the Churchill area, following and hunting the caribou herds in their seasonal migration to provide food, shelter, and clothing. The dwelling that sustained this lifestyle was very different than that of the suburban-type ones that the Canadian government has set up for the Dene people today in exchange for discontinuing hunting the dwindling population of caribou. In doing this the

population of the tribe decayed quickly because of the inability to adapt to this new life. My architectural proposal seeks to take the skinned pattern of the original house and tailor it to better fit the lifestyle of the inhabitants.

The building moves in response to the seasons, just as the population once did, and applies a balance between traditional and contemporary materials and methods of making.

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4. Rendering, showing the fame of the house.

5. Final model.

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VIKKI DRAPEAU Observing & Experimenting With Decay Where her education is taking her: â&#x20AC;&#x153;Somewhere other than Winnipeg.â&#x20AC;?

Various processes of preservation were studied, first through experimentations with food.

A shelf was made to contain an Arctic Char (Salvelinus alpinus) that would be cantilevered out the fire escape door of my apartment building. The location

and design of the container was critical to keeping the contents concealed from the landlord. The design permitted airflow, and allowed birds and creatures to peck at but not take away the fish.

The container was painted black to retain heat and therefore speed up the process of decay.

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1. A series of drawings documenting the decomposition of the Arctic Char.

2. The Arctic Char in its cantilevered box hanging outside of the apartment.

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TIFFANY LEONG Vertical Staircase Apparatus Apparatus Ingredients of her day: Awake tea + model building + bagel + break + awake tea + break + drawing + cat nap + coffee.

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The apparatus was designed to capture the position of the vertical body descending, ascending, and the discomfort of the foot every time it hit the rise of a stair. After researching the vestibular system, auditory system and the inner ear, the concept of layering, balance and unbalance (equilibrium) was explored through the apparatus. The sense of motion was studied through photography to identify the precision of equilibrium in

the apparatus. The body is a plumb bob trying to find its balance. While using the apparatus, oneâ&#x20AC;&#x2122;s centre of gravity is shifted onto the left leg and hip. In order to counteract this weight, an extension of the handrail would allow the user to lean towards the opposite direction, thus finding the centre of balance. With the concept of layering and equilibrium, the handrail was sectioned into different layers and fluid was incorporated to act as a level within the apparatus.

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1. The apparatus in use.

2. Detail of the fluid used in the apparatus as a level.

3. Elevations of the apparatus with the human body in different positions.

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Sheila Richards-Perez

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KELSEY HALLSON Meandering Intimacy of a Winery Vertical Viticulture Ingredients of her day: daydreaming + imagining limitless possibilities + challenging my creative spirit.

The winery is a woven tapestry of land which allows one to weave through in all directions and to view the multiple layers within the ground. These bands create a constant connection to the site while contoured forms of green space undulate across the site. The building weaves the landscape and built elements together to create intimate spaces within the land thus allowing building and landscape to become one.

As the land peels up vertically, it creates a ground plane on the roof, which integrates the idea of public green spaces. This allows the building to become a place for outdoor events and gatherings. The winery reveals the events that go on in the interior spaces above and below and also maximizes the use of daylight as the land opens up.

The winery is a building maximized for plant growth as one side is completely

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1. Final Model.

2. Underneath the bands.

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3. Section, showing scale of the winery.

4. Rendering of a tower base.

5. Proposed circulation paths.

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transparent allowing sunlight in, while the other side is more opaque allowing for the berms to collect heat for thermal mass. The spaces in between the bands create compressed and released space (pathways) which emphasize the intimacy of the space and its intimate relationship to the building.

the site and up to the towers where a sense of release is felt as the architecture opens up into a vertical penetration of the vineyard.

The bands of the building force flow and circulation as it weaves people across

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NADINE BURNER Songs of Wine and Wine Making: Vertical Viticulture and the Ear Vertical Viticulture Her halcyon days: â&#x20AC;&#x153;Summer days, when itâ&#x20AC;&#x2122;s 30 degrees outside and I have nothing to do but enjoy it.

Especially when fishing or camping.â&#x20AC;?

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1. Listening apparatus.

2. Plan of the underground components.

3. Final model of silos.

4. Visualisation of sound entering the listening rooms.

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Fall term involved the development of a sensory apparatus for the head which amplified the sense of hearing and obstructed sight. This apparatus led to a curiosity in aural architecture, specifically the interior of a silo.

In order to achieve desired acoustic effects and solve the problems of vertical farming, the silos act as sonic towers as well as vineyards. The vines stretch vertically along the exterior surface of the silo, wrapping around it. Two silos, one inside the other, contain the soil in which the grapes grow. A series of ten towers compile ten acres of vineyard.

The towers are distributed among the site to access sunlight, but remain in proximity to each other for the underground space.

Inhabitants enter the underground space through access ramps cut into the ground. To maintain the prevailing acoustic character of the building, the vineyard and production areas are heard before they are seen. The inhabitants enter into a space where the vineyard is only visible through small apertures throughout the space, but is completely accessible through sound.

These sounds reverberate from above through the interior of the silos. In order to emphasize the experience of listening to what is happening in the vineyard, the spaces underneath each silo are shaped to reflect and either focus or disperse sound as needed.

To make harvesting feasible, a series of primitive elevators are used to transport

the harvesters. However, it is also an interesting thought to have the option to climb the trellises for harvesting, but that is less feasible. Harvested grapes are transported from their respective towers to the production tower at ground level. Vehicular access is off Waterfront Drive due to lower traffic volume. The retail and storage spaces are next to that vehicular access.

There are also three spaces that are open simply for listening. One is underneath the bottling plant, another under production, and the last is under a hollow silo that allows sounds of the vineyard inside.

The underground winery components are lit from a series of skylights. The three wine-tasting rooms on site are treated with soundproofing wall assemblies to enhance the taste of the wine.

The palette cleansing room provides a mediation between the sound reflection in the corridor and the absence of sound in the wine tasting rooms.

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4. Bottling Plant and auditory area underneath.

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TIFFANY LEONG Seasonal Winery Vertical Viticulture Her halcyon days: summer break and holidays.

The vertical viticulture winery will be a high-rise building consisting of multiple floors. The main idea of this concept is to implement a tour within the facility to teach tourists about the growth of grapes, production and the process of wine making. The architecture will involve a specific route to influence the motion of stepping or reaching of the body. It will also reflect the movement and transition of a grape, and its growth stage at different seasons.

The vineyard, which consists of approximately three acres of land,

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1. Final model.

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will be divided into four towers.

Within these towers, there will be four controlled greenhouses (on the second floor) that mimic the different growing conditions of a particular season â&#x20AC;&#x201C; spring, summer, fall and winter. Each individual compartment will change and cycle through the year, starting at a different season than the others; thus all compartments will be at a different season creating a constant production of grapes. This cycle of seasons allows tourists to view the beginning of the grape growing, harvesting and dormancy all at once.

LORI FOSSUM Outdoor Cinema Fall Studio Her halcyon days: “Sitting in a great cafe with a pint of beer, a good book and the urban soundtrack filtering in and out of my mind.”

Churchill is clinging to the landscape.

It is clinging against cultural recession, ecological fragility, and environmental changes. The town’s genesis was as a trading fort and has adapted over time to meet other needs. Churchill is nestled between Hudson Bay and the Churchill River. It is a location subject to the forces of nature — wind, cold, damp.

It is a bird caught in a windstorm, crouched and waiting behind a protective rock. The Open-Air Cinema clings to, and hangs from an existing masonry wall. The wall was built by a local resident, Brian Ledoon. The project hovers above the ground by integrating with the existing structure.

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1. Final model. A view of the concession stand and washrooms.

2. A local man named Brian Ledoon built a stone masonry wall of varying heights. The project was expected to become part of a hotel, but was abandoned a few years ago.

3. The two layered viewing platforms for the cinema.

4. Final model. Upper platform showing ticket booth.

Architecture, Graduate Studies

Ralph Glor

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LANCELOT COAR

Lancelot Coar is a professor in the Faculty of Architecture as well as a resident researcher at the C.A.S.T Laboratory. His background includes two engineering degrees in Architectural and Civil Engineering. He received his masters at University of California Berkeley. Lancelot is known for his pragmatic, engaging, and hands-on approach to teaching.

The interview took place in the upper gallery of the C.A.S.T. Building amid sounds of construction and the constant ambience of exotic music.

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Give us a brief autobiography. What are the important details of you life so far? What is your educational/professional background?

I was born and raised in Philadelphia.

Intending to practice architecture, I decided to first attend Drexel University for Architectural Engineering and Civil Engineering as foundational studies, while I worked at architecture and engineering offices. I then went to graduate school at the University of California, Berkeley for three years for a Masters of Architecture. Following that, I lived and worked in New York and Washington D.C. before coming to Winnipeg.

In the Liquid Stone exhibition at the National Building Museum in Washington D.C., I saw the work of Mark West for the first time, and realized that we were moving in very similar directions. He invited me to visit CAST and do a presentation about my work, and subsequently offered me an opportunity to do a six-month residency as a visiting researcher here. At the time I was working for an architectural office in Washington D.C. and realized that this was a profound opportunity; it wasnâ&#x20AC;&#x2122;t just about doing a residency, it was really a deeper question about what I wanted to focus on in my work and my life. It asked if I wanted to continue moving forward in the field in a foreseeable way, or did I want to explore something more personal, and undefined within it? I chose the latter.

I decided to quit my job, sell my apartment, and put things in storage and come up here to exploreâ&#x20AC;Śwhatever it is that I would find. I came up initially for six months, but after feeling deeply connected with the work I was doing at CAST, the extraordinary people, and loving the discovery of this strange and magical city, I remained here to teach.

Could you explain what goes on in the Center for Architectural Structures and Technology (C.A.S.T.) laboratory?

We play with materials. But play with a question in mind, and we play to learn.

So when we do our experiments on our

structures and our projects we are not trying to make a thing we have already somehow imagined, we are trying to initiate a conversation between the things we are playing with and how we understand them as we go. Play is not a frivolous thing, or an easy thing, play is the essence of creative production in the moment. It is a way to be as open as possible to understand and be mystified by the world in a raw, child-like way. For me, it is a construction of discovering ones intuition, a sort of unconscious reason for making.

What has your work focused on at C.A.S.T lately?

A lot of my projects are dealing with flexible framing, bending wobbly structures that are transformative. I am also exploring the ways that architecture can change from a soft to a firm thing. The warming hut project down on the river this year was a good example of this.

That project dealt with a phase-changing skin; the idea that the skin would change from a fabric to a rigid shell using just water. I’m planning to continue that experiment with new materials, and modeling techniques.

Where do you get your enthusiasm for design?

It just matters. I don’t even know how else to say it. There is so much important work to do, and we don’t have time to be educating students to be complacent; accepting the status quo.

Otherwise we will literally be seeing what we see around us for the next two hundred years. And clearly that’s not a reasonable path, it’s not a sustainable future, and that’s not why you guys come to school. I don’t think you come here to be cookie-cutters of who was here before or what has already been done. We’ve got to educate students to be critical about why we (designers) are where we are, and where we should be going, and how we do that. And most importantly, not just dreaming up the image of what that looks like, but knowing how to construct it, physically, but also culturally so it is meaningful and

inspiring to people beyond the design community. The enthusiasm is related entirely to the potential that we have to make that a reality.

How do you describe what you do?

I go to the ruins in Delphi when I visit my family in Greece. The ruins have been there for thousands of years, and yet the architecture is active; it’s fully alive. The tourists walking through there are not going to see the Oracle, or to compete in ancient sporting competitions, but the architecture is being understood through exploration, touch, and experience. Before the tourists arrived, the material was inert, engaged only by past memory and imagination. So for me, architecture is about everything but the material it is made of, and everything that influences that material. I try to better understand how what we make can engage the flow of people, environments, and how time shapes architecture.

Where is the balance between digital and analogues methods in design thinking, teaching, and practice?

I know it’s a bit of a cliché but the digital tool is just a tool. Just as much as the slide rule was an analogue calculator, in reality, the magic of what it did was something we were not able to do by ourselves. It is the same thing with the black box of a computer. It assists us in things that we are not able to do by ourselves, that is what a tool does.

The question about why a tool matters has never changed. We could be asking the same question 2000 years ago, 4000 years ago, and I think that is still a valid and important thing to ask. The sophistication of computer generation is maybe a bit more mysterious to us, even seductive, because its capability is so far beyond what we can do with our hands. But our hands do things that are far beyond the capability of the computer.

The fact of the matter is, we have to be in control of what it does, and what it doesn’t do. We have to be in control of ourselves first, and tools second. The

tool does not create meaning in our work. If the power went out tomorrow we should not be unable to work, if our tools in our wood shop were to leave tomorrow, we should still be able to create in a meaningful way.

What are several ingredients of your daily life?

Good coffee, Greek honey, being around people that I respect and am inspired by, trying to be in the world as much as I can (less in my head), going outside, taking a little more time between destinations, engaging with people, talking to students, and talking to colleagues, I love food, so I’ve got to eat good food, when I say good I mean it has got to taste good and be good, and most importantly, finding joy in life to me is really important, and what that is changes day to day.

What book would you recommend that isn’t already being widely taught in the faculty?

I would encourage students to read poetic works. Find a poet you connect with, I wouldn’t presume who people should be read. Every design student should be interested in the poetic works of somebody. Giorgos Seferis is one of my favourites. He’s a Greek poet, and a Nobel laureate. The translations of his work make the writing even more profound because of the strange wording. The structure of the Greek language is translated almost literally, and as a result the English is unexpected, and creates purely magical moments. This causes one to slow down to read, not read to accomplish but read to enjoy and to savour.

Are there any websites or blogs that you recommend for insight/ inspiration? www.ubuweb.com is a website for creative people in all forms of media.

I’m fascinated by boingboing.net. It’s quirky, and not easy to describe. It has media, news, history, and strange things that come up.

STEVEN GAIRNS “Natural” New York City Complimentary Contradictions “Every summer my closest friends and I spend a thrilling, yet incredibly relaxing four days on the vast sandy beaches and powerful surf of Tofino, BC. For myself, it is the one place I have found, thus far, where I can truly relax and re-energize.”

“Natural” New York City was inspired

by Edouard Vuillard’s painting “Interior (1902),” and by the desire for a natural interruption from the seemingly endless urban density of Manhattan.

The proposition is situated amongst mixed-use residential buildings along Roosevelt Park on Chrystie Street, the existing 2nd Ave., and the future Houston St subway station in Manhattan’s Bowery district. The design proposes to offer a place for community interaction and healthy living, centered around the daily routines of pedestrian life. As such,

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1. Neighbourhood plan with subway greenway.

2. Experiential vignette of rooftop vista.

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the proposal includes event space for public gatherings, artist alcoves, and community gardens.

A Yoga/“Buildering” (Urban Climbing) facility and a small café, catering primarily to local subway passengers, overlooks the new greenway.

This project explores integration with the dense urban fabric of New York City, and disintegration of architecture, experientially removing boundaries between the “natural” and built environments.

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3. Plan of reception and administration at grade level.

4. Plan of yoga studio.

5. Longitudinal section of the subway and building elevation.

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APRIL DAVID Immersed in Idleness (Part1):C Superficial City Her halcyon days: “Moments of idleness where my actions have no consequences.”

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Immersed in Idleness is based on the premise that our consumer culture, within the context of a cityscape, has made the notion of idleness, and second nature immersion into hyperrealities, vastly appealing. This constant desire to escape reality reflects a psychological reliance upon immersion as a way to understand one’s place within the world. This project seeks to examine the ways in which moments of idleness and active-stillnesses can reveal spaces of escape from the accelerated

2.

1. Yi Fu Tuan acknowledges that “human beings have been and continue to be profoundly restless. For one reason or another, they are not content with being where they are. They move, or if they stay in place they seek to rearrange that place.”

2. Atmospheric renderings provide a viewport into the potentialities of the spaces created.

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temporalities enforced by new social norms. These notions are explored through Superficial City, an artificial and fictional city. This sector of Superficial City is a transient space, one that is in constant fluctuation with people coming and leaving. All occupants are in search of a momentary escape from the city.

The architectural proposition is a hotel, a place where a sense of immersion can be prolonged.

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3. The resultant explorations initiated a model that further provokes the questions of immersion through an architectonic vocabulary. The primary focus is a hovering hotel, which utilizes physical and visual disconnection as a means of escape.

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APRIL DAVID Immersed In Idleness (Part 2): Extension of Realms Undefined Superficial City Ingredients of her day: iced Tazo chai tea lattes + meticulously planning + frequently daydreaming + obsessively organizing + wandering aimlessly + spontaneously finding inspiration + multiple attempts to stay focused + mastering procrastination.

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Immersion is a state of consciousness where oneâ&#x20AC;&#x2122;s awareness is lost within an environment. This project focuses on immersive experience as it relates to escapism.

The site is situated within the Feirinha da Madrugada (Pari), a night market found in SĂŁo Paulo, Brazil. The project is a collaborative design that evolved into a hybridized extension of the night market. Both of the individual projects sought to reconcile the realms above and below grade level through the integration of existing and desired

Eduardo Aquino, Karen Shanski

programs into the market complex.

These multi-layered programs included: an underground parkade for illegal vendors, and an elevated hotel complex intended to be inhabited by tour bus drivers.

The program of the elevated hotel and the attached retail extension encourages idleness and, in turn, increases proficiency in the commerce that occurs. In Brazil, the perception of idleness is not an excess of luxury, but is a necessity; a way of life.

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1. Final Model. A view of the night market extension and hotel.

2. A plan of the first floor and market extension.

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3. A view from the ground looking upwards to the first, second, and third floor.

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PAUL DOLICK In All Directions Superficial Studio Ingredients of his day: eat a solid breakfast + exercise + keep my eyes open for others doing something anything - very well.

In All Directions proposes densification strategies for Sao Paulo’s thriving Midnight Market. At the urban scale this project takes inspiration from the stairs and seating within Brazil’s massive football stadiums. Their refined features enable fans to elevate the game’s intensity through vibrant song and dance.

Here, spectators become spectacle.

Expanding on this observation I propose an urban field of stairs, each of which host a specific program to support the exponential growth of the Midnight Market. Stairs in this case are not merely ‘servants of circulation’ but rather cultural destinations in themselves.

At the architectural scale, this project asks: can a building’s envelope also

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1. Axonimetric of the artist studios.

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2. Section of entire structure, showing the various levels and stair elements.

A. Exhibition space.

B. Artist studios.

C. Informal street market (the oven) D. Restaurant, lounge, and parking.

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D.

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be re-defined to become a public space? Using one stair from the field in particular, I have attempted this in two ways: The first is by expanding the criteria of envelope to include the floor and roof. In dense urban settings, these horizontal surfaces inherit the problems that typically frustrate the wall. They become divisive. This stair — a hybrid

of artist studios, open market and a restaurant — therefore proposes a thickened roofscape and terraced floor plan to encourage a synergy among its multifarious program. The second use of the stair is to re-consider the performative role of structure within the envelope. Modernism championed pilotis and the free façade for the benefit

of public life. Similarly, this project replaces massive columns – which merely exhaust space - with column clusters to disperse loads and provide pockets of usable public space within.

These structural initiatives enable the stair to – performatively speaking – swell and contract beyond the confines of its strict rectangular form.

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4.

3. Final model.

4. A column cluster in use.

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Eduardo Aquino, Karen Shanski

PAUL DOLICK Getting Ideas

Okay, so I’d been working on this goofy triangulated cardboard model that had no real ideas behind it for way too long and by the time it was finished I was just beyond bored with it so I rumaged through my art kit and quickly (we’re talking 3 seconds flat) slopped some watercolours onto a piece of vellum

paper without much (it’s 2am) thought and then once it was dry I put that piece of vellum on top of a banal photo (no camera obscura, no LED’s, no rubber elephants), turned on the light table and POW! new ideas were on that model like stink on a monkey.

Architecture, Graduate Studies

142

SOUK XOUMPHONPHACKDY Antiotic Infratecture: Extended Market Superficial City Ingredients of her day: a mixture of work + play— balance is key.

This architecture explores the relationship between the illegal street vendors and legal vendors of the “Feirinha du Madrugada,” a nightmarket that is located in the neighbourhood of Pari in Sao Paulo, Brazil. The proximity and negotiation of territory between the formal economy and informal economy is the strength of the existing night market.

The density and hybrid legal and illegal programming of the Pari Nightmarket defines the place. The programs do not exist independently, rather they exist simultaneously amidst an organized complexity. The street vendors that thrive off of the nightmarket infrastructure, become an extension of the nightmarket surface. The formal

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1. Schematic plan of Extended Market with perforations at grade level that provide lighting and ventilation.

2. “Underground Avenue” preliminary spatial composition.

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Eduardo Aquino, Karen Shanski

vendors have the added volume of consumers that is generated by the street vendors. The street vendows in turn, seek to reach out to this extended surface of the market.

This architectural proposition provides an addition to market surface within its perimeter. It begins to define a new type of surface that caters to the locals of Sao Paulo, providing them with automobile parking, public event space, and a hybrid shopping program consisting of street vendors, formal market vendors, permanent commercial storefronts, cafes, and eateries. This extended market will be excavated below grade.

Bus parking and additional shopping will be a fixture on grade level, and hovering above grade level will be a hotel.

3. A plan view of the model.

4. Stairway into the subterranean market.

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5. Photo taken below Grade looking through â&#x20AC;&#x153;Underground Avenue.â&#x20AC;?

Columns project light vertically from above grade to below grade.

6. North elevation perspective.

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RICHARD CHIANG Oxbow Project Oxbow Project Ingredients of his day: 10 minute snooze + mommade breakfast-to-go + drive to School + work + productivity goes down + waste time + drive home + realize nothing was actually completed + panic + shower to calm myself + sleep.

Iâ&#x20AC;&#x2122;ve designed a pedestrian movement network that would exist on land, ice, and water in a proposed artistâ&#x20AC;&#x2122;s colony on the University Point Lands research fields. Because of its location, this site is susceptible to various forces of nature, including seasonal changes, and the annual spring flood. The architecture of the proposed movement system will

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1. Boardwalk in the open summer position.

2. Boardwalk in the closed winter position.

3. Proposed layout of boardwalk.

4. Plan of a river access point.

5. Section.

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Eduard Epp

Winter Sectional Elevation Scale: 1:25

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transform to adapt to the changing site conditions; providing shelter in the winter and opening up in the summer. A series of river access docks along both banks will connect the campus to the city through multiple seasonal ice paths, while responding to the changing water levels to allow recreational use of the river.

My project challenges contemporary climate-controlled architecture that segregates spaces into outdoor and indoor environments rather than allowing us to appreciate and experience them.

The focus of the project is a pedestrian suspension bridge that connects

the fields to River Road. The bridge transforms throughout the seasons to respond to the changes on site (summer, winter, flood) through a cable and pulley system. The profile of the bridge is shaped by controlling the wheels at either bank. The flexible design allows access to the river for recreational and circulation purposes while being able to

withstand river level surges of up to 10 meters. This ensures year round accessibility. As the bridge shapes to the site conditions from concave, to convex, and every complex sinusoidal curve in between, the perspectival experiences of crossing the bridge are changed as well.

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6. Rendering of boardwalk.

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7. The bridge in its fully raised position.

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8. Detail of pulley system in place at either end of the bridge.

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9. The bridge in concave and convex positions.

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Architecture, Graduate Studies

Eduard Epp

148

CANDICE LUI MarchĂŠ des Artes: Center for Sculpture and Painting Ingredients of her day: morning tea + peanut butter and honey toast + spending money at the bookstore + coffee break + nap.

This project was the development of an art market and school of art at the corner of Mulberry St and Prince St, in New York City. Since this is a corner site, it is important that the Art Market on the main floor is visually exposed and accessible from both Mulberry St, and Prince St. Therefore, the facades facing these two streets must be inviting to

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the community. The design considers the characteristics of light, color, and reflections observed in New York City.

The art market will take the role of trading student art and also selling supplies and books for painters and sculptors.

1. The painting and studio floors, seen here, are where artists come to share their experiences and engage in their creativity.

2. View from the intersection of Mulberry St. and Prince St.

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Architecture, Graduate Studies

Dr. Lisa Landrum

EVAN JAMESON Üsküdar Divergence Ingredients of his day: eat + school + more school + Taekwondo + nap time + eat + more school + seeing my girlfriend + more school + sleep.

The project’s site is a steel barge on the west side of the Üsküdar harbour.

This 19 meter by 46 meter steel barge contains two restaurants, whose occupants are locals and tourists. The project’s specific site was informed by the possibilities inherent within this specific floating platform.

This barge and its surrounding area seemed to be a gathering point for the fishermen in the Üsküdar harbour area.

Fishermen on foot congregate on the east side of the barge, and the west side is a docking area for fishing boats.

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2.

1. A cross section of an imagined world created to explore various possibilities of the architecture.

2. East view.

Architecture, Graduate Studies

Mark West

150

KRISTIN SZUMINSKY A Terminal Engraved in the Aerodynamics of its Place Ferry Terminals - Public Spaces Ingredients of her day: sleep in + have coffee + kick the soccerball around.

Location: Ă&#x153;skĂźdar ferry port, Istanbul.

A Ferry Terminal that blends the perception of measured time and perceived duration through its empathy for everydayness. The exit greets the

passengers at the boat, and escorts them out into the bustling port. The entrance eases the anxiousness of departure, and transforms waiting into enjoying a game of backgammon.

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1. Sketch from inside the terminal.

2. Plan of terminal.

B.

A. The walls of the south end of the terminal, containing the ticket booth, security office and boiler room, mediates the flow of departures and arrivals of passengers.

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B. The east and west walls of the restaurant are glazed, and aligned with the west glazed wall of the terminal to allow the sight of incoming ferries to penetrate the entire building.

A.

C. The change in the angle of the west exterior wall increases the width of the waiting room and brings it closer to the Bosphorus, marking the direction of the exit of the terminal for the arriving passengers.

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B.

Mark West

REBECCA WONG Rubbish “I strive to bridge the gap between industry and handcraft.”

Architecture, Graduate Studies

Ralph Glor

152

Observed and experienced site-based perceptual pressures and phenomena feed an aerosol mapping of site ecology on a former ironworks facility of north Point Douglas, Winnipeg. Fed through curated manifolds, the registration of

CHAD CONNERY aerosol ecologies Enacting an Architecture

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Neil Minuk

spray is tracked as an analogous and developing record for the inhabitation and perceptual understanding of place.

Trials feed the development of a metalworkers community within and on the decaying precedent structure.

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1. Aerosol machine mapping the ironworks facility.

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2. The map of the site.

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3. The metal working community builds upon the existing infrastructure of the ironworks facility.

Embedded fan prolongs lifespan of airborne pigment.

4. Detail.

5. Tower registers with cilia lungs that filter escaping currents. The deposition of pigment within the filter provides response for narrative to develop in its indicated orientation and qualitative nature.

154

JAMES RUBIO Immateriell Geschichte: Sigur Sound Lab & Gallery His halycon days: “A mix of sun and cloud with a light breeze. Low 20. High 25.”

My project seeks to amplify the historical significance of Kreuzberg, Berlin, with respect to memories that are at rest. It seemed like Berlin was trying to say farewell to its ever-looming past. “Truth is stranger than fiction”, especially in a culturally rich, historically layered, city like Berlin. Where do past and present meet? How does a reality exist with decades of historical obligation and responsibility? Should this historical richness be considered a burden, or should it be presented as valuable recollections that take a hand in molding the site into its present state?

Is a return to normalcy warranted after such a dense, demanding past?

Within Kreuzberg, there is a location along Stralauer Allee. Walking over the Oberbaumbruke, it is possible to catch sight of the large Universal Music

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1. The site: the universal music building.

2. A perspective of the fastening apparatus for the wind harps attached to the building within the design.

3. Sliding curtain wall.

4. An interior view of the Sigur gallery.

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Patrick Harrop

Building jutting out of the concrete. It is a space that is home to the strong, silent energy of the wind. Walking off of the Oberbaumbruke onto Stralauer Allee, the site’s character and presence become more apparent. The pieces of history tower over the visitors at the site. Whooshing, powerful forces of wind are pronounced. The plethora of sounds that the wind is able to create is more like a language than a collection of sounds. Spaces between Universal Music and the Granary Lofts are a meeting place for swirly, powerful, and gentle gusts of wind. Since July 2002, the Berlin Universal Music Corporation has been located at Stralauer Allee 1, in a former Eierkühlhaus (egg cold-storage warehouse), which was built from 1928 to 1929. The initial design of the building was developed

by Oskar Pusch (Dresden’s Building

Oberbaumbrücke still features a closed brick wall. The historical elements of the windows, barrel-vault ceilings and walls have survived. In the interest of historical preservation, there were plans to cover the window panes in screened diamond shapes to continue the pattern from the brickwork and to achieve the impression of a continuous façade.

Due to problems with the lighting of interior spaces, this was ultimately abandoned. Aside from Universal Music, various other media and service industry businesses have moved into the building. This location was chosen due to my initial experience at the site. There were a wide range of wind variations between and around the buildings; strong gusts of wind mixed with gentle, rolling breezes. I also became more fascinated with the site because it was initially a banal, mediocre site that had

Officer). The functional and heritageprotected façade of this formerly refrigerated warehouse features 25cm-thick brickwork walls with diamond-shaped decorative patterns made of clinker bricks. After being closed down, the Berlin Harbor and Warehouse Corporation decided to put the Eierkühlhaus and the neighboring granary to new use. In 1995, there were plans to connect the two buildings into one complex to be used as a “Business Design Center.” This was nevertheless not brought to realization. From 2000 to 2002, the cold-storage warehouse was converted into an office, and commercial building by the Berlin architect Reinhard Müller. It was in doing so that the originally closed façade of the building was opened on three sides, and furnished with a glass curtain wall.

Only the northwest side facing the

a lot of hidden historical surprises. For instance, both buildings were used as storage facilities for the Red Army during World War 2.

The site’s fortunate proximity to the Spree River and industrial resources such as steel factories and importing junctions make this site an amazing place for the new home of the Sigur gallery. With its own laser cutting facilities and workshop resources for small and large projects, the unprecedented features of this building make it easy for sound artists and their installations to inhabit the spaces. The building proposes to be a custom fit for resident sound artists, especially those that are looking to build at large scales. The large open rooms allow for fewer space restrictions that impede the artist.

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A. Isolation/reading pods.

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B. Falafal vendor/eating area.

C. Office space/administration at entrance.

5. A cross section of the gallery’s functions.

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E.

I. Woodshop with hydraulic lift to transport large installation pieces between the shop and the gallery.

D. Anechoic chamber.

E. Echoic chamber.

F. Multimedia resource area.

G. Gallery.

H. Laser cutting workshop.

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CATHERINE FREDERICK Urban Network Station Where is your education taking you: “Leading female Architect of Saskatchewan.”

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Ted Landrum

The Urban Network Station introduces high speed rail to western Canada in the heart of the energy capital of Calgary.

Creating a major urban intermodal node, which gathers and disperses passengers between intersecting networks of transportation. The node consists of existing Canadian Pacific freight lines, high speed rail lines, metro lines, bus transit, bicycle rental, car rental, and an elevated walkway system connecting the downtown. The intermodal station also has a diverse program of restaurants, cafés, retail stores, spa and personal services, a banquet and conference facility, a 150 suite Hotel, and rooftop plazas, enhancing the density of the

networks. These programs create not only a transfer station, but an urban retreat and destination as well. The intersecting networks collide at the center of the building with a nine-storey atrium viewing all layers of the station; beyond this, the city of Calgary is revealed through a seven-storey glass curtain wall. The structure of the Urban Network Station consists of angled steel columns creating gateways of arrival and departure for the travellers and enhancing the notion of speed. The super structure creates the illusion of two separate trains intersecting and speeding past one another.

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1. The Urban Network Station in context.

2. A view of the station from the railway tracks.

3. A section of the station.

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4. A rendering of travellers catching a train.

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ARIADNA CHOPTIANY The Program - Edge of the Milieu Perturbations Studio Where your education taking you: â&#x20AC;&#x153;My education continues to take me on an exciting and surprising journey, full of twists and turns, where illogical decisions somehow come together to push me along a path I could never have imagined. Willingness to try everything keeps things fresh and exciting, never allowing myself to get too comfortable challenges me to constantly push myself beyond my own limits.â&#x20AC;?

This project, The Edge of the Milieu, is at the boundary between public and private realms. It is sited within a courtyard in Berlin, Germany. The courtyard is a public venue that provides access to various passages and connections that move in response to events that occur on the site. These changes are made through a series of pneumatic devices that inflate, deflate, shift, and move with alterations in

1.

1.

2.

1. Pneumatic pumps affect site conditions.

2. Drawing of site.

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Patrick Harrop

temperature and pressure. Within the courtyard, private/public space allows people to silently play out roles as voyeurs and performers. There is an imagined, and physical, barrier between the worlds of the voyeur and the actor. The intention of this project is to collapse those roles by either forcing interaction, or distancing interaction through space or time or both.

DANIEL DUFAULT Territory (in)flux Thesis Ingredients of his day: 6 cups of coffee (well stirred) + 3 tablespoons of graphite (finely crushed) + a thought-provoking aimless gaze (let simmer for a couple hours) + a dash of scotch (vary volume appropriately) + the inevitable 2 kilograms of corn starch (yes, corn starch).

Through the lens of an architecture that is sentient of its contingent influences, a reinterpretation of the design process becomes the means of bringing together a larger collective consciousness in the act of place making. Here, drawing emerges as the focal instrument in the development of a strategy that transcends the boundary between the design and construction industries.

Within this, is a method for exploring how notational drawings made in the studio setting can be brought into an increasingly direct interaction with the event of making through an intermediary architectural construct.

The Snow Disposal Site adjacent to the Kenaston Commons Commercial District provides grounds for developing a situation specific method of drawing through an analogue interaction within the studio setting. In this investigation, the studio becomes an autonomous site for exploration in a merger of selective site conditions. The continual influx of snow is brought into a direct interface with the proposed program of a Transit Hub “Park and Ride” system that continuously oscillates in density and spatial needs. This becomes a questioning of architecture’s ability to

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engage the drawing’s intentions within the developing situation on site through the setting of the studio environment.

As an initial exploration of the Kenaston site’s potential for my research into notational drawings, I developed a game scenario to be played out in an analog condition. Here, a three-part card system laid out a randomized day-today scenario of: snowfall, snow trucked into the site, and a hypothetical evolving territorial interface between Winnipeg’s Public Works snow disposal, and the encroaching commercial district.

Working through the game meant simultaneously developing a set of tools and techniques for exploring the potentials of working with the snow; charging the material to perform its part in creating spaces for the operation of this obscure dual programmatic situation.

What I discovered was a method of drawing that enabled a physical removal from the modeling surface itself. Using time-lapse photographs taken from an overhead perspective, graphite was layered overtop to explore a way of surficial drawing that is more akin to a

1. Possible snowfall scenario. 8cm requiring 60 truckloads to dispose.

2. Possible snowfall scenario. 20cm requiring 50 ttruckloads to dispose.

Architecture, Graduate Studies

Lancelot Coar

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perpetually evolving architecture. The graphite was worked by using a set of drawing instruments developed out of adapting techniques discovered through the modeling process. In this context, drawing’s importance is most focused on the action of making marks, and the tool’s connection to these marks.

Learning from Allen’s writings on architectural drawings: “…the process of reading a notational schema is more extended, unfolding in time, like reading a text or a musical score.”(50) Here, the drawing is less an image, and more an event to be discovered through its execution. This process helped in to create a strong connection between the modeling and drawing, while continuously refining each one’s role in

the greater process.

As a part of developing the framework, the integration of lighting became important. Keeping a connection to fluctuating conditions occurring within the Kenaston Snow Disposal Site, I constructed a mechanical arm that could pivot and torque to project the path of the sun onto the framework during the time frame when the site is actively used. This was done without fully realizing how the sun may be used to influence the site design process.

Utilizing an on-site vantage point to communicate visual imagery between the site and studio I created a measurable plan drawing through reverse distortion of the projection.

This shed new light on the importance of the framework I was developing, and its connection to site from a removed physical state. On an existing gravel road running adjacent to the site at a distance of 150 meters, I calculated a point of projection feasible at an angle of 25-degrees, reproducible on site at a height of 90 meters. This became a method of communicating between site and studio that transcended the restrictions of scale and physical immediacy.

The shift in focus from constructing an analog site condition in studio to developing a process that allows unobstructed communication between the site and studio became an incredibly important marker in my research. The

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4. Innitial drawing tool.

5. Arm used to study sun paths on the model.

6. Arm used to project blueprints onto the site which would then be carved into levels as more snow arrived.

7. One possible configuration of snow.

8. A viewing platform for locals to watch the carving. The site becomes a seasonal theatre, never showing the same performance twice.

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framework was no longer treated as a model, and its full-scale implications were brought to the forefront.

To give the drawings a focus, I selected the program of a Transit Hub â&#x20AC;&#x153;Park and Rideâ&#x20AC;? station that would operate over the winter within the Snow Disposal Site. This is a public operation already in progress within the area, currently running informally out of the Wal-Mart and Safeway parking lots, opposite to the Snow Disposal Site. In the winter, these parking lots become densely packed with shoppers leading up to and through the winter holiday shopping season. Servicing the 78 Cross-Town West bus route, this site becomes a major through point for people traveling to the University of Manitoba and

downtown Winnipeg. In my proposal, during the daytime the site would operate as a parking lot for those taking the public transit, and a time for the architect to strategize further site construction through creating/altering the drawing.

At night when commuters have gone home, the event would begin, and the site would be altered to respect the drawing that is being projected onto the snow. This programmatic choreography is the one I have found best suited to the obscure simultaneous site use by both the Commercial District and Public Works snow disposal.

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9. Carving-in of sight lines provides drivers views of cars parked immediately around certain turns.

This helps in creating a safer driving environment, as those driving and those backing out of parking spaces gain better visualization of each other, aiding in accident prevention through quicker anticipation.

10. Apparatus used to construct and test models.

C. Studio belonging to the architect of the site.

11. Plan of site, with multiple levels carved.

D. Projector.

A. Telescopic panel retaining wall system. As the snow melts, the panels retract into each other for disassembly in the summer.

F. Car parking.

E. Transit station.

F. Bus parking.

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B. 90 meters. Projector.

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JORDY CRADDOCK SHANNON WIEBE Modern Home No. 261: Living a Domestic Death Thesis Ingredients of their day: gravel roads + freezing temperatures + thermos of hot tea + fresh cookies + home-cooked meals + bad television + a little bit of work to end the day.

Sited within an abandoned Eaton’s Catalogue Home on a farmstead 200 km northwest of Winnipeg, the thesis dwells in the duality of domestic space as symbolic image and constructed interior. As the final occupants of a building that must be demolished, our work strives to inhabit the instant between waking and dreaming, “the moment where the subject is not sure of the distinction between a representation and a spatial condition” (Rice, The Emergence of the Interior, 50). With the sun arcing across the sky and a

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1. The Site: conceived as a kit of parts, an Eaton’s Catalogue Home was built with lumber, nails and finishes sent from suppliers and manufacturers all across the country.

2. In the early 1900’s the Eaton’s company believed that a double air space and strong building paper in the exterior wall made “an exceptionally warm house in winter and the coolest frame house in summer.” This statement proved to be untrue, as many homes from the era were extremely drafty and had to be insulated later on.

3. Removing trim from the fourth bedroom, I [Shannon] unearth a black and white photograph from a pile of plaster rubble strewn across the closet floor. In the image, a woman holds her baby to her chest against a barren, rolling landscape. On the back of the photograph, the following words: To Augusta. Alice 4 mo’s old. Sincerely Nat. 4. A piece of wallpaper from the front entry way.

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Natalija Subotincic, Frank Fantauzzi

fire burning in the basement, light becomes the mediator between sun and flame, construction and combustion, inhabitation and representation. By blacking out the windows and only allowing pinholes of light into each room, known conditions are cast in shadow, overlaid by a projected image of the outside world. As the day progresses and as deconstruction moves inward, this projection shifts temporally and spatially, from east to west, from nature to structure.

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5. Drawing with light. we demolished the south face of the roof board by board, our own actions ghosted in the foreground.

164

11.01.01 It seems appropriate that our work at the site begins on the first day of the new year. We start in the dark cavity of the attic, plugging holes around the perimeter with loose bits of insulation to block the last remnants of daylight from leaking in.

Bachelard describes the attic as a space for dreaming, but after working in the pitch black it becomes more psychologically draining than stimulating. With our sense of sight absent, focus shifts to the cold seeping into our hands and feet. Aside from a few brief exchanges about how freezing it is and the occasional click of the camera remote, it is quiet. The silence inside opens up the vastness of the prairies beyond, of vehicles moving somewhere in the distance and the unpredictable creaking of the house on its foundation.

11.01.03 Work on the roof continues, more methodically today than yesterday.

Our rhythm is disrupted when we decide to bring down the antenna, which proves to be more challenging than expected.

Fixed in place with an excessive number of screws, it holds fast until a final push with the sledgehammer sends it tumbling end over end to the ground.

Although we’re hoping to salvage as much raw lumber as we can, most of the roof boards are too old and rotten to use. We drag those that are still in one piece into the nearby garage. The rest will be cleared of their shingles and broken up to use as firewood for the furnace in the basement. In this way, the house becomes fuel for its own deconstruction.

We’ve started in the attic with the hope that once the roof is stripped of its boards, it will be possible to project the remaining structure down into the rooms below with the introduction of multiple apertures in the ceiling. Using a photographic technique we developed last semester, these projections are taped out and painted onto the walls and floors before being washed with light, bringing movement and threedimensionality to a flat surface. With the structure of the house reflecting further and further inward on itself, the dwelling becomes an active witness to its own death, one that we are able to foreshadow through simultaneous acts of occupation and representation.

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Architecture, Graduate Studies

board in the bedroom, we discover a layer of building paper between the flooring and the shiplap. Initially, we had thought there would only be paper protecting the perimeter walls, but now there is the possibility of the entire house containing a full-scale record, in plan, that could be preserved even as the structure disappears.

11.01.17 In the first semester, the furnace was discussed as a source of heat in the cold, an object of desire that we were working closer and closer toward. Since starting the deconstruction, there has been little incentive to maintain the fire, as the heat is too far removed from our current area of focus to have any meaningful effect.

With a developing interest in fullscale drawing on the existing building paper, we’ve begun to reconsider the medium with which these images could be created. Although spray paint was suitable for the drawings washed with light in a darkened room, the result lacks subtlety when taken out of context.

By introducing smoke as a new drawing material, we will be able to regain control over the fire in the basement and the growing woodpile in the kitchen. At the same time, the resultant drawings can be brought into the cycle of disassembly. Wood is stripped from structure, an aperture is drilled, and that structure is revealed in the room beyond. Concurrent to this process, the wood is broken down, fed into the fire, and transformed into the smoke that makes permanent the projections upstairs.

11.01.22 The basement is hazy and choking, as though the house is fighting us off, pushing back against actions that will only incur increasing levels of decay. We open windows and run outside for fresh air. Adrenaline mixes with fear — of smoke inhalation, of the house burning down before we’ve finished, of the neighbours calling the fire department — and we share a cup of tea in the truck to calm our nerves.

11.01.24 During the night, the condensation that built up while the fire smoldered in the furnace freezes into black rivulets on the drywall. The frosty window on the opposite wall echoes the pattern of heat descending into cold.

Natalija Subotincic, Frank Fantauzzi

Beneath the tape, the original colour of the paper is noticeably lighter than the surfaces exposed to air. On the side that rested against the ceiling, the drawing has transferred through as a darker, smokier double.

11.02.05 The death of the house is a slow withdrawal, a peeling away.

With the layers of asphalt shingles and fir planks removed, heavy drifts of snow settle onto the exposed shiplap.

Temperatures climb from -30˚Celsius to +1 in a matter of days, and dark stains begin to spread across the ceiling tiles upstairs. Soon, water is dripping in a repetitive cadence on the hardwood.

We arrive a day too late — the second floor is saturated. We face the damage reluctantly, knowing that it is our doing, that the watermarks blooming on the exposed building paper and the intense smell of smoke and mildew have occurred due to our own inaction.

In penance, we spend two hours shoveling wet, sticky snow off the roof.

Working on our knees, we pull out nails one by one in preparation for the removal of boards above the southwest bedroom. We will touch every nail in this house by the time the project is complete.

11.02.24 A cloud of dead flies and dust fills the air when we bring down the remaining ceiling tiles in the southeast bedroom. With the apertures cleared of debris and the sky free of clouds, the projection emerges with unexpected intensity. Two months ago, in the heart of winter, we stood for ten minutes waiting for our eyes to adjust before the shadowy bands of roof trusses would emerge. Today, sky and structure appear like a photograph on the crumbling plaster.

11.03.15 The weather grows milder every day, and the snow filling the gaps between exposed roof joists begins its slow melt. Dripping water becomes a constant background noise, and a sea of buckets fill the upstairs hallway to protect the hardwood beneath.

Returning to the flooring that has been so difficult to remove, we try yet another strategy, following the logic that the last board nailed should be the first board removed. With crowbars positioned directly beneath the nail head, we are finally able to pull the boards up cleanly, rolling them back and wiggling the

tongue free of its groove. Soon, the pile of salvaged boards surpasses the fir we lost in the first two rooms.

11.03.16 Shingles and shiplap on the north face are all that remain of the roof’s cladding, the rest having been removed in early January to reveal the structure beneath. In the coming weeks this final barrier against the harsh winter winds will need to be demolished, along with the crumbling chimney that rises from its centre.

Seeking footholds in the sticky snow, Jordy scales the asphalt until he’s safely wedged between the masonry and the roof. The mortar is all but gone in most of the joints, and the bricks fall apart in his hands. Etched into the yellow clay is the name Alsips, a brick-making company that originated in Chicago and moved to Winnipeg in the late 1800’s.

11.03.20 Again, the smoke has had no effect on the paper. Drawn back to our first attempt in the southwest bedroom, the failure does not come as a complete surprise. Worried that the combined volume of two rooms is too large, we close off the bathroom with poly and decide to leave it for another day. On the roof, Jordy blocks a few of the larger holes in the ceiling so the smoke is forced to travel the complete length of the room.

While we work a hard rain begins to fall, drumming on the ceiling and soaking through the plaster already wet with melted snow. With a fire building in the furnace, smoke fills the room as water permeates the course grain of the paper, saturating any part of the sheet not covered with tape. After two and a half hours, the effect is dramatic.

Traces of smoke and water intermingle on the drawing’s surface, leaving behind an imprint of the air’s movement as it exhausts from the room.

Tomorrow is the first day of spring.

11.03.27 During the night, the drywall ceiling in the living room finally succumbs to the weight of rainwater and melted snow, collapsing in sections onto the floor. Looking up through the gaps between lines of lath, we notice a large cluster of honeycombs hanging from the floor joists.

In the summer when the grass was long and we were still exploring the yard, large swarms of wasps kept us from

getting too close to the east façade.

Now, we’re able to see that the holes drilled through interior and exterior walls to add insulation offered the ideal entry point for bees heavy with nectar.

11.03.28 The chickadees have returned, passing through the yard for a few days before they continue on their journey north to the boreal forest. Rising and falling in small clouds around the house, they discover the hoard of dead flies in the exposed insulation upstairs and pick them free one by one.

11.04.07 The solid fir doors that we removed from the bedrooms and closets upstairs have been sold to a woman who plans to repurpose them for a cottage she’s renovating on Lac du Bonnet. We spend the morning hauling them down the stairs, through the kitchen and out to her truck, hopeful that this is the first of many material reuses.

11.04.12 Sitting in the sun on the front porch, we drink tea and listen to the ice crack on the lake that does not seem to want to dry.

One bedroom remains upstairs, a comforting solid within the larger skeleton of the house. The sky is blue and bright, so we chalk the final drawing, focusing again on the roof projection instead of dividing our energy between two images.

The first thunderstorm of the year rolls in across the prairies; dark clouds hover above the house but carry their rain elsewhere. In the afternoon, we peel the remaining siding off the east façade with our crowbars before smashing out the shiplap that is too cracked to salvage.

This is our last day of work before we return to the city again. Another week of deconstruction lies ahead but it will not make it into this version of the book.

When does the writing stop? Where does the narration end? The process has become cyclical, familiar to the point where there seems to be a predictable conclusion. Although questions of representation and occupation have been at the forefront of our work in the house, we’ve also considered what defines the project as complete.

Assuming the disassembly process follows the trajectory we are anticipating, there will soon come a point where only one chamber remains intact within the larger framework of the house. When the door openings and windows are uncovered for the last time, the camera obscura will no longer function. At this point of spatial deconstruction, at the moment where the image dies and we can no longer mitigate between the realms of light and shadow, foreshadowing the death of the house comes to an end. Whatever remains will go up in smoke.

11.05.06 With the fourth bedroom stripped to stud, we uncover a strange framing pattern in the wall to the loft, a moment where a doorway must have been considered and then taken away.

The days feel longer although we aren’t working any later than before. With fewer surprises and new conditions to discover, the hours stretch slowly by and our growing weariness is hard to shake off.

At the end of the day, satisfying a desire for more dramatic change, Jordy knocks the posts away from the porch until none remain. The roof hangs over his head but does not fall. With only a few nails holding it in place, it’s able to cling onto the siding with barely a creak until we push it down from above.

11.05.07 Jordy knocks down the small porch while I clean up the site, sorting useable material from that which will be burned or pushed down into the basement when the project is complete.

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6. Deconstructed roof, view from the attic area.

7. View from a bedroom that has been stripped down to the studs.

8. A camera obscura projecting into a yet undemolished room, bringing the house to witness its own destruction.

9. The room above is deconstructed in darkness.

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10. The furnace in the basement creates smoke that is forced up into the rooms. The exposed building wrap has been mapped with tape or reused boards following the projections of the camera obscura.

The soot filled air permanently marks the tracings of the camera obscura.

Natalija Subotincic, Frank Fantauzzi

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11. Drawings of the building’s deconstruction have been completed at a 1:1 scale using the house’s original sheathing as a canvas.

The sheathing maps the house’s day to day experience over 100 years and its own destruction.

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LINDSEY SALTER Integrated Body: Conveying the Meaning of Site Through the Merging of Landscape and Architecture Thesis Ingredients of her day: shower + eggs + avocado + ketchup + balkan yogurt + oatmeal + coffee + work + check e-mails + work + lunch + go to the bookstore to buy yet more basswood + work + nap + work + repeat.

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1. View from inside the new atrium toward engineering.

2. Conveying the landscape through raised elements on a picture.

3. Roof construction allows differing ceiling illumination based on daily light quality and seasonal sun angles.

4. Section of the current University Center.

5. Proposed University Center.

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Lancelot Coar

Architecture and landscape are frequently acknowledged as separate entities. The relationship between site and architecture plays a definite role in the design process and execution.

In questioning how the integration of architecture and landscape convey an interpreted meaning of site, this project challenges what constitutes a â&#x20AC;&#x153;centreâ&#x20AC;?

within an academic institution. The exterior area west of the Administration Building, and space within the current University Centre Building will be the focus for this study. Currently, the Administration Building sits at the centre of an underlying organizational axis. The surrounding buildings and landscape re-enforce this axis thorough building

set backs, sunken roof planes, and the placement of trees. The Administration Buildingâ&#x20AC;&#x2122;s ridged hierarchical formation acts as monument, rather than a centre. It inhibits dwelling and offers no programmatic qualities in relation to the student. The project seeks to explore how the integration of a multipurpose space, focused on re-

interpreting the idea of student life, can rejuvenate University Centre. A place that empowers students, opposing the adjacent hierarchical structure the Administration Building represents. A space, which allows it self to become a centre through its occupancy, a space that will act as intimate space within public space.

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LANDSCAPE & URBANISM

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The Fargo design competition sought to redesign a central block in downtown Fargo by mixing business, retail, and residential. Our proposal was comprised of a series of buildings built on a threedimensional grid centred around three public plazas. These plazas, the Earth

BING WANG BRAD LAFOY GRANT FAHLGREN NADINE LOWES Earth Air Water Fargo Design Competition: Group

Plaza, the Air Plaza, and the Water Plaza, each differ in their content, program, and design language. Earth Plaza is about enclosure and plantings, the Air Plaza is about space and movement, and the Water Plaza about fluidity and change.

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72,000 ft2 Rooftops are planted with small trees and native plants. This creates a beautiful vantage from the many higher terraces and windows, lowers the city’s heat signature, and filters rainwater, lowering the demand on storm drains.

81,000 ft2 Buildings along the northern portion of the block contain dramatically terraced suites overlooking the Earth and Water Plazas.

The stepped buildings allow for height and density without overwhelming neighbours or creating excessive shade.

30,000 ft2 Office space is above-ground allowing valuable ground-floor real estate to be kept for shopping/ retail. The third floor of the Air Plaza building wraps 360 degrees, creating space for a large ‘anchor’ tenant while allowing workspace to be primarily day lit.

50,000 ft2 Valuable ground-floor real estate is preserved for shopping and restaurants. A range of sizes and layouts create opportunity for varied tenant sizes and types.

The Broadway façade is nearly unbroken, enhancing and encouraging existing businesses.

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New parking is entirely below grade. 300 additional parking stalls can be created without encroaching on surface activities.

Parking ramps are placed at the south and east accesses of the block.

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DAVID MURRAY PATON IAN STEPHENS RACHELLE KIROUAC STEPHEN HIMMERICH STEPHEN MUIRHEAD This is Not Just a Design Problem Fargo Design Competition: Group

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1. A hill in the park provides seating to a stage, and also plays host to snowy activities.

Parents watch nervously from the walkway, hot chocolate in hand while their children clamber up the slope for another run down.

2. The public space is augmented by the careful selection of vegetation; strategically providing shade, shelter, and visual stimulation that is characterized by the movement through the seasons.

Dear Fargo, this is not just a design problem.

The question is not how much retail, office, residential, or parking space we can fit on the site; there is already a surplus of vacant buildings downtown. The question is how much is needed? Fargo needs a physical, social, environmental, and economic transformation. No single city block holds the design solution. A range of scales must be considered from the human one in the US Bank Block, to the scale of the whole metropolitan area.

This is not a case of instant gratification.

A comprehensive plan must be implemented over a period of years that builds on successes while re-evaluating decisions en route to creating a vibrant, accessible downtown.

A number of different strategies and sectors must be evaluated in working towards this goal. Drastic legislative action will be the first step that moves this plan forward. A green belt around the metropolitan area will be positioned, tax increment funding will be put in action, and first purchase rights for the city will be initiated. The restructuring of the parking system will be the next step. Consideration will be made toward increased density with multi-level parking structures replacing surface lots, and the conversion of a large number of these sites to new construction zones throughout the downtown. The transit situation will also be addressed. The extension of service hours, and creating new routes will help to draw people back to the core. As the

3. The view down Broadway reveals the playful contrast between the openness of the public space on the site and the historic line of facades across the road. When Bison are brought in for select periods, the park transforms into a grassland, challenging the definition of what a downtown park should be.

4. A new public transportation thoroughfare conveys a number of rerouted and created bus routes.

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plan progresses, studies will then be put in motion to consider the feasibility of light rail or tram services. This will further develop the ease of motion through the metropolitan area and help to reduce the reliance on cars as the primary mode of transportation. This is only the beginning.

In the core of the city, the site is a 90,000 sq. ft. block that emerges as a small but pivotal piece in the fabric of downtown. As the proposal progressively develops, the site will act as the focal point of movement: be it pedestrian, bicycle, car, or bus.

Public transit will be rerouted along 2nd Avenue, with the site acting as the new downtown hub. The activity of a newly invigorated Broadway will also spill onto the block from the west, along with a secure space for bicycle storage in the site. Residents, visitors, and workers will drive into the underground parking and emerge into an engaging landscape of crested wheatgrass, towering Accolade Elms, and seasonally-inspired vegetation. The site will act as the focal point, a passive landmark, and as a gathering place for the city. It will also liven the downtown and begin to spread this activity over the whole area.

The strategy aims to create a downtown where people want to be, and accessibility which allows that to happen. It is a multi-faceted approach that considers transit, parking, legislation, and construction projects over time.

This is a solution.

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ADAM WATSON Sedum Grow Fargo Design Competition: Detail Ingredients of his day: plain or raisin bagel + positive attitude + approaching studio work with ditchball mentality + physical activity (60 minutes a day, everyday) + 8 hours of sleep.

Sedum Grow is a rooftop courtyard design for the US Bank building in Fargo, North Dakota. The design is based on a grid informed by a “Green Corridor” developed with a group previously in the course. The US Bank, located on the corner of 2nd Ave N and 5th St N, is used as a template to reveal how buildings throughout Fargo could be incorporated into the Green Corridor process.

Twelve-foot cubed buildings amalgamate to form two larger geometric buildings on the second storey of the bank, creating an opportunity for a courtyard down its center.

The courtyard planters follow the geometric pattern laid out by the surrounding structures on site. They are composed of recycled concrete taken from the three-storey tower extending out from the bank which would be demolished in the Green Corridor project. The concrete planters are covered by wood siding to hide any imperfections and create a more natural aesthetic.

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Sedum plant species were chosen as the rooftop’s vegetation for their remarkable water retention capabilities, tolerance of colder climates, ability to survive in shallow soil depths, and pleasant appeal. Most of the sedums grow laterally, spreading throughout the planters to create a dense plant community. The glass facade of the buildings allows the office workers to view the growth of the sedum plants at all times of the day, creating a healthier work environment. On breaks or after hours, the employees can take advantage of the courtyard’s seating areas and enjoy the calm, relaxing atmosphere the courtyard provides.

The courtyard is designed to allow areas of circulation and stagnation to coexist.

The paths of the courtyard will provide circulation between the two buildings, while the planters and benches compose the areas of stagnation and relaxation. A few intimate spaces are designed just off the path to allow a more isolated and peaceful atmosphere.

ANDREA LINNEY Galvanized Prairie Fargo Design Competition: Detail Her halycon days: “What are my calm, peaceful days?

Do we really have any of those? I suppose my halcyon days come after all classes have finished, assignments have been handed in, portfolio has been rushed to the printers, and that feeling of ‘I should be working on something’ subsides. As for during the school year, I think we all know those days are rare to happen and it’s probably better not to dream that they will.”

The site is divided into three main areas: the prairie, the boardwalk, and an outdoor eatery. The prairie, inspired by Fargo’s history of farming, is constructed using hot-dip galvanized steel poles.

Thinner poles are divided into two pieces: the bottom pieces remain in an unwavering position, while the top pieces have the freedom to move with the wind. This alludes to the movement

of blowing grasses. Sound is another effect the prairie has to offer. The poles are hollow with openings at their tops.

On a windy day, the wind will blow across the tops of the poles creating humming and whispering to be enjoyed by those nearby. These poles are mirrored across the street where they line the edge of Broadway. As people are generally attracted to edges, the poles are of varying heights and sizes, allowing for visitors to find their own place to dwell along the wall. Circulating back across Broadway, one can find the outdoor eatery. It is here that the poles act as support for the edged table, as well as provide seating for the numerous pubs and restaurants located along the Broadway strip.

1. Perspective of boardwalk with galvanized edge seating along Broadway.

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Galvanized Prairie is located on the northwest corner of the U.S. Bank Block in downtown Fargo. The design was informed by the idea that people are generally attracted to edges, the fact that the site provides entry to an orchard, and the desire for increased social interaction.

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2. Layering of vegetation and boardwalk.

3. Process sketch of galvanized pole concept.

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Dr. Marcella Eaton, Dr. Richard Perron

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The task was to redesign an existing city block in downtown Fargo, North Dakota, satisfying square footage requirements for office, retail, and residential buildings while still providing a suitable amount of public space. The buildings are arranged to create three plazas, forging a connection between the historic Broadway area to the west and

DAVID MURRAY PATON Plazas of Connection Fargo Design Competition: Detail

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Broadway

Ingredients of his day: Tom Collins + spin and dip + beans + waiting for city buses.

the Red River to the east. The buildings are scaled appropriately to their surroundings, and are tiered to bridge the connection between pedestrian and building. Intensive green roofs and a dry swale in the north-east corner handle stormwater in an ecologically sensitive manner.

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1. Proposed plan for the site.

US Bank

2. Rendering of the site.

Looking towards the south west corner.

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Kevin Wiens The Urban Market Fargo Design Competition: Detail “My halcyon days were in my single digit years, when my life was carefree and my imagination ruled with idyllic delight.”

This is the individual component of a group project charged with designing a city block in downtown Fargo for a design competition. The concept of my group’s design was a farmers’ market that operated within two alleys that intersected in the middle of the block, creating paths through The Urban Market. One alley is enclosed with glass while the other is enclosed on one side of the intersection, leaving the other side open, creating a year-round market condition. The four corners are occupied by buildings with street-level retail space, upper-level residential space, and rooftop gardens. The Urban Market is programmed to sell fruits and vegetables produced by local farmers, encouraging an active and healthy environment that supports the community.

My individual component consisted of further developing the open portion of the main alley and how it would function as an expansion for the market during the summer. The entrance is designed to have a glowing and inviting atmosphere by connecting to the street with a wooden boardwalk. The boardwalk is included for its historical and aural characteristics. Within the boardwalk are retractable tables that, when extracted, act as staging areas for merchants and when retracted can become storage areas. The alley is lined with American Elm trees to provide shade, with artificial lights placed within the tree canopies to create a moonlight effect in the evening.

Landscape & Urbanism, Year Three

Dr. Marcella Eaton, Dr. Richard Perron

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LINDSAY GRESCHUK The Hive Fargo Design Competition: Detail Ingredients of her day: coffee + procrastinate + plug in audio source + scribble + coffee + scribble + hula hoop break + ponder existentialism + lose track of what day it is.

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After working as a group to develop a competition entry for the city of Fargo, we took a more in depth look at a specific aspect of the group design. As a reflection of the surrounding agricultural communities, rooftops in downtown Fargo will become the agricultural fields of the city. The rooftop of the Fargoan,

1. Vegetation pattern from spring (upper-left) to fall (lower-right).

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an apartment building located on Broadway near the U.S. Bank Block, will be transformed into housing for people and an agricultural workforce: bees.

These pollinators will live on the rooftop and help to pollinate crops growing in the city fields.

STEPHEN MUIRHEAD Plain Plane Fargo Design Competition: Detail Ingredients of his day: Wake up early if my body permits me + prepare 3 cups of coffee (1.5 for morning classes/studio) + grab a quick shower + bike or bus + a banana in the late afternoon + scotch in the evening.

Plain Plane places the prairie landscape atop a pedestal and projects itself onto downtown Fargo. Since its informal founding, Fargo has quietly aimed to suppress its roots and become something larger than itself. With the decay of a once burgeoning core comes the opportunity to unearth the artifacts

of archaic farm equipment patinas and arrowheads. Situated atop a passively vented parkade, the not-so-grand Great Plain serves as a visual and ephemeral reminder of the true North Dakota landscape that the city lost sight of decades ago.

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1. Corten steel lighting element.

2. Section showing the scale of the parkade and surface features.

Plantings range from native grasses (Phalaris arundinacea, Andropogon gerardii, Spartina pectinata, and Bouteloua gracilis) with strategic placed icons and Lindens (Tilia spp.) scattered throughout to serve as visual breaks and shade.

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ADAM DUBYNA ADAM WATSON DANIELLE LOEB IAN STEPHENS JASREEN SIDHU JAYMS LYON LEE ANN BOBROWSKI LEA REMPEL LINDSAY GRESCHUK MELISSA NEIRNICK RACHELLE KIROUAC ROXANE GRATTON STEPHEN MUIRHEAD Neighbourhood Matrix Neighbourhood Analysis and Spatial Practice

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This studio was split into three phases.

In the first phase, Typology, we were required to explore and document the attributes of existing neighbourhoods in Winnipeg. We split up into sub-groups, with each group taking on one of these neighbourhoods: Downtown, Osborne Village, Fort Richmond, Linden Woods, Island Lakes, and River Heights.

For their neighbourhood, each group was given an 800m by 800m square aerial photograph. From this, we drew out different figure-ground maps: built/ unbuilt, commercial/residential, space dedicated to the car, and green space.

Dr. Richard Milgrom

For this matrix, six fictional families were created, each with unique workplaces and common destinations in Winnipeg.

Their daily, weekly, and monthly travel habits were mapped out from each neighbourhood using the categories of walking/biking, driving, and taking public transit it was discovered that if their daily needs are met within their own neighbourhood, they could potentially walk and bike more. If they lived in an area which contained nothing, the family would be forced to drive or take public transit. In some cases, driving was the only option available. This part of the exercise informed us on how much travel

time each family takes from the locations, as well as a good idea of how well each neighbourhood meets the needs of a diverse range of families.

Two sections of neighbourhood, one residential and one commercial, were measured and then redrawn. The data from these maps and sections could was assembled into a matrix in order to make comparisons.

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IAN STEPHENS LEE ANN BOBROWSKI ROXANE GRATTON Parker Lands Parker Lands

Within Winnipeg, it seems as though it is easier to ignore the issue of urban sprawl and density when there is seemingly limitless room to expand.

Perhaps residents misunderstand what density looks and feels like, but with smart planning, density can be highly personable. Through thought and intent, a compact neighborhood has the opportunity to provide its residents with a multitude of amenities, becoming a desirable area of town to live in.

With Parker Lands comes the great opportunity to inject a higher level of density into south Winnipeg. The site is well defined with development already having occurred in the areas surrounding. In considering the site, there is a great opportunity to produce a compact community, moving away from a typical suburban neighborhood.

The commonly accepted single family home with detached garage is neither the alluring nor the most appropriate answer for Parker Lands. This proposal

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1. Map of the Parker Lands development, showing the density proposed.

2. The large buildings that line the streets in the highest density area create sharp shadows on the road. The light weaves in and out of the streets as people pass by.

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3. In medium density areas, courtyards in front of the buildings allow for interactions with neighbors. It is considered a semiprivate space and a buffer zone between the private and public.

instead turns to different and varied housing typologies, from townhouses to apartment buildings, to achieve the realization of a dense, livable, and enticing community to live. A large part of Winnipeg is the balance between the built and the green environments.

Currently, the site acts as a large natural park for the surrounding residents.

Rather than removing this space, the intent of the proposal is to preserve and enhance the park as much as possible.

If planned and maintained properly, a

smaller park can do more than a larger unkempt, natural open area.

One of the keys to high livability is connectivity with surrounding neighborhoods and the rest of the city. Rather than replace the current institutions and services within close proximity to the site, this proposal serves to enhance them, providing elements that are not yet offered. This includes an additional node, located on the eastern corner of the site, to be

included in the upcoming Bus Rapid Transit system. Public transportation will potentially play an integral role within this site when considering the large influx of residents. Consequently, it will need to become more pronounced enticing residents. Parker Lands presents a rare opportunity for the city of Winnipeg. It is not a simple problem, nor an impossible one. This solution may not hold all the answers, but it is a large step in the right direction.

Green space.

Public green space.

High density residential.

Medium density residential.

Low density residential.

Roads.

Commercial.

Green space.

Public green space.

High density residential.

Medium density residential.

High density residential.

Medium density residential.

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ADAM DUBYNA JAYMS LYON LINDSAY GRESCHUCK Urban Forest Parker Lands

Overall, our project aimed to preserve as much of the preexisting natural landscape as possible while fitting about 1000 units of high density housing onto the site. We deemed that the presence of an urban forest would have a positive impact on the surrounding communities and create a series of dynamic spaces for locals to enjoy and for wildlife to flourish. We divided our housing into three different typological nodes of varying proportions.

Another goal of this project was to encourage a reduction in car dependency while providing opportunities for other methods of transportation to be utilized both on and off the designed site. Bicycle

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1. Western Node.

Medium density mid-rise complex. 5-6 stories tall.

2. Central Node.

High density mid-rise complex containing a pedestrian and bicycle underpass to Taylor Ave. 3-12 stories tall.

4. Eastern Node.

High Density high-rise complex. 6-24 stories tall.

5. Sketches of nodes, connections, and pathways.

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Within the site, a large portion of the naturally occurring Aspen and Maple woodland will be preserved with little disturbance. These existing natural systems will be enhanced as greenways, for pedestrian and bicycle traffic that connect the nodes with each other and their surrounding communities.

Swales and retention ponds will be employed to collect stormwater and help regulate the amount of runoff into city sewers.

3. Birdâ&#x20AC;&#x2122;s-eye view of the site and surrounding neighborhoods.

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storage, a bike sharing program, and the developing rapid transit system will be crucial to the outcome of the design as a car-free system by allowing efficient access to the city.

ADAM DUBYNA Cohesion Through Collision Parker Lands: Detail â&#x20AC;&#x153;I think my education is taking me anywhere I want.

I see a vast future somewhere in the world, but who knows where that is. Someday I would like to have my own design firm in a beautiful part of the world, and make a difference in this world we all live in.â&#x20AC;?

After our group plan for the Parker Lands site was finished, we each started to focus on one component individually.

My concentration was on the central node of density which ranged from three-storey row houses to 12-storey single-loaded apartment buildings.

There is a large focus on how natural and manicured landscapes interact.

Natural landscape is brought in to the central plaza, and building extends into the outer landscape.

The node includes an urbanized centre plaza with amenities such as laundry services, a cafe, and retail space bordering it. Also, there is a central bike hub acting as a focal point that includes

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bike storage, service, and rental. One other main aspect to the design is the incorporation of an underpass. There are already existing services on the north side of the rail tracks including a Sobeys and various restaurants. The underpass will make these available just a short walk away.

The forms all run along two axis, one parallel to the rail track, the other parallel to the road as it meets the node. The buildings follow these two axis together with the features within the plaza. They often collide, forming interesting angles and a cohesion between building and landscape form.

1. Section of the plaza leading into the rail line underpass.

2. Central Plaza as viewed from above.

Elevation change is used throughout the plaza by raised and lowered pads as sitting spaces and green spaces.

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ADAM WATSON

Carve Parker Lands: Detail His halycon days: “Any day where there is nothing due the following day.”

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The site contains a preexisting Aspen forest, which the people of the adjacent neighbourhoods enjoy. Instead of demolishing it and starting from scratch, much of the forest is preserved. The idea of carving spaces into the forest to form public space helps to maintain some of the forest’s aesthetic and environmental value. The forest is transformed into a park with pathways influenced by the way people may travel through it. The paths are designed so that they are wide enough to accommodate both cyclists and pedestrians.

Within the network of paths lies three separate patio spaces. Each patio is different from the other, providing several options for the public. The two patios to

1. Concept sketch of park.

2. Final rendering of the park design, showing surrounding context.

3. Eye-level view of the central fountain.

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the west may be viewed as semiprivate, whereas the one to the east is very public. The retail spaces on the bottom floor of the adjacent buildings contribute to the patio’s function accommodating several people at once.

Together, the network of patios, paths, and forested areas contribute to the green node system carried through the entire site. It provides quick access from point ‘a’ to point ‘b’, while also serving as a place to relax and meet with friends and family.

DANIELLE LOEB Parker Steps Parker Lands: Detail Ingredients of her day: coffee and/or tea + as many naps as possible, whenever possible + maybe 3-4 hours of uninterrupted work + followed by many hours of socializing and procrastinating.

Parker Steps is situated along the main thoroughfare to the new Bus Rapid Transit (BRT) station at the north-east corner of the Parker Lands development. A generous pedestrian realm has been created to connect the linear park to Pembina Highway and encourage alternate modes of transportation.

Parker Steps is located nearest to the BRT station, in front of two high-density apartment buildings.

Trembling Aspen and Balsam Poplar trees originally appearing on the site are planted along the steps, creating shade and a pleasant environment.

Dogwoods and various annuals add contrasting colours throughout the seasons. Proposed planters are installed at different heights, half a meter above the hardscape, and 20 centimeters

below the hardscape to allow for drainage. Softscapes of manicured grass offer residents of the building or pedestrians on the streetscape an alterative to conventional seating, enabling them to sit, relax, and take in the afternoon sun.

Hardscape materials include concrete, wood, glass, and brick. These enable the use of local materials and create an interesting streetscape; acoustically masking the din of nearby vehicles.

Glass panels installed in the pathways and planter walls allow daylight to reach the parkade located below the apartment building. In the evening, the light radiates from the glass inserts, creating a glowing path and a pleasant, safe, evening environment.

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1. Concept sketch of steps, showing desired paths, plantings and energy.

2. The steps are divided into various spaces, ranging from semi-private to public.

3. Showing the descent of the steps over the linear plazaâ&#x20AC;&#x2122;s course.

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LEA REMPEL Park(er) Parker Lands: Detail Ingredients of her day: Ace Burpee show while on the Perimeter + Fruit Ninja/Plants vs Zombies/Angry Birds + grilled cheese and pickle + daydream about what my life would be like if I wasnâ&#x20AC;&#x2122;t in this faculty + chocolate.

For my detail of our group project I chose to focus on a designated central park space. It is approximately 16000m2 and surrounded by medium and high density residential buildings.

I wanted to enhance the pastime of walking that was so important to current residents of the surrounding neighbourhoods, and add playgrounds, a skatepark, a mini soccer field, and

tennis courts. The park is designed around a hierarchy of pathways. Primary paths are wide, wooden, and raised; secondary paths are raised, fabricated out of perforated metal; and tertiary paths are surfaced with gravel. In the centre of the site, an existing low area, a permanent pond is located next to a skatepark that floods in response to heavier rains.

1. Plan of park showing native prairie grass surrounding a central forested area, waterways leading to the skatepark, sports fields, and pathways.

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2. Grass species include Indian Grass, Switch Grass, and Marsh Reed Grass.

3. The forested area is punctuated with planted depressions that absorb runoff from surrounding areas, reduce pollution and improve water quality.

4. The park offers a soccer field, a tennis court, a skatepark, a series of playgrounds including a seniors playground.

5. A nighttime view of the park showing the lighting.

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IAN STEPHENS Hub Parker Lands: Detail Ingredients of his day: LEGO + Warehouse.

I chose to focus on the quagmire of roads, landforms, and railroads on the eastern edge of the site for my in-depth development. I was interested in the idea that by using the Bus Rapid Transit (BRT) stop, the area could serve as a gateway into Parker Lands.

Plaza spaces surrounding the loop would be enjoyed by those who live near them, and by those who work there during the day. Park space adjacent to the main road into Parker Lands acts as a subconscious cue for drivers to pace themselves as well as serving residents.

Efficient and appealing public transit is crucial when dealing with the population density our group proposed for Parker Lands. Located near the BRT stop is a bus loop that can be used by any of the Parker Lands bus routes for the pick-up or drop-off of their passengers. This would serve as the main bus loop for the neighboring communities.

The majority of traffic would see Parker Lands from Pembina Highway. The towers beside the bus loop would serve a double purpose as an icon for the development. From the BRT stop, smaller building forms create a gateway into the bus loop, with this pattern continuing all the way into the core.

1. The plaza immediately north of the bus loop sits in two levels. One for the more transient bus crown, the other containing a cafe, and serving the residents and people who work in the surrounding buildings.

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2. View of the upper plaza space.

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A. Road towards core.

B. Plaza space.

C. Bus loop plaza.

D. Bus loop.

E. Bus Rapid Transit stop.

F. Park space.

G. The Pemby.

H. Pembina Highway.

I. Rail Lines.

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BRITNEY BELL KAELEY GOULD KEEGAN KENT A Speck of Green in a Sea of Gold The Ruban and the Phalanstares

Jade City is a community of row houses just within the edge of the Perimeter Highway. It is an extension of Winnipeg itself but has a small town atmosphere where interaction is encouraged.

Public transport from the city center is available to the residents, with regular hours of operation. For those who drive, it is a mere ten minutes for lifeâ&#x20AC;&#x2122;s larger conveniences and necessities. For the smaller things, Jade City boasts a small grocery, post office, K-8 School and daycare, and smaller commercial outlets.

Excavation of the site was necessary in order to fulfill one of the needs of development design: basements for all units. The excess soil was not shipped out of the site but was used to

build the Comet Trail Mound and the Comet Mound. Because of the nature of the Comet Trail Mound as allotment terraces, the excavated topsoil was put to use on the mound to promote the growth of apple trees, and the residentâ&#x20AC;&#x2122;s personal gardens.

Stormwater drainage of the city is done through the use of retention areas as well as catch basins for overflow. Each street uses lawn space as a means to deal with runoff. Through landscape design and implementation of low points within the lawns, conditions range from wetlands to drier meadow areas, depending on the amount of runoff and its location within the site. The varying range is a way in which the site adds character to the street. Different plant

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D. Allotment gardens.

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F. Golden Promenade.

G. Playground.

H. Park.

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J. Sitting steps.

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L. Cattail Close.

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N. Crocus Court.

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O. Bluestem Boulevard.

P. Wiese Way. Q. Primrose Place.

R. Wood Lily Lane.

S. Cordgrass Grove.

T. Tall Grass Strand.

U. Dropseed Drive.

Comet Trail Mound

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Great Lawn

species are used within each street as an identifying characteristic, and they give the name to the streets themselves.

Each unit within the development has two allotted parking spaces. One space is in front of the row house, and the second is in the parking lots located south of the development. The two parking lots are divided into Tall Grass Strand and Dropseed Drive, which are identified by their plantings. Within the two parking lots, there are extra spots for visitor parking. The location of these lots allows for easy access to any of the houses in the community, with a walking time of ten minutes from the furthest point south to the furthest point north.

Row Houses

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5. Example of the lawn space used to deal with runoff.

6. Looking North down the Golden Promenade towards Comet Trail Mound and the allotment gardens.

Entrance

Comet Mound

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DAVID MURRAY PATON IAN MACDONALD LOGAN SENICAR Auto_Landschaft The Ruban and the Phalanstares

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The location straddles the boundary between the urban and rural. The premise of the design places two of Le Corbusierâ&#x20AC;&#x2122;s infamous Plan Voisin cruciform towers on a plot of land adjacent to the north perimeter of Winnipeg. Emphasis was placed on pragmatism. The design was determined by the incorporation of excavated

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1. The location of the design is the north-west corner of Winnipeg, the very edge of the city. The site, a mile long and half a mile wide, is bordered by the Perimeter Highway (Highway 1A) to the north and Sturgeon Road to the east. The space is currently used as farmland.

2. The trees are planted in sections of varying character, density, and pattern. As a result, a different experience is provided in each section.

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soil from the towers, stormwater management, and the required amount of parking stalls: almost 6,500 of them. The result is a landscape for cars and people: parking is dispersed into smaller lots fed by five access roads.

The lots use the excavated soil and are graded towards the roads, creating a visual separation between the parking

lots and the green space. The variation in treescape (i.e. their species and arrangement) creates a varied and intriguing landscape, bridging the gap between the enormous scale of the towers and the pedestrian scale of the ground plane.

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5. Model showing the enormity of the cruciform towers.

6. Burr Oak. A native species adapted to open meadows, these lone giants create landmarks in the landscape.

7. Patmore Ash. A grid arrangement results in an orchard character, accentuated by a golden fall colour.

8. Scotch Pine.

These trees will form a dense forest, which has an understory that can be pruned to allow both parking and walking under the canopy.

9. Basswood.

Set in double allees, the Basswoods lend a strong linear element to the street.

10. White Willow.

Rapid growth and density make it an ideal windbreak, and its unique form and hue define the edges of the site.

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Developed out of the plan for Dammerstock in Karlsruhe, Germany, [Agro]polis is a garden city in the truest sense. Rising up from the prairie as an oasis of lush vegetation surrounded by a sea of grain, it presents itself as a place where one can interact on multiple levels with the landscape.

GRANT FAHLGREN KEVIN WIENS STEPHEN HIMMERICH [AGRO]polis The Ruban and the Phalanstares

[Agro]polis is a low-cost, highdensity development that provides its inhabitants with the opportunity to live in a dynamic and shifting landscape.

The buildings and their very structure provide the platform for the landscape allowing its self to stand at the forefront.

The site is presented in four distinct stages: the Urban Orchard, the Agrarian Pier, the Alchemic Garden, and the

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1. Each owner in [AGRO]polis is encouraged to plant at least one fruit tree, to help create an urban orchard.

2. The Agrarian Pier is a slightly elevated platform of land which lies south of the development with its only physical connection being a bridge located near the southeast corner. The Pier incorporates a visual link to the development, as well as an engulfing sense of agriculture from the surrounding fields. Within the Agrarian Pier lies a beach, a grid of fountains, and an Aspen grove. The Agrarian Pier is a recreation space, which is the first stage of discovery for the residents of [Agro] polis.

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Hinterlands. Each of these stages progresses further into the landscape, which increasingly becomes more remote and adventurous. The Urban Orchard is surrounded by housing and is the totality of all of the individual yards.

It is the place within the development with the most interaction. The Pier is divided from the community by a wetland meadow and is joined at one main location. From here, the Alchemic Garden becomes visible. Few may venture off the pier and through the fields to these rolling hills where adventures take form. If you move even farther into the remote areas of the site, you come to the Hinterlands, a forest of solitude and discovery which is the final stage of movement into the landscape.

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3. The Alchemic Garden consists of soil excavated from the development dispersed in lines of varying widths and heights over an existing landscape of hills. The excess topsoil from the site is separated and is piled in a grid along the edge of the garden.

Located within the site is a sports field acting as a distant recreation area.

The Alchemic Garden is a remote recreation space and is the second point of discovery for the residence of [Agro]polis.

4. Model showing the layout of the various pieces of [AGRO]polis.

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5. Wetland meadow between the Agrarian Pier and the main development.

6. The mounds of the Alchemic Garden.

7. The Alchemic Garden in relation to the Agrarian Pier.

8. The Hinterland is a preexisting deciduous forest located within the southwest corner of the site. A farmstead within the forest will be converted into a hobby farm, that exhibits the local wildlife and provides an agricultural and ecological learning experience. The Hinterland/Wildlife Consortium is the third degree of discovery for the occupants of [Agro] polis.

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ANDREA LINNEY JAMES SIMPSON KATIE BLACK Hortus Deliciarum The Ruban and the Phalanstares

Hortus Deliciarum seeks to create a haven for botanic and agricultural research on the perimeter of the city, the current waterline between the ebb of the countryside and the inflow of urbanism. Five central elements: the Research Commons, the main Research Garden, the Parking Forest, the Wooded Sanctuary, and the patchwork of meadows, are intended to attract researchers and the general public to explore the site. Hortus Deliciarum aims to hold researchers and visitors in simultaneous orbits around the ideas of the past prairie grassland, present agricultural practice, and the evolving and varied meanings of the garden, offering fruits of knowledge to be enjoyed in intellectual and physical manifestations.

The Research Garden presents an arrangement of formal flower planting beds, arranged by research type. The garden holds a network of small squares that feature shade trees and benches, that are connected by walkways that thread through the planting beds and feed into a central piazza holding a small orchard. A viewing platform at the northern end offers a relaxing view over the main Bison watering basin and the flatlands beyond. Slabs of local rock dot the garden, echoing the Bison rubbing rocks seen on the flatlands, and offer a tactile climbing experience for the gardenâ&#x20AC;&#x2122;s smaller visitors.

A formally arranged avenue of Black Spruce structures the entrance to the site. The thick western edge utilizes the naturally clear ground and higher branching provided by these trees to provide shaded parking. In combination with the Wooded Santuary to its north, the broad line of Spruce offers substantial wind protection from the prevailing north-west winds. The eastern edge provides a thin, permeable seam between the access road and the rest of the site, furnishing glimpses of the Research Commons and Garden to the

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Taking a bearing from both the 9th century idealized Plan of St. Gall and the 19th century concept of the Phalanstere, the Research Commons allocate space for laboratories, greenhouses, and other research related buildings, as well as attendant living facilities for those staying on site, a learning centre, and a small restaurant with attached terrace, showcasing locally grown food. The central grove acts as the hub of the compound, serving as primary circulation as well as market space for selling produce grown both on the site and from surrounding farmland.

Trembling aspen create shade and a gentle rustling soundscape, nurturing a calm, relaxed feel. Several of the buildings feature interior courtyards intended to allow more intimate, private outdoor spaces for residents. Three walled gardens serve practical functions including growing vegetables and other essentials for the compound.

The central grove, an existing feature of the site, remains extant as a sheltering structure and gesture toward the original aspen parkland ecosystem found here before widespread commercial agriculture. The Parking Forest extends into the southern edge as an invitation for visitors to explore the feature, while the northern half, cut off by a stream, offers a place for animals to shelter from heat and storms.

Prairies, meadows, and flatlands create a matrix of production for the site. The patchwork of meadows on the eastern half of the site is vitalized by human and animal use. The Bison flatlands to the north offer a wide grazing pasture, sporadic shelter, and rubbing rocks for the herd. Prairies of various grains and tall grasses are sown, tested, and harvested on the western third of the site.

1. Model of the research garden, showing the various plots.

A. Wooded Sanctuary.

2. The research gardens in relation to the research commons, and the parking forest.

C. Parking Forest.

3. View of the parking forest.

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driver. The seam also offers a covered walkway connecting parking to other site elements for pedestrians.

Anna Thurmayr, Dietmar Straub

B. Research Gardens.

D. Research Commons.

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BRAD LAFOY NADINE LOWES

Set Adrift on Prairie Bliss The Ruban and the Phalanstares

L’Unité D’habitation has been likened to a ship, self-contained and solitary, resting lightly on pilotis that allow the landscape to flow around and under it.

If l’Unité is a ship, then the site is its harbour. There are a number of metaphors that can describe the setting. The annual bands in a tree trunk, compressing and spreading to accommodate knots and bowls. Ribbons dancing across the land. Or waves lapping on an uneven shoreline, passing around and under the docked vessel.

Like the metaphors, there are patterns to the site but no one program or description immediately encapsulates

it. Usage is suggested, but rarely is it explicitly defined or proscribed. Ribbons of trees undulate across the site, alternately closing in to form alleys and spreading apart to create openings for playing fields, a garden, a small beach, or groves for quiet contemplation.

The austere beauty of the site and suggested ways that unité and prairie could speak to one another, and that the site of a high-density apartment could exist in harmony with the surrounding farmland.

A. Tamarack lot.

B. Apple lot.

C. Cherry lot.

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D. Unité d’Habitation.

E. Purple Iris.

F. Apple Trees.

G. Lilac bushes.

H. The Cherry grove.

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J. Allotment gargens.

K. Water drainage pattern.

L. The playground.

M. Water channel.

N. The beach.

O. Cobblestone walkway.

P. Cherry trees.

Q. Wetland and prarie grasses.

R. Water retaining swale.

S. Tamarack lot.

T. toboggoning hill.

U. caretakers homestead.

V. preexisting spruce grove.

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ADAM NOLETTE STEPHANIE MCKICHAN MEGAN WILSON Sculpting Memorial Park Lest We Forget

We were given the task of redesigning Winnipegâ&#x20AC;&#x2122;s Memorial Provincial Park, and decided to embrace how the earth changes over time.

The city is an organism. It moves, changes, and grows over time, reacting to the events within it. This organic existence was distilled into a body during the evolution of our landscape.

The external forces became a skeleton

to our park, forming a subterranean structure upon which our sculpture was formed. We viewed this structure as a convergence, pushing upwards into our site wherever the forces collide. Holding this framework together is a muscular layer. Vulnerable to stress, this flexible structure contains and isolates these forces. This surface of our site is covered with a thin skin, allowing for flowing topography, and communal surfaces.

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1. Skeleton.

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3. Skin. We designed our plantings to accentuate both the timeline and the monuments. We included a mix of poppies, irises, flax, and milkweed, which trickle towards the cenotaph, and merge into tall grasses. This arrangement mimics an agricultural landscape.

4. There are two pathways running through the site.

Where these paths cross, a water feature occurs, dipping slightly to allow for the trickling of water along it. This feature disappears and reappears throughout the site, mirroring the essence of memory.

5. Section, showing the skin and muscle.

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MARIE CAREY MICHELLE TUSTIN TAYLOR LAROCQUE Memorial Garden Lest We Forget

Our hope for this design was to create a sanctuary in the urban fabric where one could come to remember loved ones lost in times of war, or where one could come to appreciate beauty in the midst of the city. We longed to communicate a sense of memory with our garden, a place where loved ones’ ashes can be laid to rest in the waters, or where

children could play among the willow trees. We chose to relocate Winnipeg’s cenotaph to a location in the center of the park, where a space is allocated for ceremony and remembrance. Existing memorials from the park are maintained and relocated in order to better honour those that they represent.

Remembrance day ceremonies would

P l aq u e d e d i c a t e d t o M a rc - Am a s e c on d Pre m i e r o f M a n i t o b a .

M on u m e n t t o C a n ad i a n Pe ac e k w h i l e s e r v i n g t h e i r c o u n t r y.

M on u m e n t t o t h e S u r ve yo r s o f

M on u m e n t t o t h e Wom e n o f t h C om m onwe a l t h w h o l o s t t h e i r l t wo wo r l d w a r s .

M on u m e n t t o t h e A i r m e n a n d I l o s t w h i l e t r a i n i n g i n C a n ad a d Wa r I I .

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1. A plan view of the Memorial Gardens located next to the parliament building.

2. Currently there is little evidence to suggest that the monuments are still appreciated and used as a vessel for daily remembrance. In response to this, we have proposed an Honorary Boulevard, so that those remembered through the statues and monuments may be given new location, presence,and meaning.

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M on u m e n t t o S i r W i l l i a m S. S t m a n c a l l e d “ I n t re p i d ” .

bring people together on the site to pay their respects to those lost in the service of our country, in a setting that is fit for their memory. Memorial Garden is an embodiment of memory, allowing individuals and families to remember lost loved ones in whichever way they wish.

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3. Plan view of the cenotaph platform.

4. The park in use in an everyday situation.

5. The park during Remembrance Day ceremonies.

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MICHELLE TUSTIN O-Cap Pon Park Cap-Haitien Her halcyon days: sleep ins with my cats + painting/ drawing for the fun of it + getting lost in the woods + snowboarding in fresh powder + sailing a powerful wind + swimming underwater.

Cap-Haïtien is located on the northern coast of Haiti, and draws its identity in part from its fishing culture and economy. The coastal economy, however, is not particularly stable.

Haiti’s coral reefs as well as related ecosystems, such as mangrove forests, are diminishing. These mangroves sit within the urban framework drawing little attention to their crucial role in Cap-Haïtien’s fishing economy.

Mangroves are nesting grounds for shrimp, a home to crabs and molluscs, a mineral garburator, a coral-reef protector, and a shield against hurricanes. Mangroves also capture significant amounts of carbon, compared to other types of tropical forests. It is important to note that Cap-Haïtien residents do not fully

1. First phase: 1-20 years.

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After the relocation of people living on the river front to further inland locations, the river’s edge is dredged for safer building ground. At this time, reforestation of a river forest, as well as the larger and smaller mangrove islands add to the protection and stability of the mangrove ecosystem. O-Cap Pon Park is implemented to connect the east and west sides of the river.

understand these benefits and are building in the mangroves, cutting down trees and dumping garbage and sediments in them.

This project proposes the development of the riverfront, and the rehabilitation of the mangrove forest. A pedestrian bridge park is designed to span the river across two mangrove islands, connecting the west and east sides of the riverfront, and providing access to Cap-Haïtien’s waterfront. The bridge becomes a destination for local residents and eco-tourists, while providing much needed open space.

Local residents and tourists can enjoy activities on six terraces on the bridge.

Two terraces on solid ground, are dedicated to plantations of mango and

2. Second phase: 21-30 years.

Cleansing the river of waste will be the main priority before further development.

Once this is completed, the riverfront will be allowed to grow back organically through the purchase of land and the re-settlement of population. The reforestation of the mangroves will continue to thicken the forests.

3. Third phase: 31-35 years.

The urban riverfront is infilled with mixed use to establish a commercial corridor to strengthen Cap-Haïtiens boating identity. The mangroves now maturing, a canal is made within the larger mangrove forest by connecting two existing rivers. At this time, eco-tourism is fully integrated to further strengthen the economy of Cap-Haïtien.

guava fruit trees where eco-tourists can bird watch. Lawns are provided on two terraces for casual and un-programmed activities. One terrace is designated for recreational play, and a final terrace is dedicated to a mangrove nursery, which replenishes the forest, and acts as an ecosystem learning center. The central platform of the bridge, surrounded by mangroves, is a space for informal markets or special events.

while incorporating mixed-use buildings to establish a commercial corridor.

Building codes are designed to encourage boat transportation and flood protection.

Within Bassin Rodo, a boating route is implemented through the mangroves providing an opportunity to connect the Cap-HaĂŻtien boating culture with the riverfront. The edges of the river are dredged to reestablish a safer, higher riverfront. The riverfront is redeveloped to maintain the current urban character,

This project prioritizes conservation of the mangroves, however, simply conserving the mangroves is not enough. Incorporating layers of ecotourism, rehabilitation, and cultural experiences, this project attempts to make the mangroves in Bassin Rodo a part of Cap-HaĂŻtien culture.

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Pedestrians can journey through the bridge park, explore the river market, and take a relaxing boat tour of the mangroves, before strolling to the waterfront beach neighbourhoods.

4. Walking up the stairs and past the guava plantations of O-Cap Pon Park.

5. The top platform of the bridge brings the informal market and tourists to enjoy the mangroves.

6. Boating on the Riviere du Haut du Cap.

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BLAISE LACHIVER The Right of Way Emergent Futures Where his education is taking him: â&#x20AC;&#x153;From technical details to the root of the human soul.â&#x20AC;?

1. Plan view of Finch Hydro Corridor with the newly developed bike path.

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The thirty one kilometer Finch Hydro Corridor in Toronto is to become more than a right of way for electrical transmission; it will become a corridor for bicycles, pedestrians, animals, plants, and ecological systems. A bur oak savannah will be planted. The bur oak is a resilient tree that can withstand urban conditions, drought and undesirable

2. The bike path continues across the city.

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3. A rendering of the new bike path with Burr Oaks.

Landscape & Urbanism, Year Four

4. A plan drawing of Toronto examining where major roadways that currently cross the Finch Hydro Corridor create transportation opportunities.

David Lucas, Dr. Marcella Eaton

soils. It is also very resilient to electromagnetic fields. The corridor running approximately east-west, connects the rivers, ravines, and vegetated spaces which run approximately north-south.

Ecological diversity will spread along the corridor, creating an urban ecology network. The trees will bring fresh air into to the city and allow it to breathe.

CURTIS KRUL FMH_10-11 Emergent Futures Ingredients of his day: tea of some kind, Assam in the morning because of its body. CTC is preferred + Sportscenter + chocolate milk + a sandwich of some kind.

The project began as an exploration of the city of Toronto. From there, the review of old army field manuals discussing mapping, strategy, movement, and basic army principles led to the idea of using the field manuals to navigate the city.

The project evolved into a desire to navigate the city through an alternate means. At the same time, the concept of “Canadiana” and the wilderness began to seep into exploration of life in Toronto. Homelessness is an increasing issue in the large city. Property values continue to rise and housing subsidies are drying up in the hope that the private sector will provide services

and shelter, which hasn’t happened yet. In the emergent future of Toronto, more people would be forced into homelessness, but more specifically, more people could chose to live without a “house”. This choice is something that a lot of people don’t ever want to make.

I wanted to understand this decision, and create a “field manual” to give assistance for people existing with these conditions within the city.

The following is an excerpt from the section on acquiring and growing food.

This section covers hunting small game, places to search for food scraps, and how to plant food to grow your own vegetables in unkept areas of soil.

1.

2.

3.

1. Hunting small game can be tedious, but the accomplished hunter can kill and clean animals to store for later use. Protein found in meat, as well as some plants increases brain function and physical ability.

Animals that are hunted are easy opportunity for gathering of food.

However, meat is susceptible to rot, and should be freshly killed or found.

2. To finish the kill, wring the neck and de-feather the body, leaving the wings intact. Step on the wings, grabbing the feet, pulling up and outward from the birds body. The organs should pull out of the chest cavity with the feet, leaving the breasts intact.

3. Secure a plot of existing soil, or cultivate soil using composting methods. Vegetables, when planted correctly and maintained can replace store bought produce. Food prices also vary with availability, and planting and growing food can allow for a diversion of any income.

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JUDITH CHEUNG Butterfly Archipelago Emergent Futures Ingredients of her day: Falun Dafa meditation (better than sleep) + read about â&#x20AC;&#x153;Truthfulness, Compassion, Forbearanceâ&#x20AC;? + eat + sleep + do LOTS of homework + try to be nice to people.

Butterfly Archipelago is an evolving landscape created from dredging silt from the Keating Channel at the Toronto Harbour front. The project concept is that unnatural human actions such as dredging, has the capability to create opportunities for life; both human and non-human. The archipelago uses the basic tenants of erosion, sedimentation,

A.

B.

C.

D.

A. Large sized construction materials and rocks to stabilize islands.

B. Milkweed.

Contaminated soils from the Portlands are transported here to undergo a remediation process while simultaneously being bridged back to the main island through natural sedimentation processes.

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C. Mixed grasses: cattails and wet meadow plants.

D. Woodlands: cottonwoods, dogwood, willows.

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wave diffraction, and refraction to generate landform. This new land mass considers the existing natural and social context of the Leslie Spit, a bird sanctuary also created from river siltation and construction debris. In order to compliment the already thriving wildlife community at the waterfront, Butterfly Archipelago specifically houses

milkweed to create a food basket for the monarch butterfly. It is an extension of the living harbour made for wonder and exploration.

5.

6.

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5. Sedimentation over time.

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6. Phase one: establish skeleton of large rocks and debris.

7. Phase two: skeleton collects sediments in wave refraction and diffraction patterns.

8. Phase three: eventually sediments join islands together to create a network.

9. Over time, the islands that undergo remediation are seeded with milkweed to create a habitat for monarch butterflies. The migration to and from the Gulf of Mexico becomes an annual event for the residents of Toronto.

6. Butterflies streaming from the new archipelago.

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SARAH CLOHERTY The Sports Line Emergent Futures Her halcyon days: “The most fantastic days are when I decide to ignore all the craziness of the world around me and instead focus on the vast amount of beauty there is to be discovered. Sometimes it’s witnessing a random act of kindness, other times it’s observing how the light creates the most amazing pattern.”

Stadiums are designed to view the sport.

But, what about the celebration of sport? The Sports Line was designed to create a connection between the three main sports centres in Toronto: BMO Field along with the rest of Exhibition Place, Rogers Centre and Air Canada Centre. The path network runs under the Gardiner Highway, repurposing existing infrastructure. Along The Sports Line are gathering spaces created to bring ticket holders and other fans together before, during and after games. During the games and events, live broadcast of the events will be projected onto existing infrastructure in the gathering spaces.

Fans can watch, listen, cheer and even

1.

play sports while the events are taking place.

While sporting events are not taking place, The Sports Line is used as an extensive path network spanning approximately 3.5 km. Created by two interwoven paths, Sports Line maintains a central base path and another that undulates and connects with surrounding transit stops and sidewalks. The underside of the Gardiner is painted a bright red to create a distinct, cohesive space. Linear gardens mimic the distance markers on a football field while mirroring the supports of the Gardiner.

2.

3.

1. A view of The Sports Line at night depicting fans travelling to one of the sports centers.

2. During the daytime The Sports Line is used as an active trail for running, walking and biking.

3. A plan view of The Sports Line trails that weave underneath the Gardiner highway.

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C. B.

E. F

D.

A.

4.

4.

5.

4. The trail will be a place for the energetic celebration that goes along with sports .

5. A plan view of The Sports Line and its connection to the three sports centers.

A. BMO Field.

B. Rogers Center.

C. Air Canada Center.

D. The Gardiner Highway/Sportsline .

E. Bus Stop (purple circles) .

F. Tram Stop (green circles) .

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VINCENT HOSEIN The Kensington Market Project Emergent Futures His halcyon days: “These are what I call “Vincedays” Veg-ing and doing absolutely nothing productive.

Friends over that day are optional.”

This is a redesign of Kensington Market in Toronto to celebrate the diversity and culture the market has to offer. I focused on creating beautiful spaces that allowed for rest and contemplation in a busy life. I created elements that highlighted the diversity of Kensington Market through the allotment gardens and the spaces left for the customization

of the shops, stores, and homes. After the project is completed, a rent control act would be introduced to the area in order to keep rent from rising and help combat gentrification.

This was an exercise chosen to strengthen my skills as a designer; it was successful.

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3.

2.

1. Eidetic images, visualizing the diversity of Kensington Market.

2. Site plan.

3. A water cycling system pulls and pushes out the water to create a calming gentle flow.

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SARRY KLEIN Finding, Disturbing, and Awakening Emergent Futures Ingredients of her day: coffee + try to organize + distractions + lunch + back on track + stress and doubt + make some progress + canâ&#x20AC;&#x2122;t stop thinking about studio.

The ravines in the Don River Watershed have a large geographic presence; however, they have little to no street identity, and they are isolated from everyday city life. How can such an incredible network be forgotten and overlooked by so many? How can design provide opportunities to notice, appreciate, and make use of this site?

How will it change perceptions and expectations of the Don River?

Two different interventions were proposed: one was a pedestrian bridge that would pass over the area, creating a place for commuters to stop and engage the area; and the second was a lookout post that reengages the site.

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4.

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1. A proposed pedestrian bridge crossing the Don River.

3.

2. A plan view of the extent of the Don River Watershed.

4.

3. An outlook tower that resides beside the highway.

4. How the current infrastructure ignores the surrounding nature.

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The City of Toronto considers the Gardiner Expressway to be a financial burden and an obstacle that they wish to minimize.

SEAN GALLAGHER Gardening on the Gardiner Emergent Futures Ingredients of his day: sleep fifteen minutes too late + be brain dead in class + get coffee + eat + be energetic for ten minutes + cat nap + procrastinate + at 7 pm, finally start to work.

The expressway was built from 1955 to 1964 to connect the western suburbs to downtown Toronto. It links the Queen Elizabeth Expressway to the Don Valley Parkway. It has often been accused of being a product of the modern age; a super highway system that allows vehicles to move quickly and efficiently through the dense urban setting. Now, it is an aging piece of infrastructure, waiting for the city to decide its fate. In 2008, the city approved the demolition

of the Gardiner Expressway from the Don Valley Parkway to Jarvis Street.

This segment of demolition will cost the residents of Toronto over 30 million dollars.

Instead of spending public funds on demolishing the Gardiner over the next few decades, these funds could be devoted to keeping the existing infrastructure. Over the next 35 years, the Gardiner would be phased into a public allotment garden system; the highway would also be partially used as an east/west pedestrian and cyclistsâ&#x20AC;&#x2122; route. This reinvents the Gardiner as an accessible corridor.

1.

1.

C. D.

2.

1. Plans of the gardens and paths.

B. A.

2. Elevation of the expressway.

A. Sugar Maple B. Black Oak C. Allotment Gardens in 4m x 8m sections. Occupants have the option to place their own sheds and/or water basin within the garden.

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E. D.

C.

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D. The two lane pedestrian/ bike trail.

F. Eastern White Pine.

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4.

5.

6.

7.

3. Perspective, showing Sugar Maples.

4. Current State. Year 0.

The city will be spending over 30 million dollars to demolish the expressway from Jarvis to the Don Valley Parkway.

5. Phase 1. Year 5.

Phase 1 of the implementation of public allotment gardens and a pedestrian/cyclist network on the Gardiner.

6. Phase 2. Year 20.

After gradual public adjustment to the shortening of the Gardiner to vehicles, an extension of the allotment gardens and pedestrian/ cyclist network is lengthened to Jameson Avenue.

7. Phase 3. Year 35.

Phase 3 will be implemented after 35 years of transition from vehicle to pedestrians on the Gardiner. It includes closure to vehicles up to Windermere Avenue. It also includes the establishment of a congestion zone in downtown Toronto, limiting traffic flow to the area and further promoting pedestrian use of the spaces.

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STEPHANIE MCKICHAN Canada Malting Silos Emergent Futures Ingredients of her day: follow a morning routine + coffee breaks to get out of studio and have a change of setting + talk at coffee break friends about project + panic at random intervals throughout day + lie in bed and think about studio.

I chose the Canada Malting Silos as my site in Toronto because of my interest in industrial sites. This site is a popular place for urban exploration so I chose to design the space specifically for those who like to explore the secret spaces around Toronto. I was inspired after finding photographs which showed

vegetation beginning to reclaim the site.

I added plantings that celebrated the harshness and decay of both the inside and outside of the silos. These plantings are designed to subtly draw people to the site and into the silos where they can discover the secret gardens within.

1.

2.

3.

1. For vegetation I researched plants that went with the themes I was beginning to associate with the site: danger, surprise and reclamation.

2. With danger, I associated plants that were prickly and would deter people from walking through certain areas of the site, such as the roof.

3. For reclamation, I chose plants that were appealing and that commonly appeared after destruction. All of the plants that were chosen can be found around the Toronto region.

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TAYLOR LAROCQUE Harbour Square Park Emergent Futures Her halcyon days: “Snowy days and rainy days; the days where I have an excuse not to leave my apartment, but can’t help doing it any ways. I like the feeling of the world shutting down around me.”

I spent the majority of the time associated with this project attempting to understand what it was about Toronto that was so different; so exciting to me. I finally determined that it was a combination of elements: sight, sound, light, movement, and chaos. I wanted to bring this life and light that I felt throughout the downtown into the Harbour Square Park, a beautiful and under used site at the termination of Bay Street along the waterfront. Through video analysis and cinemetric drawing of the park and some of my favourite areas

1.

2.

1. Harbour Square Park as it exists now.

2. The proposal for the park featuring radiating lines of sight, and areas for projection.

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of Toronto, as well as experimentation with recovered steel and projection, I discovered how to breathe new life (and chaos) into the site.

I proposed a series of site interventions composed of perforated metal screens which would be projected through, filtering the lights and movements into the vegetation throughout the site. The site would become a juxtaposition of moving images, through which people could walk, interact with and discover Toronto.

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5. Another view of the harbour front.

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6. An example of the metal projection screen.

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5.

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4.

3. Through cinemetric drawings, the mapping of video on a site through drawing, I was able to experience the site in 360 degrees, and better understand its identity, or lack thereof.

4. A rendering of the new park space overlooking the harbour with the brightly coloured projections.

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The vastness of the Manitoban prairie dominates the landscape of Winnipeg’s northwest region. Cultivated lands within Winnipeg’s perimeter have taken over the natural landscape. The strict geometries of the mile-to-mile grid overshadows nature’s organic forms, however, there is beauty to be found in this landscape. Humans cultivate, construct, manipulate, and transform the earth, all the while nature attempts to reclaim these places. The cropland feels the pressure of the city, as the suburbs and industrial districts encroach on the land. Industrialization

ANDREW SCHLUKBIER BLAISE LACHIVER SEAN GALLAGHER The Observatory Out and About

1. Looking out over the concrete jungle.

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Dietmar Straub

2. Paths allow circulation through the site and provide terraces for observing the surrounding land.

3. The entire ring landform is non-toxic waste.

The interior is crushed concrete, asphalt, and dead trees.

has created a consumer culture, which generates garbage. This must be managed, lest it begin to encroach on the land.

When in this landscape, one would first react to its emptiness. But one will realise that there is much to observe when one can see across the wide plains. To the northwest, the grid continues over the prairie to the horizon, emphasizing the vastness of the land.

One can see the airplanes taking off from the airport, to the southeast, and beyond that to the modernist

4. The outer wetland edge of the land form is called the Cattail Trail.

Water filters through this wetland and exits at the eastern side of the site. During times of heavier water volumes, a culvert allows water to drain into the interior of the site, changing the interior landscape and altering the observatory.

5. The form was decided upon via trial and error into an arena that has a circumference of six kilometers. Most of the landform does not exceed twenty metres with the exception of the piece at the northwestern part of the site which reaches thirty metres.

6. Final model.

sky-scrapers of Winnipegâ&#x20AC;&#x2122;s downtown.

Within emptiness there is plenty to observe.

An ideal site for a landfill was discovered. It is ideal because it is composed of soil undesirable for crops, and it sits above a thick bed of clay. Non-toxic garbage will be piled in a ring to create a landform along the edge of the natural clay bed; an imposter in the linear landscape. Fifteen years will be needed to accumulate the amount of garbage required to construct a landform along the edges of this clay bed. The form varies in

height ranging from six to thirty meters from the surrounding ground level. Tall prairie grasses are to be planted on the landform. The interior of the space is to be used as a depository for asphalt, concrete, gravel and wood; redefining the concept of a concrete jungle. It is expected that natural succession will reclaim this land. Life will rise from the cracks and eventually fuse with the manufactured surface.

A five kilometre long walking path will skirt along the ring, climbing up and down the varying slopes, inviting people

to casually stroll. The more daring ones can enter the concrete landscape to create their own adventure; climbing, jumping, and scaling the random landforms. They can find their own haven to get away from the urban lifestyle and have a camp fire, a picnic, build a fort, or simply allow their imaginations to run wild. The people up on the ring can find lookout points where they can observe the vast prairies, Winnipegâ&#x20AC;&#x2122;s downtown, and the playfulness of the audacious people who dare to enter the concrete jungle.

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CURTIS KRUL LIA ABOLIT SARAH CLOHERTY The Last Resort Out and About

The Last Resort is a luxurious countryside distinct from the surrounding agricultural landscape.

Rail lines constructed during the frontier barrel outward from a point, distorting the perspective to the west and generating a pinpoint view of the city centre to the southeast. The Last Resort is isolated by barriers of rail and auto transit. Retired farm animals, drainage water, and garbage are effectively combined restructuring the site by bringing new purpose to the undervalued and the overlooked.

Standing above the surrounding agricultural land, a series of terraces are formed by piling and capping garbage.

Over time, a layer of vegetables, herbs, flowers and grass disguise the material beneath. The terraces act as productive bleachers from which to view the surrounding landscape.

A datum of manicured landscape is colonized by sheep and their South American alpaca friends, enjoying retirement by gorging on the seasonal feast in fields of clover, flax, sunflower, canola, alfalfa, and forbs. The “ovis” calendar strictly counts down the days

1.

2.

3.

1. The resort 5 years into development.

2. 10 years.

3. 15 years.

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of summer as the sheep and alpacas shuffle from pasture to pasture.

The silver lined promenade reveals a glimpse of the welcome terrace and the “mowers” to the east. To the west, there are water pools beside the promenade.

A deviation from the immediate context, the restrained water is scrubbed and slowly released to make its way to the Assiniboine River. A pair of extending flood control walls are integrated into the savannah preventing extensive outflow into the landscape. Used only by roaming cattle and the adventurous visitor, the majority of the savannah is left to simultaneously grow and deteriorate as the road network slowly dissolves into the golden grasslands. Minimal insertions into the savannah, in the form of strict linear crosshair plantings of white pine, jack pine, and balsam fir bring new life and structure to the memory of the mile grid. Formations of slightly raised land and dense clusters of trees provide shelter for the cattle and vistas from which to view the savannah. Isolated from the surrounding landscape, the site provides new purpose and opportunities for the retired farm animals, water and garbage.

D. A. B. C.

A. Savannah.

B. Circulation Networks.

C. Pasture.

D. Terraces.

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SCOTT IRVINE Project Big: Photojournal His halcyon days: “It turns out they’re all in my dreams.”

I had to find somewhere to begin, this seemed logical enough: is carrying a camera around every day to take a picture of my life, my routine, really my routine? How long before photographing my life, my routine, becomes my life, my routine?

The day after the exercise ended, I found myself taking photographs of my routine. The day after that, I was still taking photographs. That is when it became a part of my life, my routine.

But is photography really capturing my routine? From 1/1000th of a second to 180 seconds, these amounts of time still represent a very small fraction of my day.

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Many photographs are of unusual, or unique things and situations that I have stumbled upon or into, or have made happen. They are the anomalies of my routine or the unusual beauty in the mundane. If I am documenting the anomalies, the things that will never be quite the same again, is that really my routine? Is the tiny fraction of time imprinted in my camera really my day?

How can a documentary of my routine feature unique, anomalous imagery? Is that no longer my routine? But maybe it is. What I remember about my days are those anomalies, those unique situations — the experience of that anomaly —of knowing why that day was different. Of smiling because I noticed

something I have never noticed. Or because I saw something I see every day that is still beautiful. So my routine is about that anomaly. My routine is always an anomaly. Capturing that anomaly is an anomaly in itself.

Pausing, retracing my steps; noticing the weather, the sun, the shadows; getting in the way of others; making others notice what I am noticing; hearing the shutter snap open and then snap shut; carefully contemplating; reflecting on the moment of capture, of imprint; and then carefully contemplating again. This act of careful contemplation is crucial to me. Noticing that I notice this anomaly and thinking about how my day seems

brighter because of it. Laughing as I come back inside after far too long in the cold trying to capture the beauty of an anomaly. Spending far too long outside on nice days hoping to find yet another anomaly, to feel even happier.

Wandering around my haunts with new eyes, seeing everything that is different and everything that is the same.

Wondering how to capture minutes or hours or an entire day with my camera.

Wondering if it is important at all.

Thinking that these anomalies make my routine seem much more interesting than it actually is: glamourized,like it is a lie; maybe it is; maybe it is not.

Thinking about all these things after

the anomaly, after the photojournal.

Feeling like contemplating these anomalies makes me even happier than the anomalies themselves. The contemplation makes me feel as though looking for anomalies, and realizing that my life, my routine, are the anomalies was the important part â&#x20AC;&#x201D;the part I could not see until I could see myself seeing my life, my routine. I had to doubt the validity of the entire exercise.

I had to doubt that my routine was interesting, or even different. But that careful contemplation of this work is special in itself, and reveals more than those simple happinesses, those simple anomalies do. Eudaimonia.

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TAMARA URBEN-IMBEAULT Demonstration Parking Lot (U Lot) SMART Park Arboretum Ingredients of her day: (+/-sleep) + coffee + design + Tumblr + walking + public transit + coffee + Mac + Earl Grey tea + downtown + classic rock + friends = happy.

This is a demonstration of how we, as a city, that are more than just car parks, but people parks as well. These lots need to be designed with a sensitivity to pollution and storm water management.

differentiation in shape and bark colour; general hardiness and tolerance for urban pollution; preference was given to shrubs under one meter in height because they do not hinder visibility.

Through the use of hearty plants, tolerant to salt and pollution, a bioswale storm water management system has been designed for the University of Manitoba’s U lot, with an accompanying pedestrian friendly pathway, connecting it to SMART Park to the west and Frank Kennedy Centre to the east.

The visitor center will now share it’s entrance with a crowd of ornamental shrubs organized in shelf-like tiers of varieties all sloping up towards the centre. The effect will be similar to that of an amphitheater, with the building as the stage, and the various shrubs as individuals in the audience. The garden will transition into an allée of elms to the north, connecting the avenue of the elms and the ornamental shrub garden directly.

The parking zones are differentiated by coloured varieties of vegetation.

Various ornamental shrubs are used for: their brilliant foliage in summer; winter

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A. Bioswale corridor.

B. Red parking zone.

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C. Silvery parking zone.

D. Yellow parking zone.

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2. A plan view of the Demonstration Parking Lot.

E. Green parking zone.

F. Main pedestrian entrance.

G. Ornamental shrub garden.

H. Visitor’s center.

I. Smart Park entrance.

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3. Walking through the bioswale corridor during fall.

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4. Finding a parking spot during the winter.

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5. The terraced plantings leading up to the Welcome Center.

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LEAH M. RAMPTON MARIE E. LEVESQUE If a Tree Falls...

Lest We Forget

Fulfilling the needs of a memorial park and serving as a transitional space between the Manitoba Legislature and Portage Avenueâ&#x20AC;&#x2122;s concrete condition led to the design of an urban forest. Five forest typologies have been developed in the park, each with its own identity.

lights in the branches above. Open lawns frame the forest at each end, creating a space for congregation.

Anchoring the edge of the lawn extending from the central plaza is where the Airman in Training Memorial is placed.

An orchard of ornamental crabapple trees, densely planted in grid-form, frames the Archives Building and the central plaza. Planters shift in orientation and size, gradualy rising to seating height as the canopy above transitions from white to deep pink.

From within the forest emerges a body of water, framed by the walkways which join into the central plaza. Passing over the water the pathway breaks and disappears as it sinks just barely below the surface of the water.

A grove of native prairie grass emerges from behind the orchard, appearing as subtle waves hidden among the trees.

Under-lit by pot lights, the grasses gradually trickle out from the centre of each grove as they reach the paths, creating pockets of openings through the space. The undulation of grass is determined by the size of the circular openings in the paving.

A dense forest is created by whimsical, multi-stemmed, paper birch placed in raised mounds illuminated by sparkling

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Dr. Karen Wilson Baptist

A double row of maple trees frame the grand walkway along the realigned north-south axis of former Memorial Boulevard. The grand walkway, which leads from York Street to the cenotaph, will showcase a brilliant display of red foliage in fall.

Select existing American Elms have been retained on the site to allow for the existing condition located east of the allee beside the historic Powerhouse Building to trickle out onto the rest of the site, and create a buffer between the open lawn and Broadway Avenue.

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1. Allee of maples and cenotaph plaza.

2. Pathway leading to York Avenue.

3. Water walk and central plaza punctuated by airman in training memorial.

4. Section Vaughan Street and York Avenue facing south; maple allee and orchard.

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5. Plan of the memorial park.

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MARIE E. LEVESQUE Emergent Future/Emergent Landform Emergent Futures Ingredients of her day: oxygen + sunlight + water + large quantities of coffee.

My process began with the concept of time and the possibilities of combining scientific and artistic elements within design. As a student of science now being encouraged to think artistically, I find difficulty in releasing the constraints and controls imposed by scientific thought, but in the end I have realized that science may be artistic and art may be scientific. The beauty and science of nature exists in unrecognized geometry, symmetry, and complexity. But what is nature? My thoughts were then directed to the concept of nature and human existence: did the concept of nature precede human existence?

In analyzing the geometry and complexity of Toronto, two forms emerged: first, the constrained and controlled road system; second, the sinuous, ‘organic’ form of the Don River watershed and ravine system; combined art and science.

Dendritic forms exist in many places in nature: tree growth (both above and below), human cardio-pulmonary system, and river and stream morphology. The dendritic form of the Don River watershed (ravine system) terminates at the mouth of the Don River in a linear,

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1. A digital mapping exercise completed using GIS shows elevations of terrain and bathymetry.

A striking landform emerges from the map: the dendritic form of the Don River and creek system as it meets the human-influenced Keating Channel to the south; the two act in contradiction to each other.

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human-modified channel. This abrupt change marks a shift in land and human harmony, and dictated the need for further modification. Removal of the Port Lands would allow for natural river drainage and sediment deposition at the mouth of the Don River. Putting an end to the annual dredging of 45,000 m3 of sediment would give rise to the evolution of a river delta resulting in a natural wetland — created by humans.

Aggregate removed from the Port Lands would be distributed to the west, promoting further sedimentation and potential development of future wetland conditions.

The emergent future of Toronto’s new wetlands would serve as a filter for the city through the removal of contaminants in the Don River watershed drainage system. The potential for remediating the shoreline and surrounding water quality would encourage increased aquatic and terrestrial species in the area. This development would provide an emergent future for aqua culture and agriculture — a future for education and for play.

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2. Simplified analyses of the sediment deposition and transport processes intended to an create emergent landform of river delta and marshland. This image shows how sedimentation would accumulate depending on the current direction and the distribution of aggregate removed from the Don Lands.

3. Layering the road network system, topography, and vector analysis of strong topographic features, specifically the Don River and watershed ravine system, further emphasize the emerging dendritic forms.

5. Recreation is one of many possibilities for human interaction in the newly encouraged wetland and delta formation.

4. Sustainable aquaculture in the new site.

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DIETMAR STRAUB

Dietmar Straub is an Assistant Professor in the Landscape Architecture department. Despite what he calls his “poor English” he is able to communicate eloquent and poetic ideas to his students. He is animated in his teaching and very knowledgeable about the professional practice of Landscape Architecture. He and his partner Anna Thurmayr bring a European perspective to studio life.

Give us a two-minute autobiography of the important details of your life.

I am Swabian, from a region in southwest Germany. My mom knew how to cultivate a garden. There was always delicious food on the table. But I think we didn’t really recognize her fantastic work and her knowledge. It was self-evident.

Kids can be so ungrateful. And flowers – they always got in my way when I was playing soccer.

The search for the relationship between mud and design directed me to University. And by this opportunity I became acquainted with Anna Thurmayr. After years of learning and laughing I finally got my degree as Dipl. Ing. Univ. from the Munich Technical University in Weihenstephan. That was the German equivalent of master in Landscape Architecture at that time. I worked in offices as lead designer and project manager. I was in charge for a war graveyard in Russia and for a sewage treatment plant in the Ruhr area in Germany, an IBA Emscher project for the rehabilitation of the postindustrial landscape. I felt like being back to square one - mud and design. At that time I got my first job at the university as a senior lecturer at the University of Kassel. Then I got a position as Wissenschaftlicher Angestellter (equivalent Assistant Professor) at the Munich Technical University. And adjacent to this I participated in design competitions and run my own firm collaborating with Anna. An important moment in my career was when in 2005/2006 Straub Thurmayr Landscape Architects and Urban Designers succeeded in the Landscape and urban design competition for Chenshan Botanical Garden Shanghai, China. The 206 ha Garden was part of the Expo 2010 in Shanghai. The project was elaborated in an interdisciplnary team: Auer + Weber + Assoziierte Dipl. Ing. Architekten, Straub + Thurmayr Landschaftsarchitekten, Valentien + Valentien Landschaftsarchitekten What is like working so closely with Anna?

It’s a pleasure and it’s a horror. (laughs).

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Sometimes it’s hard to separate. I’m the guy who can’t separate private and professional life. Anna is much better in that; maybe it’s a female thing or a male thing. But, altogether, I can’t imagine a better partner. When you have worked together for over 20 years there is a trust. You don’t need long discussions.

When I am doing a sketch or a drawing she can look at it and say, “That’s not what we should be imagining.” That can be disappointing, but I know to rethink what I am doing again. I think we are able to work together in a really efficient way, but this involves lot of fights about the best way to get the cherries on the cake.

What initially brought you to Winnipeg?

Again it was one of these unanticipated hazards that come to pass in life. I was principal partner of a firm, I have given up my University teaching position, and I had become an expectant dad, which can make you nervous. “Can we run a firm? I love design, but we’re not really good at making money out of this design.”

Anna found this job description for Winnipeg, I read the brief and it was pretty much what I like to do and I feel able to do and what I have a passion for.

“Let me apply!” In the beginning it was a bit like a joke, “Let’s go to Winnipeg!”

I didn’t even exactly know where Winnipeg was located.

What is your approach to teaching?

There will always be conflicting urges between the imagination that we try to bring under control, and the discipline that we strive to set free. Yet a productive balance can often be found between the spontaneous innocence that helps us embark on a project with almost naive optimism and the healthy scepticism that tempers any excesses.

I often feel at a loss when people ask me about teaching the “methods” of creative design. Is method to be found through acquired knowledge and experience without the need to seek any further? Or is that rather the first sign of

a designer’s early work solidifying into a fixed pattern? The problem is that, to me, the word method always conjures up a kind of mechanical, procedural routine, such as that involved in drawing up a cost calculation. Obviously, I do use some methods in both design itself and in the teaching of design, but these should ideally be used exclusively as a means of focussing thoughts and facilitating decisions between broad ranges of options.

The primary method on my list as a designers or design coaches should be that of deliberately fostering uncertainty. That is something that I can always teach and learn, namely the simple fact that doubt provokes us into seeking further.

How does the practice of design differ in Europe from North America?

I observe a celebration of star architects and their iconographic work here and I miss the commitment to progressive social work here and there.

Some architects have a tendency to point out the importance of landscape architecture. They want to be nice. But somehow it sounds like charity. That’s not what we need. We know about our strength and we prefer to work with partners on eye height.

From a landscape architects view I have to say: landscape architecture as a serious profession is much more recognized in Europe. A key for this acceptance is to do a good job. Competitions for everyday assignments are common in Europe and collaborative teamwork is required right from the beginning on.

Landscape architecture is a vital part of this Baukultur (building culture).

Competitions are provoking innovations and critical thinking but also a dialogue through design with the public.

The opportunity to make landscape design accessible to a general public by realization consists of awakening ethical and aesthetic interest in human nature.

Hardly surprising, then, that the modern aesthetic dimension that landscape represents has always been a medium for ideological and economic projec-

tions. Today the landscape architect is assigned the task of reviewing the ecological consequences as part of a holistic approach.

What happened with the crocuses on campus here?

The intension was to create an eyecatching landscape by setting the stage for 20 000 flowers to appear in the spring. This project involved many different actors on our campus: students, teachers, children and their teachers from the campus daycare, administrators, staff from physical plants…

The simple resources proposed for this concept produced an impressive sight that stir people’s imagination and draw them back again and again. The transformation of the chosen site in front of the Arch 2 building therefore goes beyond merely decorative intentions - it converts the space into a spatial and seasonal stimulus aimed at revitalizing everyday life in this segment of the campus lawn. After an extended voyage 20 000 fairies got their passports and arrived on campus (bulbs of Crocus tommasinianus - Elfenkrokus = german word that means: fairy crocus).

Their leaves have been everywhere but their blossoms appeared in patches.

I guess these fairies have never seen snow on a May 1st before. All of them are still on the site. If the squirrels or deer or rabbits don’t find them, we will see them next year.

What book should every design student read?

There’s a little one I would recommend to all of our students, but I’m not sure if it’s available in English. Das Notizbuch vom Kiefernwald La Mounine by Francis Ponge. In Notizbuch (“diary of a pinetree forest”) the author tempt to explore a pine tree forest at a certain place at a particular time by using poetic means or even to conquer the object with a poem.

In La Mounine he is doing the same with the sky of the Provence. Every time when I try to explain the atmosphere of a pine tree forest I go back to quotes from this book.

TAMARA URBEN-IMBEAULT Winnipeg Inland Port Beyond the Terminal Her halcyon days: “The day after a big review, after sleeping forever, waking up and quietly having a nice breakfast.”

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1. The office park will occupy the entire west side of the site and will be combined with the trucking industry in the middle of the site.

It will host a variety of businesses from industry related offices to light industrial uses.

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The following project is an example of how landscape ecology principles can help inform the way a development is organized. I was able to combine many of the economic aspects of site selection, together with the ecological principles of patches and corridors.

This port will build greater landscape connectivity and increase species flow

2. An Aspen forest will run around the entire west side of the port.

Through the addition of a series of patches and corridors around the port development, the regional matrix will be enriched, and will provide a missing habitat link between Little Mountain Park and Assiniboine Forest.

Landscape Architecture, Graduate Studies

3. The shipping yard will be accessible to each of the rail companies that operate in Winnipeg.

It can hold up to 9,600 containers at one time and can accommodate 16 trains with 150 cars each. At maximum capacity, there could be up to 12,000 containers or 810,000 cubic meters of cargo in the yard.

Dr. Richard Perron

around the airport, by introducing native plant species around the western side. It is through this type of integration that we can help mitigate negative urban effects such as: the urban heat island phenomena; pollution; storm water runoff; and reduce heating and cooling costs. The potential for this new development’s support of a

4. The roof gardens will provide a recreational destination for the surrounding neighbourhoods, as well as views of the port itself. Once realized, the port will become one of the first examples of pairing industrial use, urban planning, and architecture with landscape architecture.

5. Located on airport land, this area will be where cargo is transferred from plane to truck. This zone can accommodate a maximum of 18 Boeing 757-200s or 15 Airbus A300-600s, both of which are commonly used by large international freight companies.

recreational program is strengthened by this approach. A destination created through the marriage of the port and recreational programs will make the industrial port condition not only the first of its kind to adhere to landscape ecological principles, but also a first class destination for residents around the city and the world.

6. The trucking industry will occupy the largest area of the intermodal port. Sturgeon Road will be re-interpreted as a cut through the landscape, lowering the truck traffic to minimize the sound pollution that will radiate into the neighbouring office buildings.

Office and light industrial sector.

Trucking sector.

Rail industry sector.

Aero industry sector.

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SHAWN STANKEWICH Concrete Poetry Barkman Concrete Design Competition “I usually need a pretty strong dose of focus to get much done, and unfortunately for my health and wellbeing, that tends to come late at night after everyone else has called it quits. It’s pretty hard to find solitude in the world of instant messages, e-mails, and constant electronic connection.”

Circular traffic calming devices are Winnipeg’s newest streetscape challenge. Installed throughout many areas of the city where four-way stops once resided, these objects are intended to slow traffic and create safer environments for residents. The quick ‘engineered’ solutions currently in use are public eyesores, and offer little in the way of aesthetic service to the communities in which they are placed.

Furthermore, with intersections, it can be difficult to see street signs from a distance.

Concrete Poetry is a precast concrete solution for the neighbourhood eyesore. By tackling the problem of the unappealing appearance of the current circles and the issue of difficult-to-

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1. A view of the Concrete Poetry traffic circles in use.

2. A section view of the precast concrete letters.

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read signage, Concrete Poetry aims to serve as a legible traffic calming and wayfinding device; beautifying neighbourhoods with its uniquely sculptural form, and associated planting.

The main concept behind Concrete Poetry is to make the streets that intersect easily identifiable through the use of large precast concrete characters.

These letters, signifying the first letter of the intersecting street names, are stacked to create a sculpture within the traffic circle. Surrounding the sculptures within the circle, a large planting bed is designed to hold a variety of prairie grass species. Each of the species is tolerant of fluctuating moisture levels.

SHAWN STANKEWICH Waterway: Playing with Water in Downtown Halifax Halifax “Halcyon days are days spent on the land. Days spent away from it all. Days where the world still seems peaceful in its wild state.”

Waterway was the result of an extensive study of the peninsula region of Halifax, Nova Scotia. A thorough inventory and analysis of the natural and cultural components of the city led to the development of a regional open space strategy that would help to manage storm water runoff, connect various areas of the city, and create new opportunities for public space within the downtown core.

met the citizens’ needs. By eliminating large tower elements from the original plan and employing exterior space and circulation routes as driving factors in the design of the building, a new framework was established. A plaza was proposed for the Prince Street entrance to the centre. In order to create an accessible area on the street, a grand staircase was designed to negotiate the steep slopes of the street.

A steep section of Prince Street was targeted for this development which included a new downtown convention center. However, it was noted from local publications that many citizens were opposed to the existing design of the building. A new proposal for the center was devised which better

The plaza is activated by Halifax’s many rain events throughout the tourist season, and transforms into a place for storm water to collect and then slowly run off. The staircase is graded to allow cascading water effects while ensuring safe egress for visitors. The ground plane of the plaza is termed ‘the

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Dr. Alan Tate

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slate riverbedâ&#x20AC;&#x2122; and is intended to fill as water drains from the street. A large wooden deck provides seating above this riverbed, and houses a bosque of moisture-loving Betula papyrifera trees. The design is intended to be an active, playful, and accessible public space to connect many of Halifaxâ&#x20AC;&#x2122;s most important downtown attractions, while providing sound storm water management.

Examining connections within the site and throughout the downtown, led to the construction of formal gestures to enliven the streets and provide opportunities for pause within the existing fabric of the city.

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The goals of the project were the following: enhance entry points to surrounding businesses and streetscapes; strengthen circulation by supplying supplementary routes through the site; allow space for rest; design additional public gathering space to foster a dialogue between tourists and residents; frame views along George and Prince Streets; offer new vistas from the rooftop plaza; provide opportunities for storm water retention and reduce direct flow into the harbour; and increase ecological services in the area by planting native vegetation and holding water.

Dr. Alan Tate

1. Convention center building form.

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2. A view of the convention center in the wider context of downtown Halifax.

3. Plan view of residual water bodies on the plaza after light precipitation.

4. Plan view of residual water bodies on the plaza after heavy precipitation.

5. Plan view of pedestian circulation through the plaza.

6. Perspective of the plaza depicting the animated interplay of storm water runoff and the space creating a enlivened and changing condition for the public space.

7. A section of the plaza.

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DR. MARCELLA EATON

Dr. Marcella Eaton is the Associate Dean (Academic), the Environmental Design Program Chair, and an Associate Professor of the Department of Landscape Architecture. She is ruthlessly devoted to her students.

She pushes them beyond what they know to be possible, and at the last minute drags them back from the brink of insanity. Her advice to all students is to eat, sleep, and occasionally have a few drinks. She helps everyone see how beautiful the day really is.

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Photo Credit: Dr. Marcella Eaton, Editor: Scott Irvine

We can start off with a brief autobiography of some important details of your life so far. Educational and Professional background and where you grew up.

I grew up in Northern Ontario, in Longlac, then in Terrace Bay on the North shore of Lake Superior. I think that’s pretty important. I worked in the mill, it’s all pulp and paper and forestry there, for six, seven years maybe. Working in an engineering department with a huge mill that you have to go and work in, had a huge impact on my thinking about work.

First, I did Architectural Technology in Northern Ontario at Timmins. I did that for a year, and my teachers thought I should go to University, so I asked them where they went, and they said University of Manitoba, (smiles), so I applied and came here.

When I graduated (from E.S.) I worked for the Faculty of Architecture Research Laboratory, on a big Canadian and American governmental research contract with the Department of Energy in the States, and I forget what office in Canada. We were working on a research project here with the University of Washington in Seattle. The project moved from here to Seattle, so I moved to Seattle and lived there for a year and worked at the University of Washington.

I also, at that time, went to University of California, Berkeley to the Lawrence Berkeley Laboratory as a part of their work, and also to London, England. And then I went and worked in the mill at home again, and they tried to convince me to go into engineering.

I came back here [to the University of Manitoba] to do Landscape Architecture and worked for North Portage Development Corporation while I was going to school. I then moved to Toronto, got a job at a golf course design firm, and I lived there for six years. When I was there, I got a phone call asking me if I wanted to enroll in a PhD program in Edinburgh. They knew of me because of the research I had done at the U of M and in Seattle, I was offered a partnership if I didn’t go, and I thought, “if I stay here,

I’ll be here forever” ... and so I went. I had to teach as part of the agreement, and I was scared to do that, but, it was fine. I completed my PhD and applied for a job at University of Manitoba, and came here.

What draws you to teaching?

I had a really good teacher when I was a student here. Carl Nelson, one of the founders of the ED program, he was really passionate about teaching, and learning, and design. My short answer is that Carl Nelson inspired me to teach; he was such an exceptional educator.

Do you think you model your approach to teaching after him [Carl Nelson]?

Yes, I think I probably do. I think teaching is just about helping students to have confidence about what they are doing, to challenge and support them.

Where do you find your enthusiasm from, and how do you maintain it?

One of my sisters was dying of cancer and she had a perspective on life, that all of us who know someone who has been struck by such a horrible disease probably understand. She showed more enthusiasm for living than I often feel that I did, and she taught me such a huge lesson - of course it all sounds corny. She would say, “you really just have to take things one day at a time.”

She died in May, and I told my family that it was a disservice to her, and I think to the next person who was next in that same hospital bed and who probably died a week after she did, to go around the world, and this place, moaning and complaining about everything, when we are so lucky. I’ve been hospitalized with back problems unable to walk, and I know we take everything for granted. We take walking for granted, we take reading for granted, we often take it all for granted. Again, it all sounds corny, but because of my sister Debbie, I have to try and be more enthusiastic, and maybe it isn’t enthusiasm, but it’s reminding yourself every day how beautiful the world is. I know I don’t

do it well every day, but generally that’s what I try to do. That’s a long answer, but that’s what it is.

What do you do with your free time?

I don’t have any free time! I garden. I meet with friends. In my free time I drive to Northern Ontario to see my family.

Or I go to our barn in Herefordshire, England.

What brought you to Winnipeg?

I honestly and truly believe that Environmental Design program is important, and special, and unique. I think it’s better here than anywhere else. I can’t imagine teaching at a school that just teaches Landscape Architecture, or just teaches Architecture, or just teaches Interior Design, or just teaches City Planning. To me they are all so connected.

How do you describe what you do to someone outside the design world?

Someone who doesn’t understand the validity of a design profession.

I usually just point out to them that everything around them is designed. As soon as you help people see that, they quickly see and understand what the design of the exterior environment is about, and why it is important.

Where do you think the balance between digital and analogue is in teaching, thinking, and practice?

I think it has to be a mix. I think that we need to teach students how to draw, how to communicate and express their ideas, but they need to be introduced to digital representation quite early because it has to come in as two skills running in parallel. One is never more important than the other; I think that most practitioners want people with both skills.

What do we lose if we move to a style of teaching that only focuses on getting you skills to get a job?

We are not a technical college. That is not the role of a University. We cannot do that, that is not what we are here for. We are not a technical vocational

school. We are a University, and the role of a University is very different than those schools; we are teaching people to be critical thinkers, designers in the world, and the world has many, many problems. If we just teach people skills to respond to situations, we will never address important issues in the world.

We are teaching people to think as designers, to act as designers, to change the world in a better way. We have a responsibility to do that.

(Noting that music has been playing throughout the interview) Do any songs or artists inspire your work?

Everything. I can’t live without music. Its always, always on.

These next questions are specific questions for you submitted by students.

Uhoh.

Someone asked, what is your favourite tree?

I’ve got three. Black Spruce, the mighty Beech tree, and the London Plane tree. I didn’t say Maple, that’s terrible isn’t it? I think Black Spruce is far more Canadian than the Maple.

Many students and residents in the community outside the faculty see Architecture as a vast and mysterious process that eventually produces results. How can we, as students, shed light on what we do and reach out to the rest of the city?

Show them the results more often.

Though creativity can be a mysterious process, I think its a studied critical movement of decision making and imagination, beauty and vision.

Another student submitted question, does time exist?

Haha! Oh no! I know who submitted that one! Does time exist? No. Time is just a human construct. So I guess it exists as a human construct.

CHELSEA SYNYCHYCH Rock vs. Dock Halifax Ingredients of her day: breakfast in bed with Canada AM, black tea, the Free Press crossword (almost every morning), + happy music + family + friends + reading + vampire shows (yep) + wine/beer/rye (not every evening) + relax + fabulous sleep.

The project is intended to provide awareness of Nova Scotiaâ&#x20AC;&#x2122;s intertidal environment, including aquatic and terrestrial species, through a pedestrian space situated at the heart of the Halifax Waterfront. The design is located between existing docks to maintain dock function and views outward, while creating an intimate space between the docks that focuses inward on the intertidal environment. The drainage of the site is designed to reduce nitrogen loading from terrestrial runoff in the Halifax Harbour.

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1. Focus of the project, the inner Halifax harbour.

2. Flooding extent for a highly plausible (10 year high-water) event in downtown Halifax.

3. Representation of a 50 year high-water event.

4. Representation of a 50 year extreme water level .

5. Downtown Halifax, the shoreline area of concentration.

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The Halifax Harbour experiences 2.1 metres in tidal differentiation, with two low tide and two high tide periods every 24 hours. This motion is emphasized through the design by bringing the Halifax Harbour water 70 metres into the site on a gradual 3% slope. This allows visitors to experience the tide shift 11.66 metres every hour on a horizontal scale, rather than 2.1 metres every 6 hours on a vertical scale, as is current. A concrete walkway embeded with mussel shells is intended to draw visitorsâ&#x20AC;&#x2122; attention to the structure of a mussel on land

to encourage exploration of the species in the aquatic intertidal environment.

Stepping stones are positioned at elevations that indicate the break between low, mid, and high tides, acting as subtle reference points to the observer.

The white granite intertidal floor serves as a contrasting backdrop to the colours of the aquatic species; generally red, green, and black in colour, to allow visitors to see the species more clearly when viewing the water from the bridge or pathways. Smooth black granite boulders edge the intertidal environ-

ment to function as habitat for species that prefer the high intertidal range; such as white periwinkles and barnacles. The species that accumulate on these rocks also behave as a vertical water level datum; their presence indicates the height of the water. Rough black granite boulders line the centre of the intertidal area marking the horizontal shift of the tide. The rocks are placed in such a way that they retain and trap water in their crevasses as the tide recedes, creating temporary tidal pools.

Terrestrial vegetated plantings include native Acadian Forest species that shade the upper littoral zone to reduce bleaching of vegetative aquatic species. Fireweed is allowed to spread to other areas of the site through wind seed dispersal.

Broom crowberry is located nearest to the water. Red maple, fireweed, and broom crowberry turn bright red in the fall, resulting in an all red display on site during fall months.

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6. Low water level.

7. Mean water level.

8. High water level.

9. Exploration of the mussel shell concrete walkway. Oil lubricant, dark tint, crushed shells on top with sugar water.

10. Oil lubricant, red tint, medium crushed shells secured in resin at base of form prior to pouring.

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DANIEL DUFAULT DAVID KURY JASON HARE SHAWN STANKEWICH Coast to Coast Cross Disciplinary Research Studio

This project is the collaborative effort of four graduate students within the Faculty of Architecture, studying together since entering the undergraduate Environmental Design program in 2006. In the summer of 2010, along with our advisor, Dr. Marcella Eaton, we developed a course of study to explore the Canadian landscape and its implications for design at a variety of scales.

As individuals, we have shared a strong interest in cross-disciplinary design work; and in ways of holding ties to those disciplines that are inherently linked to our own during a time of increasing complexity and professional specificity. Cross-pollination of ideas and attitudes between design disciplines is the action that has ultimately led to the creation of this project and the intent for which it stands.

On June 1st, 2010 we set out to see Canada. With little more than a rigorous touring schedule that would take us through all ten Canadian provinces over a seven-week span, we hopped inside our 2007 Ford Escape and hoped for

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the best. As an effort to understand the Canadian landscape, the endeavor was developed into an intersession design studio. Several important questions emerged: What makes Canada unique? What gives our great country its identity? What do we miss as we traverse our many highways?

It was decided that with one pass of the country we would avoid defaulting to the Transcanada Highway and take the road less traveled. Along this 13,000+ km journey, we would stop 100 times, or roughly every 100 km to observe the surrounding landscape. Concerned with what regional differences exist and what consistent elements tie the country together, individual explorations were tailored toward the end goal of presenting a matrix of information in the form of an accessible gallery that contains a glimpse of the diversity that surrounded us within the confines of a single room.

Following the travel and handson investigative work, the focus shifted to analyzing the data. Many sketchbooks had been filled with

drawings and writings while on location.

Resultant design work ranged from mapping the landscape and cities to interventions dealing with travel and tourism. Thoughts on the design of our environments found their way into discussions and written observations. A basis for further investigation, the trip acted as a springboard for other ideas related to design theses.

Often overwhelming, the amount of travel proved one hypothesis to be true: Canada is as vast as it is varied. While only a small percentage of the landmass of the country was explored, most of the population dwells along the narrow transect that was traversed from coast to coast. The exhibition brings forward that feeling of overwhelming imagery and attempts to distill it into an orderly layout that communicates the essence of each unique place.

The final exhibition is the result of an interdisciplinary study in search of what is â&#x20AC;&#x153;Canadian,â&#x20AC;? and what unifies the country. The exhibition was a rigorous study of urban and rural environments examining how attitudes towards

displays of design may be influenced regionally and nationally. The displayed work is a compilation of information gathered and from St. Johnâ&#x20AC;&#x2122;s Newfoundland across the Canadian highway landscape to Tofino British Columbia. It consists of images, water samples, soil samples, and road texture taken every 100 kilometers along our route. This pulls together a bank of visual/textile information not previously available in a simultaneous condition.

The layout of this gathered media creates a two-dimensional matrix, breaking the information down into its constituent details, isolated from their surroundings. The display can be read both vertically, to see how each piece adds to the complete experience of each stop, as well as horizontally, to compare the components against each other between the 100 stops. The intention behind this is not to draw any logistical conclusions about what we have gathered, but rather to display it in a manner we find appropriate from our experience and newly gained insight. This allows the individual observer to interpret our experience in their own manner.

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1. Final gallery exhibition.

2. Soil and water samples were collected. Water often appeared ‘pure’ when captured. As time passed anaerobic bacteria changed the visual nature of the water. What was insignificant and invisible became it’s defining feature.

Each 1.5 inch cube of soil demonstrates it’s innate ability to hold form in the absence of moisture while the soil is effectively in a dormant state. The soil was placed within a mold and the mold removed, allowing the soil to slump or cling to itself according to its composition.

3. At each roadside stop a sample of vegetation was collected and later pressed in a plant press to retain the original colour and to avoid rotting. The samples were displayed to reveal the gradient of plant material experienced along the roadside and to display the individuality of particular places.

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Photo credit: Keegan Kent

KELLIE D. WITZKE Liveliness & Quietude Corner Construction: Intimate Spaces Ingredients of her day: drag myself out of bed for first pot of coffee + play with cats + eat breakfast + work on studio + complain about working on studio + drink second pot of coffee + work on more studio + go home and stay up way too late watching tv + sleep for a few hours + get up and do it all over again.

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The emphasis on the repetition of line gives the corner space a vital energy for the author to sit/recline and write.

The animation and pattern of the lines and windows inspire a motion meant to help stir up the author’s imagination and creativity, while the enveloping nature of the chair balance the liveliness with a serene sense of warmth and quietude.

1. Final model of the corner space examining lighting effects.

2. A rendering of the intended use of the space.

3. Final model of the corner space examining different lighting conditions.

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“One is free to move among these different elements and to choose the place where the balance of liveliness and quietude are just right.”

Thermal Delight in Architecture Lisa Heschong

JESSYCA FAN Broken Shelves Corner Construction: Intimate Spaces “Sometimes, I feel like Alice or Dorothy. I’m meeting many wonderful people and creatures along the path I’ve chosen, I know I’m headed somewhere great, but where?”

The installation focuses on the conflicting nature of light and dark, planes and volumes, order and chaos, aesthetics and function.

Disjointed shapes are scattered across the wall appearing unconnected. The shelves are symmetrical to each other and variety in volumes are balanced by the common rhythm of the wood plugs existing on each. Material unity and symmetry link the two shelves, suggesting a relationship.

Light provides revelation; only when light turns on does contrast enter the conversation. An intimate conversation exists between the shelf, the light source, and the corner. A butterfly motif emerges from the shadow created by

the symmetrical shelves. The butterfly symbolizes transformation, metamorphosis, and celebration.

The corner relies on the connection between two flat surfaces to create a volume, thus a space. Through light, volumes can be reverted and transformed back into a planar shape. The cast shadow unifies the chaotic organization of the shelf into a monochromatic silhouette, removing all texture and colour.

The installation also contemplates the balance of aesthetics and function.

As more objects are placed on the shelves, the clarity of the casted shadow diminishes.

1. Exploded axonometric of the shelving unit.

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2. The shelving unit with the revealed shadow pattern created by the corner.

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HEATHER WALLIS Untitled Corner Construction: Intimate Spaces Where her education is taking her: “To a future where I do not live in my parents basement.”

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The chair creates a relationship with the corner. Its form extends itself into the corner allowing for a connection to the wall. Contrast plays a dominant role in the chairs design. The visual and physical mass of the form is in opposition to the void of the corner, while the chair’s multiple lines create a visual texture playing against the strong vertical line

1. Occupation of the chair in the corner.

2. A view of the sculpted interior of the chair.

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that indicates the corner. The quality of the materials used to construct the form, with no hardware used in its assembly, adds to the simplicity of the form. Both the organic shape, and mass of the form, allowed for a void to be carved out of the backside, creating an enclosed, solitary place to rest while facing the corner.

NURGUL NSANBAYEVA Untitled Corner Construction: Intimate Spaces â&#x20AC;&#x153;I can not imagine my day without a cup of coffee, some lovely music, and brief talks with my mom.â&#x20AC;?

The design concept explores the number of planes that can pass through one corner. The corner becomes a supporting and intersecting place of the planes, while the planes separate the corner into several parts of irregular sizes.

My major concern was to create the object that satisfies both functional and conceptual requirements, and can used

after completion. As a fan of geometric proportion, I wanted to have mathematical correlation within different dimensions of the object. The installation is also intended to activate the space through its dynamic geometric form and use of colour.

3. The construction of the shelving unit.

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ALEX ALLEN 35.

Corner Construction: Intimate Spaces Ingredients of her day: large breakfast + some type of studio work (productive or nonproductive) + pole vaulting + 8 hours of sleep (minimum).

The corner is an implied space and form that is defined by a series of planes.

It is a boundary. Boundaries can be physical or implied. Implied boundaries can exist without physical boundaries, physical boundaries can eliminate implied boundaries, however, physical boundaries cannot be eliminated. The understanding that a corner is a boundary can be altered so that the corner becomes a familiar space and no longer an implied boundary, yet it remains a physical boundary.

A small-scale form allows body interaction that creates familiarity within the corner. Familiarity allows the physical boundary of a corner to become intimate. Intimacy has no boundaries.

Repetition and rhythm bring familiar-

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ity to the form while an asymmetrical design forces no boundary implied on the viewer by the symmetry of the physical corner. An unfixed form that relies on the physical boundaries of a corner creates no further implied boundaries visually or intrinsically.

The poetics of a chair are mnemonic.

A chair is a tetrameter poem. Poetry is rhythmic, repetitious and semantic. Free verse poetry is musical. Rhythm is used to convey time, space and implied semantics. Altering the poetics of a chair brings forth form that is dependent on the physical corner; a musical form with semantic rhythm. The rhythm conveys space and time. Time is asymmetrical and unfixed. Space is repetitious. Space and time have no physical boundaries.

1. Occupation of the chair.

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2. Concept model of the chair.

3. The completed chair made out of clear acrylic.

4. Details of the chair.

5. Connection detail.

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RENEE STRUTHERS Such Great Heights Corner Construction: Intimate Spaces Ingredients of her day: coffee + one old fashioned Timbit + a sharpie marker.

In creating a simple, projecting, raised seating structure, the idea of the corner as a place of protection and vantage is achieved. Rectilinear planes extending from the vertical line of the corner dominate the vertically symmetrical composition; showing a direct relationship to the corner in the way the form both projects directly from the corner while receiving support from it. The symmetry and proportional aspects of the composition afford the occupant visual resolution of the form to further enhance the implied sense of certitude.

Plywood and steel provide a sleek yet strong composition. The materials both compliment and juxtapose each other, creating a conversation. The solidity of

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1. A view of the chair revealing how it is accessed at this threequarter view.

2. Concept models for the chair.

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the exposed wooden joints of the frame as well as the steel hardware speaks to the protection and certainty aspect of the design providing obvious verification of strength. Thin, solid planes of wood form a usable surface, while the steel acts as a contrast providing both support and aesthetic function.

The hidden entry is designed to maintain intimacy of the form. The entrance is visually hidden from the front to hide access to all but the occupant. Once behind the structure, the user must scramble up, much like a child in a tree fort and in the end has access to a desirable vantage point and comfortable protected seating area.

JESSYCA FAN Pistachio Flow, Pause Ingredients of her day: a dose of friends to keep me sane + a forbidden factory to call home + a whole basket of laughter to share.

Pistachio is a sophisticated eco-friendly store that offers stationary, green beauty body products, and small gifts. The store is a collection of “this” and “that” centered in products that do not harm the environment. Pistachio is like an attic, offering a world of joy for those who happen to stumble upon something precious, old, or unexpected.

Partition-display walls create two tucked- away spaces within the store.

Dormer windows have been converted into shelving units for displaying products. False stairs provide more themed shelving. An organized clutter is formed using boxes scattered throughout the space clustering in certain sections.

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1. The cashier’s desk.

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3. Elevation of the window wall display.

4. Cashier’s desk.

5. Retail space.

6. Staircase shelving unit.

7. Bathroom.

8. Storage Room.

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Client: The Green Beanery â&#x20AC;&#x201C; To create a retail store for Canadaâ&#x20AC;&#x2122;s largest online retailer of coffee and coffee equipment.

KELLIE D. WITZKE The Green Beanery Flow, Pause Ingredients of her day: drag myself out of bed for first pot of coffee + play with cats + breakfast + studio work + complain about working on studio + think about working on other assignments + second pot of coffee + more studio + stay up way too late watching tv + sleep for a few hours + do it all over again.

The idea for the retail space was to generate a pocket of private space within the public convention. As the customer filters through the space, taking steps into and through the store, their rela-

1. Areas of flow and pause within the store.

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tionship to privacy changes, views of the space are reoriented, and the customer becomes aware that their movement through the space not only changes their perception of the space, but also affects the space itself.

EDELMA MIRANDA Looolo Retail Space Ingredients of her day: FOOD + shower + music + FOOD + laughter with friends in the Forbidden Factory + bbt + FOOD + movies + 5am sleeps = HAPPY ME!!

Looolo Textiles is a company that provides products in 100% organic and biodegradable materials. Upon researching this company further, I realized that the products that they carry are highly recognized by their texture, color and material.

The Northern Lights was a concept that related to the company. The lights hang in the open sky like a curtain as the colors change from warm oranges to cool blues. This provided the overall idea and plan of the Looolo Retail store.

The products are hung on the perforated walls, arranged in a vertical position as well as color coded to mimic the hanging lights.

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The materials for the store design were chosen to create a refreshing feeling, therefore, whites and neutral colors were used, as well as materials such as stone tiles and metal. The atmosphere is meant to be “cool” in contrast to the products being sold (warm). The simplicity of the space allows the brightly textured products to become “alive”. An inviting seating area within the retail space welcomes the customers to sit and experience the comfort and textures of the products.

1. Textured Panel.

2. Paint coated perforated metal, allowing for products to be hung.

3. Stone tile.

4. Metropolitan grey - Benjamin Moore.

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HEATHER WALLIS Stay Inside the Box Ingredients of her day: coffee + eggs + contemplating starting studio + coffee + studio + lunch + contemplating working on studio + cold dinner + studio + break down + tears + sleep due to pure exhaustion.

Standardized prefab metal shipping containers are becoming overwhelmingly popular as a building resource due to their structural stability and availability as a recycled commodity. Their modularity allows for ease of transportation, and endless configuration possibilities.

This project uses twenty shipping containers, with an addition container to house vertical circulation.

Stay, a hostel catering to artists, focuses on light, simplicity, and modernism.

The stark white palette creates a space

of minimal visual stimulus leaving the mind to think and create freely during oneâ&#x20AC;&#x2122;s stay, while helping to visually enlarge the overall space. Visual interest is created throughout the hostel through multiple textures and finishes.

Stay offers a communal lounge, kitchen, laundry room, gallery, studio and rooftop patio. However, unlike hostels most are familiar with, Stay offers its guests private guest-rooms, each with their own ensuite. This allows for the community feel of a hostel, while offering the privacy of a hotel.

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2. Elevator.

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4. Bathroom.

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7. Roof-top patio.

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JESSYCA FAN PopOut Playhouse Stage Inside the Box “As painful and stressful as studio always ends up, I wouldn’t choose to be anywhere else. When I’m old and wrinkly these horrid days in studio will become my halcyon days.”

Pop-Out Playhouse Stage is a transportable stage targeting a 25-50 person audience per performance. Like a Jackin-the-Box, the entertainment hidden inside the shipping container remains concealed until the stage opens up. The troupe travels across Canada during the summer days putting on skits, musicals, and magic performances. Pop-Out opens up in place aboard the back of a semi-trailer. The shipping container’s portability and pre-existing mechanisms are a perfect match for a traveling theatre.

For this stop in Richmond West, a resi-

dential area in lower Winnipeg, a family oriented program will be presented. A parking lot beside a park offers a site that is easily accessible, and offers enough parking lot to accommodate the truck, audience seating, as well as parking. The site is located beside a playground, which allows children to play while watching the show without getting restless. The theatre faces the playground so parents can watch their children as well as the show. Any cars parking will be hidden behind the theatre, which will be less distracting during a show.

1. Bathroom.

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2. Vanity Area / Wing.

3. Storage.

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5. Inner Performance Stage.

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7. Audience Seating.

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EMILEE TAYLOR Page One Youth Library Shipping & Receiving: Inside the Box “My halcyon days include moments of enlightenment and creativity surrounded by good friends, good conversation and laughter.”

PageOne Youth Library is targeted towards young people living in struggling communities by offering them a place to read, study and socialize. It is a safe facility that promotes healthy learning and creativity. The library consists of a mix between young people, library staff, tutors and youth workers building trusting relationships in a supportive en-

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D. Storage.

E. Reading lounge.

F. Central courtyard.

G. Administration office.

H. Staff room.

I. Children’s area.

J. Reception area.

K. Parent’s area.

L. Washroom #1.

M. Washroom #2.

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vironment that meets the specific needs of youth for intellectual, emotional and social development. Youth, particularly those in struggling communities, are in need of a facility that promotes and encourages the well-being of their future.

PageOne offers a modern, trendy and graphic atmosphere that the youth will feel a connection to.

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1. The inspiration for the colour and material choices was Appleâ&#x20AC;&#x2122;s iPod Shuffle. Youth are highly in tune with media and technology, therefore, it is fitting to take inspiration from the bright colors of this technology and use it in an educational setting to attract the demographic to this facility.

2. The facility offers a wide variety of activies, including; book rentals, tutor and homework services, creative writing workshops, book clubs, ages 5-9 storytelling, monthly exhibits and speakers, free Internet access, teen sleep-over night, youth helping youth program, and a computer club.

3. Due to The Pasâ&#x20AC;&#x2122; relatively small size, the library will be easily accessible by car, bike or foot. The site also has the potential for further development, with youth oriented options such as playgrounds, schools, etc.

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KAITLYN JARDINE Perch Shipping & Receiving: Inside the Box â&#x20AC;&#x153;My halcyon days come two days after handing in a project. The day immediately after is too full of worry, but the second day following my mind clears, I breathe and the stress disappears.â&#x20AC;?

The program and context of Perch deals with the properties of steel shipping containers. The space was developed along with a program of what the space had to offer in terms of serving commercial needs and tenancy profile.

The goal was to create a commercial space that would be structured from the containers alone. This would place emphasis on the interior spaces created by the containers including the interior lighting, material selection and human considerations.

Sixty stories up, Perch attaches like a parasite to the existing General Motors Building in New York. Overlooking Cen-

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tral Park this space offers breathtaking views of New York City.

Perch brings the most innovative cuisine by hosting world renowned chefs from around the globe, featuring their most creative masterpieces! Perch will not only attract customers, but will titillate their taste buds leaving them preoccupied with the thoughts of their next dining experience! This unexpected twist allows Perch to become an attraction not only for customers, but for culinary talent alike. Through the uniqueness of the design and the contrast in exciting cuisine, Perch becomes a prototype for other restaurants of its kind.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

A. Elevator core.

D. Female washroom.

E. Walk in fridge/freezer.

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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C. Male washroom.

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KELLIE D. WITZKE Emily Street Children’s Center Shipping & Receiving: Inside the Box “My halcyon days are usually from May 1 (when school is officially over) to August 31 (just before school starts again) and generally include a lot of doing nothing to make up for eight months of stress.”

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My design project is a children’s centre that facilitates both day care and night care with capacity for 20 children during the day and 10 for overnight. The intended clientele for the centre are parents who work odd hours or shift work at the Health Sciences Centre. The children’s centre is located in Winnipeg, on top of the Emily Street Parkade off Notre Dame and just south-west of the hospital. Being on top of the parkade, this location provides extra security, and would be accessible only by restricted elevator service during overnight hours.

The schematic design of the building

1-2. Playful patterns.

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3. Loud playroom.

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focuses on “play” as being the number one inspiration. The colours, décor and materials I chose are visually stimulating to young children. The colour palette should be calming and comforting to the child, while fun patterns of owls, polka dots and trees will stimulate the imagination. The outdoor play ground mimics the concept of the indoor “loud and quiet” play areas. Loud play areas are the jungle gym and wet-play area, while quiet play areas are around the swings, sand box, and grassy area at the west end of the playground.

NURGUL NSANBAYEVA La Bibliothèque: Public Library Shipping & Receiving: Inside the Box Her halcyon days: “When I can do nothing all day long, and don’t feel guilty about it.”

La Bibliothèque is a public library specifically designed for elderly people. The library is located in a lively urban area with a large elderly population. The site allows easy access to major transportation roads; amenities such as dining restaurants and coffee shops; as well as a pleasant view of the river bank.

Located in between two buildings, it

consists of 3 shipping containers and 675 sq. ft. of built area (with total area of 1,496 sq. ft.). The project aimed to design a space which will assist elderly users to engage in reading and socializing within an informal atmosphere.

1. Process model.

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2. Quiet reading zone.

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B. Washroom.

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C. Closet.

D. Circulation desk.

E. Kid’s area.

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DEBORAH ANN SCOTT Give us a two-minute autobiography of the important details of your life so far.

I have lived a lot of places where I have taught in several schools. I am a bit of a nomad. I am from the United States, born and raised in a small town in Iowa.

I have a BFA (Bachelors of Fine Arts) degree in sculpture form the University of Iowa. I pursued a MA (Master of Arts) degree to explore the idea of teaching as a secondary profession. The experience was very positive and I then successfully pursued the terminal MFA degree at Miami University in Oxford, Ohio.

I have taught Art and Design courses including drawing, sculpture, ceramics, metalsmithing, furniture design, 2 and 3-D Design... Schools include Miami University, Iowa Wesleyan College, Iowa State University (where I met my partner in 1996), and the University of Oregon, moving to Manitoba in the summer of 2008.

Deborah Ann Scott is a proffesor in the department of Interior Design.

Her background in Fine Arts and sculpture has lead to her sagely understanding of materiality. Her knowlege of tools allows her to assist students in building their designs.

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What was your childhood like, and did it influence your movement towards design as a career?

As a young person I was torn between studying art and medicine. My father was a physician and my mother was very creative (music teacher). They taught me to love learning by their example and they allowed me to experiment providing me opportunities in our home to “express” myself. I burned our kitchen floor learning how to cast pewter. I wanted to make tiles for my bathroom and they encouraged me to try.

In Interior Design, would you say you teach more of the industrial side of it?

No. I don’t call it that. I am an object maker. My background is in sculpture and in art I find my strongest passion.

I love the idea that everything has a language. Design education is a lot about learning what the languages are and how to incorporate them into your vocabulary. Once you start learning that process, you start making the connections between ideas, materials, tools and people.

What do you teach in Fine Arts?

I teach in the foundations program. It is the perfect place for initiating the dialog between skill building and concept development. I’ve taught Basic Design and Visual Language for the School of Art and this next term I’m teaching figure drawing.

What did you learn from your professors when you were in school?

When I was your age I was very shy.

The fact that I can get up and teach is fairly astounding. I do attribute that to those professors who saw something in me and provided opportunities for me to push myself. I am thankful for the confidence and the problem solving strategies even if I had to teach myself many of the skills I’ve ultimately needed to teach the subjects I teach... for example I had to teach myself to safely use the table saw.

Where would you say the balance in your teaching is between digital and analogue?

That is the biggest challenge for me right now in teaching. One of my teaching goals for the last few years is to transfer from twentieth century technology to whatever we have available now. I believe in the energy of things and processes. I believe that tactic knowledge development is critical in the design process. Computer-aided technology is simply a tool just as the table saw is a tool, or a chisel is a tool. A fun part of making is in trying to decide when a tool is appropriate, and when it is part of the conceptual dialog. There is expressed meaning behind the process you choose. That’s some of what I am trying to integrate into the classroom.

The laser cutter is used 98% of the time to cut out parts — but its potential is much more. It’s also this high-energy beam of light that burns. There’s a metalsmithing artist, Sarah OHana, that uses it with a certain type of metal (titanium) that reacts to heat and changes colours. It’s a twist on what the laser cutter was designed to do, and that is what I’m excited about...

I am learning myself because it is easy to feel like I’m always behind with technology. Many in my generation are playing catch up. Today’s students are much more attuned, and much more comfortable with seeing things virtually.

I will always have a love of the tactile making process. It comes from my longer experience with analog making practices.

What should students expect from their professors?

To me a key ingredient in teaching is found in the dialog between the students and professors. If there is good communication between us then expectations are less problematic.

Expectations can be dangerous things.

The moment we expect something specific from someone and they fail that expectation, we have to figure out what to do with that failure. Open minds, honest effort and a desire to expand our understanding is what you want to expect- the rest, the details come from the differences in us.

What are several ingredients of your daily life?

A good night’s sleep. I like to stay up late and get up late. A great day usually includes making something; with students or in my own studio. Pizza is always a fantastic addition to my day.

When looking at materials so visually heavy where do you get your inspiration to create such soft visual pieces?

I think materials are constantly communicating with you. The processes used also offer a voice. It’s a way of connecting what I am thinking through one thing to another... to another...

Through touching, smelling, looking, testing we find form that supports our ideas. Just because metal and wood can be perceived as hard materials does not mean they have to yield rigid form.

What book would you recommend every design student read?

There’s a science fiction series called

The Tales of Alvin Maker by Orsen Scott Card. Alvin was a blacksmith. His story is based around him growing up and becoming a “maker”. There is always the Unmaker in the shadows, and if Alvin wasn’t making, the Unmaker crept out of the shadows and began crumbling his world. Literally the building would start to degrade around him. So by the simple act of picking up grass and weaving it into a basket; connecting with the materials around him he could keep the Unmaker at bay. It’s a cheesy story, but I love the sentiment. If I’m not making in some way, it can be food, sculpture or kitchen cabinets, I’m being unmade.

NICOLE LESKO Little Dear Ranger Camp Aboriginal Youth Transition Center Ingredients of her day: caffeine + walk of rage + some “relax” time on Facebook + hours on the laptop + lack of sleep.

This is a camp designed to train aboriginal teens in the areas relating to forestry conservation and mentorship which they can use within their own communities to obtain jobs.

The camp reinforces their culture by teaching the teens about their traditions while fostering cultural pride.

The site will house most of the activities that are involved in the training. It is a great location to combine these skills with First Nation traditions. Being surrounded by nature while learning these career-oriented and life skills will help the youths realize that they can excel at work and live in their own

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40'-3"

Within the private spaces the female and male sleeping quarters, bathrooms and showers will be divided for privacy.

The counsellors will have private sleeping quarters and bathrooms adjacent to the youths’ rooms so they can supervise them yet not be in the same room.

63'-11"

44'-11"

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11'

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12.

13.

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44'-7"

54'-10"

2. Second floor plan.

4.

31'-6"

23'-5"

2.

3.

The building will be divided into public and private areas with a central area as the sharing area incorporating First Nations traditions into the design.

26'

1.

3. Mud room.

4. Laundry/storage.

15.

5. Sharing circle.

23'-4"

6. Counsellors’ bedrooms.

7. Female washrooms.

8. Female bedrooms.

16.

10. Male bedrooms.

38'-6" 1'-1"

44'-11" 64'-3"

11. Front entrance.

14. Deck.

5'-2"

50'-4"

13. Classroom.

19.

44'-11"

23'-5"

15. Office.

16. Patio area.

17. Kitchen.

38'-7"

18. Dining area and sunroom.

19. Lounge.

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Jac Comeau

16.

18.

17.

12. Lounge with ceiling open to above.

64'-4"

20'-8"

9. Male washrooms.

communities.

The sprawling building blends well into the natural surroundings. It is oriented so that the front door faces east, which is traditional First Nationâ&#x20AC;&#x2122;s positioning. The facade is made up of natural materials which First Nationâ&#x20AC;&#x2122;s architecture promotes. The building has

many opportunities for great views of the surrounding site including a water view from both the back deck and the large set of windows located on the south side of the building.

their activities on the water.

Within the site there will be a traditional sweat lodge, a fire pit, an outdoor eating area and a dock for the people to use for

21.

20.

22.

20. Male bedrooms.

21. Lower floor lounge.

22. Second floor lounge overlooking the first floor.

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SHEILA YONG In Between Aboriginal Youth Transition Center Ingredients of her day: coffee + Big Bang Theory/ HIMYM + soup + more soup + a run outside (weather permitting).

In Between is located north west of the elements of old and new flirt with that Manitoba Interlake, and is more specififeeling of being in between. The interior cally known as Little Deer, Manitoba. and exterior spaces are purposefully The center explores the concept of being designed to bring youths from the difin between, addressing notions such ferent parts of the interlake community as, work/play, past/present, and now/ together in a positive light. The program future. Different interior elements are promotes enjoyment, while encouragcarefully picked to represent a sense ing a slight competitiveness through of playfullness in the space.

These recreational PRODUCED

BY AN AUTODESK EDUCATIONAL PRODUCT activities.

A7 A8

2'-0"

14'-3"

A8

16'-95 16"

WASHER

DRYER

2'-6"

4'-1018"

2'-418"

6.

Slope concrete floor to shower drain

A5

4'-103 16"

8.

6'-59 16"

8'-0"

8'-1"

6'-118"

DW

13'-1115 16"

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10.

FRIDGE

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

A6 Slope concrete floor to shower drain

13'-27 16"

A5

6'-93 8"

7.

6'-0"

5.

A6

2'-0"

19'-97 8"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

14'-0"

Up

8. Dining area.

9. Living area.

2'-0"

2'-0"

7. Male youth wing.

16'-6"

OPEN TO ABOVE

15'-89 16"

6. Foyer.

2'-0"

5'-105 16"

5. Laundry.

11'-9"

6'-97 8"

3.

2'-0"

4.

3. View of main hallway, including climbing wall.

4. Female youth wing.

10'-93 8"

2'-0"

1. First floor plan.

2. Second floor plan.

2.

7'-013 16"

5'-05 16"

1.

99 16" 1'-6"

10. Kitchen.

11. Staff rooms.

A7

A7

12. Work area.

95'-013 16"

A8

13. Cargo net.

•• ••

2'-118"

16'-11"

7 " 17'-4 16

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT ••

8'-0"

10'-41116"

15.

16.

17.

A7

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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Interior Design, Year Four

Jac Comeau

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

••

2'-8"

2'-03 4" 2'-418"

A6

A5

13.

4'-815 16"

12'-015 16"

14.

••

12.

3'-1"

17. Deck.

11.

A5

14'-93 8"

16. Staff lounge.

A6

3'-4"

14. Staff rooms.

15. Kitchenette.

A8

OPEN TO BELOW

JUSTIN LADIA Get Lost, Little Man Interlake “I think that the path we’ve all chosen does not have a distinct period of tranquility (and it shouldn’t). I think of this experience to be somewhat like riding a unicycle down a steep hill while trying to carry kennels full of rabid animals on both arms – stressful work, but oddly exhilarating. So paradoxically, my happiest and most memorable times were when I had exciting and substantial work to do and when I’m surrounded by people of good humour.”

After exploring a small forested lot in Little Deer, Manitoba, the students of the Interlake studio were tasked to either create a three-dimensional abstraction or a video expressing the inherent qualities of the rural site.

Get Lost, Little Man uses both of the suggested mediums – a fragmented projection screen was made in tandem with a one-minute animation, and both were designed to interact with each other using a technique called projection mapping. The narrative of the animation

dealt with the apparent randomness and verticality of the forested area, the feeling of getting lost, and what is found afterwards.

The projection screen was made of white vertical pieces in varying widths and depths. The “Little Man” in the video was specifically programmed to weave in, out and in-between these vertical members: sometimes appearing in one area of the projection screen, and finding himself appearing on the opposite side just seconds later.

Interior Design, Year Four

Jac Comeau

278

MELISSA VASCONCELOS AMID Interlake â&#x20AC;&#x153;Obtaining my Bachelors Degree in Environmental Design has taught me to be a constant problem solver.

I hope to be able to work with a group of talented, inspiring people where we can use our design experience to change just a little bit of how people experience interior environments.â&#x20AC;?

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Jac Comeau

Our site was located in Little Deer, Manitoba, and the objective was to envision a new typology that would make sense for the site. Since the location was in close proximity to many reserves, in addition to a fire base, and hunting areas I thought that a Junior Forest Ranger Camp would be a good fit. The premise of the camp is to get aboriginal youth involved in conservation awareness as well as giving them the opportunity to experience resource management issues while gaining skills and training.

Throughout the design process I questioned how I could create a sense of overlap between two worlds, inside and outside. One of my initial ideas was to extend the flooring of the main interior space straight onto the deck, so as to visually create a sense of one. I also wanted to express this idea in the main circulation towers. I created glass staircases in which half would overhang onto the outside, creating the sense of being in-between.

DESIREE MCKAY Karl Light and Laser Her halcyon days: glassblowing at my shop at The Forks Market.

2.

This light will liven up space by bringing the energy from the city outside, inside.

A photograph will be laser etched on canvas after which colourfull glass will be incorporated. By integrating a lighting system behind the piece, the energy of the composition will be revealed. The lighting conflict between the absorption of the canvas and the reflection of

the glass, creates an indirect source of diffused light to focus the energy in the specific room. The form and texture will mimic that of a rectilinear composition enhancing the artistic value. The representation in the glass of the bright colors of a carâ&#x20AC;&#x2122;s headlights and break lights, while driving at night, enhance the energetic feel of the movement.

1.

3.

1. I experimented with photography on Pembina Hwy. as well as on Bishop Grandon Blvd., with the objective of capturing the energy of the evening. By moving the camera while the shutter was open, the lights came alive.

2. With these sketches I was exploring the possibilities of framing with the different materials, as well as the possibility of using the laser cutter to fray the edges of the canvas affecting the output of light.

3. Here is the final composition with the light turned on portraying the energy and movement in the piece. The light shows the different laser depths in the canvas therefore illuminating the photograph.

Interior Design, Year Four

Deborah Ann Scott

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JUSTIN LADIA Why Not Lamp Light and Laser Ingredients of his day: serendipitous idea generation through distraction + moderate caffeine intakes + finding amicable persons to converse and laugh with + the temptations of social networking + cracking awful jokes + perusing graphic design work + drowning in the torrential streams of thought.

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Interior Design, Year Four

Deborah Ann Scott

Born out of the desire to design something that was truly self-expressive, the Why Not Lamp combines threedimensional functionality with the more two-dimensional sensibility of typography. There were many shifts in this projectâ&#x20AC;&#x2122;s conceptual evolution, starting from an attempt to make something extremely mundane seem humorous

to a side-tracked exploration of kitsch then furthermore to the impact of words (especially curse words). In the end, the final incarnation of the project took all of the smaller inquiries and mashed them together to create a surprisingly positive product. This lamp summarizes a great personal lesson learned throughout the three years spent in the Environmental

Design Program, which includes shifts in perspectives, enlightenment, and optimism. The lamp consists of 24 laser-cut pieces which bonded in order, shows the physical transformation of the word “why” to “not”. The inner structure of the letters was advantageously used to house the bulb and the other required electrical components.

282

KIMBERLY KORNELSEN Oakley Light and Laser Ingredients of her day: hit snooze + sing in the car + loose tea + a heavy dose of laughter + save the world one problem at a time.

Oakley is an interior lighting project that emulates an outdoor condition. An oak tree outside the front door is framed by the foyer window and creates a visual line from the staircase to connect the home to itâ&#x20AC;&#x2122;s site. This symbol of strength and endurance communicates the emotion of the space; a strong, stable home where a family can grow.

1.

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Deborah Ann Scott

A design challenge was to experiment with materials to see if their properties could change to create new material qualities.

1. The translucent leaves absorb and reflect the light from a central source.

NICOLE LESKO Starlight Luminaire Light and Laser Her halcyon days: “When I’m not in school.”

1.

The luminaire is constructed of acrylic and wood. The layers of acrylic are etched and cut with a laser cutter to show the design of stars. The parts of the image that are meant to be closer are cut, while the parts that are to look further away are etched. The cut pieces collect more light which helps create the effect that they are closer than the

etched pieces. The acrylic pieces are illuminated by LED lights to create a cool light. This cool-toned LED lighting will better compliment the grey-coloured bedroom, where the luminaire will be used, than a warm-toned light.

3.

2.

4.

1. Corner detail.

2. Detail of the laser cut/ etched acrylic.

3. The luminaire on.

4. The luminaire off.

Interior Design, Year Four

Deborah Ann Scott

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AUDREY PLANTJE Whisk Culinary Arts Education Center Mennonite Education and Resource Center Ingredients of her day: caffeine + chocolate + candy + late nights spent on the computer.

The culinary arts education centre will combine the traditional Mennonite aesthetic of the buildingâ&#x20AC;&#x2122;s exterior with a contemporary interior. The home will be a dorm space for students and weekend Bed and Breakfast users. It will evoke a feeling of comfort and envelopment, with warm colours and soft textures. The barn will provide an open well lit space

1. Nook under the stairs.

2.

1.

3.

4.

2. View of the teaching kitchen. The warm colours (e.g. Orange, purple and taupe) and soft textures (e.g. Cotton, smooth rounded edges) help to reinforce the feeling of comfort.

3. Student lounge overlooking the teaching kitchen.

4. Retail space.

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Dr. Cynthia Karpan

for cooking and retail activities while extending the theme of comfort through colour and material choices. Textures will invite the user to experience and touch the surfaces. Like the Mennonite fences a strong presence of lineal forms and patterns will dominate the space and create an engaging environment for culinary educational pursuits.

14.

7.

19.

17.

12.

18.

8.

16.

10.

9.

11.

13.

15.

21.

22.

20.

5.

6.

5. First floor plan.

14. Mechanical and laundry room.

6. Second floor plan.

15. Women’s washroom.

7. Walk in freezer.

16. Reception area.

8. Cilmatized dry storage.

17. Accessible washrooms.

9. Dry storage.

18. Dorm/B&B rooms.

10. Teaching kitchen.

19. Accessible dorm room.

11. Instructors’ suite.

20. Student lounge.

12. Retail space.

21. Spa bathroom.

13. Men’s washroom.

22. Second floor dorm/B&B rooms.

286

The Mennonite Education and Resource Centre project involves transforming an old Mennonite housebarn into an active space for visitors to engage in Mennonite culture. In the historic tradition of Mennonites and alcohol production both in Russia and Southern Manitoba I decided to develop the barn into an educational brewery/restaurant that

ERIN RIEDIGER Neubergthal Brewery & Education Centre Mennonite Education and Resource Center Ingredients of her day: read before bed.

produces beer, serves great food, and provides classes and tours.

Layers of natural and metallic colours, textures and furnishings create a feeling of density. The colour and texture of these design elements are derived from the ingredients used in the brewing process, as well as the beer itself.

2.

13.

8.

14.

3.

6.

5.

9.

11.

4.

3.

7.

8.

3.

10.

1.

1. First floor plan.

2. Mechanical room.

3. Cold storage.

4. Bottling area.

5. Tank Area.

6. Brew Kettle.

7. Keg/Bottle Storage.

8. Washroom.

9. Education/private room.

10. Staff Area.

11. Dry Goods.

12. Kitchen.

13. Office.

14. Demo area.

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Interior design, Year Four

Dr. Cynthia Karpan

12.

KIMBERLY KORNELSEN Helping Hands Mennonite Education and Resource Center “I like not knowing what the future holds.”

Helping Hands is a Mennonite camp for inner city youth to work together in a creative place, and build upon the Mennonite values. The layers within the space represent the different cultures uniting together within the camp, creating a fresh and inviting space that welcomes youth who would not have the chance to get a camp experience.

Girl’s Sleeping Area

Boy’s Sleeping Area

Office

Lounge

Stage

The volume builds as one looks past one space into the next. The fresh colours and honest materials give the space a natural, organic and comfortable essence while taking users through a journey of textures and layers.

Workspace

W/C

Staff Sleeping Area

Dining Hall/Workshop

Interior design, Year Four

Dr. Cynthia Karpan

288

MELISSA VASCONCELOS Winnipeg Centennial Concert Hall Re-design

1.

2.

1. Second floor seating area.

2. The new spacious lobby.

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Interior design, Year Four

Lynn Chalmers

This project investigated how relocating a central element of the interior structure, such as the main circulation paths, would result in a changed way of experiencing the Concert Hall space. By combining the two side staircases into one main central staircase, the interior lobby was opened up. A grid formation is very important to the layout of the

Concert Hall, and I sought to maintain this in my design. This influenced the extended floor plate layout, and the new glass faรงade.

A central element of the design was the play between solid and void space and how this influences shadow patterns.

STEPHANIE HILL Winnipeg Centennial Concert Hall Textile Re-design Her halcyon days: “The year after high school with a passport, a plane ticket, and a backpack. I spent three months in Australia with no schedule or plan, something entirely different then the four years to follow in the Faculty of Architecture.”

With slight disruption to the existing Modernist architecture, I have redeveloped the Centennial Concert Hall through insertion. The design has provided an opportunity to introduce texture and pattern through fabric design. I have designed and developed three cohesive textiles, representing the Winnipeg Symphony Orchestra, the

Royal Winnipeg Ballet, and the Manitoba Opera. Staying true to the Modernist style, each textile possesses a rhythm and balance that fits wells with the structure’s proportion and form.

They work together to create a space that is both playful and elegant.

1.

2.

3.

4.

1. Rendering of the new furniture in the space.

2. This textile is representative of the Winnipeg Symphony Orchestra. The repeated unit is a double sharp, a symbol used in written music 3. This textile is representative of the Manitoba Opera. The repeated unit is an abstract representation of the lips of a vocalist.

4. This textile is representative of the Royal Winnipeg Ballet. The repeated unit is a stylized ballet dancer.

Interior design, Year Four

Lynn Chalmers

290

DESIREE MCKAY KIMBERLY KORNELSEN LINDSAY BIBERDORF MICHAEL BLATZ Faculty Kiosk QR Kiosk

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Interior design, Year Four

Our QR Kiosk was designed to be the Faculty of Architecture’s travelling display, engaging and informing prospective students about the Faculty of Architecture at the University of Manitoba’s (FAUM) unique identity.

QR, or quick response codes, are an evolution of traditional bar codes that can connect to encoded URL’s through the use of smart phones and other devices. These codes were used as inspiration because of their graphic quality and their ability to engage and connect users instantly with web based information. FAUM’s existing

display frame was repurposed by applying a graphic skin, using some of the University of Manitoba’s existing color schematic and the QR codes.

A satellite form equipped with a flat screen also displays images of student work, making information even more accessible. The QR Kiosk is a design solution for the FAUM’s public relations and outreach efforts. While the QR Kiosk promotes different facets of our faculty, it also instigates the faculty to examine and evolve regarding branding and messaging through popular, easily accessible web based information.

TETYANA SALAPATA Revit Drafting & Rendering Advanced Interior Design Media class Ingredients of her day: hug my cat + big breakfast + herbal tea + drawing doodles + hug my cat + wasting time at part-time job + hug my cat + drawing doodles + hug my cat.

This work is the final submission for Advanced Interior Design Media class that involves a development of a space given by the instructor. The main goal of the project is mastering of the basic Autodesk Revit software tools to produce renderings.

Interior Design, Year Four

Richard Murry

292

NANCY MARUCA Could you give us a two-minute biography, some important details of your life and your educational professional background?

I graduated and began practice in the mid-seventies and had a fairly diverse practice career. My main interest was in public buildings, which was kind of unusual at the time. Interior designers weren’t really all that active yet in the design of public buildings and in teamwork. My mainline project, at the time, was being part of the team for the new Law Courts building and that really got me invested into architectural teamwork because we were an interior designer, a design architect, and the production architect. The three of us began that project and worked on that together for a year doing the programming and various aspects like that.

Another project that I worked on through that time was the new Mount Carmel Clinic, which was pretty interesting because it services a fairly needy user group in terms of children and their medical care. So I worked on the creation of a children’s centre for Mount Carmel Clinic. In those days, we were just starting to look at passive energy use in buildings, albeit, they were pretty crude at the time.

After that was when I started teaching here in the faculty. I came armed with that and a myriad of other private practice projects, from commercial work to food service, retail, and some large residential work – primarily in the restoration and preservation end of things.

Nancy Maruca is an Associate Professor in Interior Design and a graduate of the Bachelors of Interior Design program at the University of Manitoba. Besides having spent time learning about the nuances of spatial design in Winnipeg, Nancy has also attended programs in Montréal and in Harvard for architectural lighting, historic preservation, and interior design. In addition to regularly spearheading studios in the Interior Design program, she currently teaches courses on lighting, colour, and materials, where she discusses their relationship with each other and their effect on user experience.

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Editor: Justin Ladia

Are you involved in anything at the moment?

Well one thing I can tell you – I’ll back up for a moment.

Another very large design project or interest of mine had been in the mideighties, the creation of the Urban Idea Centre in Winnipeg. At that time, there was very little activity in Winnipeg concerning the environment of the city, the architecture, the sense of place, its meaning, its value to its citizens, and all of those sorts of issues. So a group of four of us started the Urban Idea Centre

and it was a think tank focus group that looked at those sorts of city issues, but related to the design of environment.

It’s not a surprise to me that I’m interested in the work that Storefront is beginning. Storefront is sort of a re-conceptualised Urban Idea Centre and, again, it focuses on architecture and design and the landscape issues of the city. It’s trying to formulate to be that focus group or think tank or idea generator for activities that can bring the public’s attention to the importance of design and architecture here in Winnipeg. So, I’m taking off with them.

We’re taking off. I went to initiate some projects in September and, slowly buy surely, start the dialogue again. It’s an important dialogue to continue in the city, otherwise people forget. I’m thinking that’s going to take a fair amount of that extracurricular time. But, I’m very involved in design projects going on in the city because Storefront will offer a myriad of different events. Many of them will facilitate people’s awareness of the kinds of architectural projects that go on in the city.

How is the teaching style differ when you were a student versus now?

Well the room we’re sitting in [Warehouse office], I think this used to be a materials storage room. I used to come in here and look at materials. Now we have a materials collection library over in Arch 2, but really, you can access more of them online than you could ever put into that resource library. Everything was very hands on, to believe it was to see it and to hold it and to handle it.

There’s a benefit to that, isn’t there? I’d say that’s one of the large differences and very little was actually given to us because things weren’t even photocopied. You listened and you wrote notes for yourself. You read books.

You don’t feel like you’ve missed out at all?

One didn’t because one kept learning.

I had my first personal computer very early on in ‘85, or something. The offices weren’t using PC’s yet. I was just very in-

terested in getting on board. Of course it was laborious until Macs were available.

We were still trying to learn languages.

Slowed us down terribly. Soon as the first Mac showed up, we were starting to move. At least I did. I had friends who were graphic designers and of course they saw the writing on the wall before we did. They used to do colour separations, four layers, walk them over to the printer, and stand there with the printer.

They realized that things were going to be handled digitally. They knew that you either got aboard the new learning or you just wouldn’t make it in graphic design. Today in graphic design, it’s exactly that.

What do you like to do in your free time?

I guess I live a design life, and that wraps with the arts. The arts are very important, be it the visual arts, or the listening arts, or the dance arts. That’s always on the top of my list, but I’m very interested also in civic issues. I’m interested in attending those forums.

I do maintain quite a large personal “landscape” and I decided sometime ago that one way to do that would be to try and understand bonsai. What I found in my naivete about bonsai is that it holds a whole structure of principles on how to approach this so called “pruning” activity. It really is more of a meditative type of art form. I do not do miniature bonsai, I don’t perform anything like that. I guess what I’m trying to do is really study their principles and I found that they’re so closely aligned to the principles of design that, really for me, it’s very easy to understand because they speak about scale and they speak about proportion and they speak about balance. These are all design principles and it’s implemented in understanding the structure of a tree. I’ve learned that most of a bonsai is not what you buy at Shelmerdine; it is actually a “way”.

How do you describe what you do to someone outside of the design world?

Sometimes, it’s easier to define, not so much what it is, but how it is differ-

ent from other things. Some people might think it’s all about creativity, and because it’s all about creativity, it must be art. Our [profession] has more of a mandate attached to it. Design of the environment is based on a sound understanding of who the people using the spaces and places are. Our ability to understand their needs, their hopes, and desires that will be embedded within that environment determines the outcome. So you try and describe that process to them, and what we’re really trying to achieve and how we go about doing it. It’s true that they kind of go “Uh-huh, uh-huh. So you’re not just in a darkened room, dreaming up new spaces or something”. And you say, “Well no, that’s more for the fine artists”. The fine artists – not that I’m saying that fine artists do that, I mean it’s more a fine arts orientation where it matters less how many people you’re going to directly participate with in their work of art. Thus, in our discipline, it’s very much through that real partnership with our clients and users that, in a sense, we evolve the designs. It becomes the measure, too, how good, better, or best, they are. Good design isn’t good enough anymore.

What do you think students should expect of their professors?

For me, it goes back to the individual I’m working with. It goes back to the old story, “I don’t want to give them a fish, I want to talk to them about fishing, because that’s really what it’s about”.

Sometimes, maybe, students become a little frustrated that they’re not getting the “fish”. I do think that my responsibility is really to talk about “fishing”, so that they can really find what kind of “fish” they want. It’s the dialogue between the two of you, really. Students pose the question or the area you’re really going to talk about because of the nature of the way they’re working on the project at hand. I’m not there to make students into me – “me” exists already.

It’s to find out what they will represent, what standards, what type of design thinking they will bring to the table.

This project was the redesign of the Canadian National Institute for the Blind (CNIB). The design constituted an exploration of space, paying attention to how disability constituents, particularly the seeing impaired, navigate space.

Specific attention was focused on: floor treatments (textures, linearity, direction); consistent placement of doors; acoustics; and tactile qualities.

JOHN DEWOLF Designing for the Senses CNIB Redesign Ingredients of his day: bonding time with my wife + discussing future plans + staying current with graphic design + exhibition design + environmental graphic design (EGD) practice + exhibition design and EGD forums + reading the New York Times and Washington Post + playing a round of scrabble + cooking.

the path of travel. These could be for doors, as well as a minor decision point within a space.

Spaces, like rooms or an area within a larger volume (the waiting area for example) employ a 12” x 12” tile as a means of communicating a room.

Suspended from the ceiling are a series of hanging panels in the form of a landscape. These sound baffles are a device to mitigate sound from the street (Portage Avenue) and to help create a serene environment for this open space.

To aid with navigation, the floor tile is patterned. When the user moves forward, the tiles are 4” x 12” oriented in the path of travel. At junctures, the configuration changes to a 4” x 4” tile to indicate a decision point. For the point of departure from the primary route, two rows of 4” x 4” tiles are placed perpendicular to the path, and protrude into

Similar ceiling panels would be found throughout the primary travel ways, however, the ‘landscape’ pattern would be less pronounced.

Exterior design elements

D ESIG N I N G FO R TH E S EN S ES

Exterior elevation - North 1 1 : 200 D ESIG N I N G FO R TH E S EN S ES

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▲ The North facade of the building incorporates a canopy as well.

These are intended to carry CNIB

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Wayfinding

signage and donor recognition identification.

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▲ The store is located on the South

Exterior elevation - South 1 : 200

in order to provide shad during summer months, reducing glare.

The canopy also provides cover from

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CNIB

KB003 PROGRAM

COURSE

University of Manitoba www.autodesk.com/revit INSTITUTION

ASSIGNMENT

I N S T R U C TO R

PROGRAM

Master of Art in Interior Design

ASSIGNMENT

Kelley Beaverford

COURSE TITLE

Masters Studio 1—Strategic Issues

PHASE

Assignment 7

SEMESTER

I S S U E DAT E

n/a

DESCRIPTION

Fall 2010

Date

D R AW I N G

Technical Intergration

COURSE CODE

IDES-7200-A01

Description

15 December, 2010

TITLE

Designing for the Senses

SCALE

Design elements

311.47

n.t.s.

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Unnamed Project number S U B M I T TA L Date Sby U B M IT TED BY Drawn John deWolf C O Nby TAC T Checked

IDS 7200 D R AW I N G N U M B E R December 10, 2010 Author Checker Scale 1 : 200

902 240 6542, john@dewolf.com

KB17 020

2 KB003

19 R @ 18.95

1.

PROGRAM

INSTITUTION

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The hallways were widened to 1800mm, to accomodate two wheelchairs moving in opposite diections.

Ease of access to the desk was considered for both entrances, which resulted in reconfiguring the back entrance, ( )

1. The north facade of the building incorporates a canopy. These are intended to carry CNIB signage and donor recognition identification.

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configuring the hallways to be a straight paths at the same width.

The paths are based on a imperial measurement system. ( )

2. Plan⬌detail of the CNIB center. Much effort was put into configuring the hallways to be straight paths. There are four levels of hierarchy in the floor navigation system: linear path, junction, door, and room or zone demarcation.

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▲ the hallways to be a straight paths at the same width. The paths are based on a imperial measurement system. ( )

ASSIGNMENT

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There exists four levels of hierarchy in the floor navigation system: linear path, junction, door, and room or zone demarcation.

Doors were configured as not to be too close, to achieve adequate space before and after the door-way floor navigation cues.

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Kelley Beaverford

Assignment 7

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John deWolf

PROGRAM

COURSE TITLE

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DESCRIPTION

TITLE

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C O N TAC T

Master of Art in Interior Design

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Interior Design, Graduate Studies

Masters Studio 1—Strategic Issues

Fall 2010

Kelley Beaverford

Designing for the Senses

Design elements

n.t.s.

902 240 6542, john@dewolf.com

2010-12-15 2:39:24 AM

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Side of the building. The ceiling extends to the exterior as a canopy

the elements at the entrance,

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View of waiting area from reception desk

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The desk is designed to

An area for resting objects, like a

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accomodate to employees: a receptionist and a greater.

hand-bag, was introduced at a lower height. This overhang is placed off the self-guiding tile and carpet floor navigation system.

The store entrance plays a mor prominant role in the entry sequnce.

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4.

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3D Receptionist view

CNIB Store

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A monitor has been provided to promote (audio and visuals) CNIB services.

It was important that the whole waiting are is visible by employees behind the reception desk.

Vending machines, a counter top, and seating area, in addition to sofas are part of the design.

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CNIB PROGRAM

www.autodesk.com/revit INSTITUTION

University of Manitoba PROGRAM

Master of Art in Interior Design

R

averford

COURSE

COURSE CODE

IDES-7200-A01

Technical Intergration ASSIGNMENT

I N S T R U C TO R

ASSIGNMENT

Kelley Beaverford

COURSE TITLE

Masters Studio 1—Strategic Issues

PHASE

Assignment 7

SEMESTER

n/a

DESCRIPTION

Fall 2010

View of waiting area from reception desk

TITLE

View of the waiting area

I S S U E DAT E

15 December, 2010 SCALE

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Designing for the Senses

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The back wall provides a display area for items.

The architectural language is incorporated into the desks, display cases and tables within the store.

5. The CNIB store incorporates a seating area for more thorough 013 investigation of wares Description and tutorials on devices such as GPS devices or watches.

IDS 7200 December 10, 2010 D R AW I N G N U M B E R Author Checker Scale

KB009

C O N TAC T

902 240 6542, john@dewolf.com

I S S U E DAT E

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A seating area is provided in the store in order for customers to spend more time investigating

A display case is provided for more valuable items, like GPS devices or watches.

Display counters have storage areas below.

Date

15 December, 2010

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merchandise or receiving tutorials.

Unnamed Project number Date S U B M I T TA L Drawn by SU B M IT TED BY Checked by John deWolf

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3D Store 1

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Description

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4. Waiting area. It was important that the entire waiting area was visible from the front desk.

2010-12-15 2:38:57 AM

D ESI G N I N G FO R TH E S EN S ES

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3. Front reception area of the CNIB.

Reception upon arrival ▲

The store is located on the South Side of the building. The ceiling extends to the exterior as a canopy in order to provide shad during summer months, reducing glare.

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deW ProjectJohn numbe C O N TAC T Date 902 240 6 296 Drawn by

CLARICE TO S.N.A.P. Studio Aperture Ingredients of her day: steeped tea + music from the beloved pod + no sleep.

3.

S.N.A.P. is a photography school located in Chancellorâ&#x20AC;&#x2122;s Hall at the University of Manitoba. It provides students and members of the surrounding community an opportunity to explore the technical and creative aspects of photography.

The location along Dysart Road provides an idyllic setting for continuous learning and practicing photographic skills.

4.

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2.

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1. Interior views.

2. Incorporating elements which reflect the natural surrounding landscape creates a relationship between nature and man-made structure.

3. Inside the glass aperture.

4. Interior hallway showing a sample of the material and colour choices.

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The the scenic riverside views provide year round subject matter. S.N.A.P. works with the School of Art Student Photography Association to report and suggest improvements. A technology fee will be required for the school to ensure computer hardware and photographic equipment compatible with industry standards.

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KALEY LAWRENCE School for the Image Arts Studio Aperture Ingredients of her day: a nice double espresso + give the cat a belly rub + spray some hairspray + a bowl of oatmeal while driving.

The goal of this redesign project is to preserve the historic significance of the Chancellorâ&#x20AC;&#x2122;s Hall while providing a contemporary design intervention that creates a visual linkage between old and new for a new photography school.

The facade of the Chancellorâ&#x20AC;&#x2122;s Hall will remain largely intact, while the new addition will grow and extend from the existing building.

The site is a pivotal point of transition between the urban framework of the campus and the natural landscape of the riparian forest and the Red River. The new design intervention will create connections between the landscape and the rest of the campus while establishing a framework for an outdoor landscaped courtyard.

With the emergence of the digital camera and virtual world, photography is becoming more and more readily available and the ability to take a great photograph is highly attainable. With that in mind, this particular program will be focused on the pursuit of a personal aesthetic and evolving the individual talent. Based on the pedagogical views of the school, the spatial requirements of the learning environments will operate as informal and interactive spaces.

Most classes will take place within the studio space and within the media lab for technology classes. The multipurpose room will operate as a flexible learning environment open and available for setting-up vignettes, round-table discussions, pinning up work, etc.

1.

1. Perspectival plan of the first floor.

A. Studio Areas.

B. Multi=purpose Room.

C.

C. Washrooms.

C.

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A.

3.

4.

B.

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A.

2. A view of the second floor studio space.

3. A view of the new glazed foyer that projects out of the original building.

A.

4. South elevation.

5. West elevation.

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The design of a photography school was an exploration of photography and biophilia. Due to the relative pristine qualities of the site, this was an exercise in sustainable practice, paying particular attention to preserve the historic fabric of a building while inserting a contemporary intervention. Environmental features play a significant role in

JOHN DEWOLF Chancellor’s Hall Redesign Studio Aperture

UTODESK STUDENT PRODUCT

“I hope that this degree allows me to make a greater contribution to the built environment, both as a result of projects I collaborate on, and the influence I may have on others.”

biophillic design. Structural steel beams clad in wood as well as the view of the river from the lecture hall both play a role in symbolizing nature. Posts at varying heights, referencing growth are used as part of the entry sequence.

PRODUCED

1.

2.

1. The old building has been incorporated into a modernized glass building. Posts of varying heights referencing organic growth mark the entrance.

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2. A view into the lecture theater that over looks the river.

Interior Design, Graduate Studies

3D View 1

1

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3D-6 Lecture Hall

ONILEE ZABORNIAK Darkroom Studio Aperture Ingredients of her day: wake up + panties + Judas + studio + library + studio + studio + cry + call mom + cup of coffee + cup of soup + sleep.

In developing the final designed outcome, I started thinking about the effects of the shadow on the human body.

I was captivated by the way light and shadow could be used to create a different type of texture. From there I chose to focus on using the tracing analysis from my previous studies and my infatuation with light and shadow to bring my interior space to life.

I took Kellertâ&#x20AC;&#x2122;s understanding of biophilic design and light and implemented this by introducing an interior/exterior intervention. The interior would then be transformed through pattern cut

partitions allowing light to flow from exterior windows to interior space.

In relation with the original exposed brick, these patterns have the ability to breath emotion and life into the space with underlying connections back to nature and biophilic tendencies. Interior lines are also drawn outside into the landscape design. Inside outside connections are also strengthened with a landscape design supporting students who wish to plant gardens or vegetables in designated areas. All aspects of the design connect back to nature and the glorification of natural elements.

A. Indoor cafe.

B. Gallery.

C. Study Area.

D. Coffee bar.

E. Department head.

F. Reception.

G. Accessable washrooms.

H. Academic advisor.

I. Storage.

A.

J. Academic lounge.

I. H.

E. 1.

B.

D.

F.

G.

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1. Plan of the first floor and surrounding grounds.

C.

J.

2. Section.

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CLARICE TO ONILEE ZABORNIAK Usagi Study Project

Composed of the Japanese words oru (to fold) and kami (paper), origami has a rich and complex history. The proposed materiality of the structure would be washi. Due to the biodegradable nature of washi, the structure would then be able to be abandoned by the user, and with rain dissolve into the landscape.

The decay of organic matter would

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2.

1. How the paper structure is folded.

2. The structure situated within the forest.

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therefore give back to nature which it was inspired by, starting a new cycle of growth, harvest, design, utilization and decay. The form of our final design is based on the origami of a rabbit. In Japanese tradition, the dark patches on the moon were believed to depict the outline of a rabbit pounding on an usu or a Japanese martar.

AIMEE MAH YING GUO Collaborative Workplace Collaborative Workplace Design

Through this research-based studio, we were to understand the complexity of the modern work environment in order to challenge the existing traditions using design solutions for the new generation of collaborative workplaces. The intention of the design was to provide a quality of space that linked people to the sense of home by connecting them to the phenomenological experiences of a prairie house, which is the home and hearth of the prairie land. It symbolizes

the core, an internal expression deeply grounded inside a body; marks and shapes the root of identity.

We theorized that a sense of home and comfort could be achieved by designing with general spaces in mind. The caves and the commons accommodate the need for individual concentration as well as team communication. The huddle spaces foster connections and collaboration through informal meetings.

1. Inspiration from the prairie landscape.

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2.

3.

4.

2. View from reception.

3. View of the printing area.

4. The comfy lounge.

5. Work spaces that provide both individual spaces and huddle areas can provide privacy intertwined with a sense of connection and collaboration. Similar to a home, relationships developed through collaboration can open up onto other milieus, creating a sense of home through out the space.

A. Archivel storage.

B. Huddle space.

C. Offices.

D. OPUS studio.

E. Print/copy area.

F. Phyllis.

G. Kitchen.

H. Storage.

I. Comfy lounge.

J. Board room.

K. Reception.

L. Quiet room.

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5.

A.

C.

G.

H. A.

D.

I.

K. B. E. L. J.

F.

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The concept of the rubber band paired with the theoretical framework of activity based office design provides the design and planning concept.

The goal was to provide space that allowed Buffalo Gal Pictures to expand and contract with the fluidity of their industry. This was achieved by creating flexible spaces with moveable curtains

CHRISTINE PLETT TAMARA NYYSOLA DARCI MADLUNG Buffalo Gal Pictures Collaborative Workplace Design

and furniture. Providing shared spaces, allows for many multi-use activities including a formal boardroom, touch down meeting areas and individual reading spaces. All of which can be, transformed to create a larger gathering space for entertaining clients.

K.

J.

I.

A.

A.

B.

H. C.

D. G.

F.

E.

A. Work stations.

B. Reception.

C. Touch down room.

D. Reading room.

E. Eating area.

F. Lounge.

G. Screening room.

H. Skype room.

I. Conference room.

J. Photocopy room.

1. A perspectival plan of the Buffalo Gal Pictures.

K. Modeling area.

2. Front desk.

3. Meeting Area.

2.

4. Work stations.

1.

3.

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4.

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AIMEE MAH Body as Both Object and Subject Body and Space Ingredients of her day: breakfast + studio + second breakfast + studio + lunch + studio + nap + studio + supper + studio + nap + studio + tv + snack + sleep + repeat!

Cultural and societal views of beauty often have both a psychological and physical impact on the human body.

The exploration of the concepts of body, beauty and space began with the construction of a garment that represented the current issues that surround and threaten the body both psychologically

3.

1.

4.

2.

4.

1. The initial garment superimposed upon 319 Elgin St. where the facility is to be constructed.

2. The building contains offices, classrooms and laboratories.

3. One of the three main labs.

4. The garment translated into a very biological interior typology.

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and physically. The resultant typology selection was then translated into a biomedical engineering research facility.

The design aimed to bring together both biological sciences and engineering principles in order to further medical research.

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AIMEE MAH CHRISTINE PLETT DARCI MADLUNG GILL HEROLD NICOLETTE LAYNE REHANNA HARTUNG TAMARA NYYSOLA Polyp

1.

1.

3.

3.

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1. The installation in its final form.

2. The individual polyp, composed of soft polyp, exoskeleton and technology, unite to define form. The form as a whole is organically composed as the polyp is tessellated.

3. Using a numatic skeleton, the polyps were able to expand and contract.

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The students were invited to produce a self-supporting “SURFACE”, which continually responds to its environment with motion, light, sound or through any other sensory means. The surface investigations were performed by two groups. New materials are quite alluring and provide designers with considerable possibilities for new methodologies and forms. However, there is still room for innovation with traditional materials.

These innovations can be focused on the altered perception of traditional materials such as plywood, medium density fiber boards, rubber, or press paper boards. Students were free to choose from the entire range of materials, from new to traditional. Sectioning and tessellating were selected to be the methodologies of engagement. Volume one features the project that utilized tessellation methodology.

It should be stated that for the purpose of this project we will be investigating the properties and functions of hard corals. The polyps of hard corals produce skeletons out of calcium carbonate found in seawater, these then become the structure and third skin of the coral.

(Coral Reef Alliance, 2010, p.2). After the polyps have died, their skeletons remain as part of the coral reef and new polyps use them as a foundation to build upon. Through the residue of previous polyps, future generations of organisms may thrive and the life cycle of the coral reef continues. The bodies of the polyps are soft and delicate, and although they form their own skeletons or third skins they would remain unprotected and vulnerable without the larger reef.

Coral encompasses our definition of a

Tijen Roshko

surface as an interface, a mediator and activity zone. The coral reef is often compared to a metropolis because of the interaction and life that occurs within its surface. Coral reefs house thousands of inhabitants and support aquatic life and as well it provides a third skin to the living beings it contains.

The third skin acts as a parallel to the way buildings provide humans protection from the external world. People exposed to the elements are just as vulnerable and fragile without their third skin as coral polyps.

Coral is incredibly sustainable in the way it grows, reproduces and breathes.

Coral polyps reproduce in a similar fashion to the process of tessellation by “dividing itself in half and making exact genetic copies of itself. As more and more polyps are added, a coral colony develops” (Coral Reef Alliance, 2010, p.3). Similar to the tessellation of materials, repeating and tiling multiples of a shape to create a surface, the coral colony grows based on the tessellation of genetic copies of itself.

This project will emulate coral and the way it physically expresses itself through its surface. The coral is a direct expression of both its inhabitants, location, and construction method. Along with many health and environmental implications, we will consider the psychological and therapeutic benefits of breathing.

We aim to bring awareness to user behaviour and interaction through an advanced dialogue between the installation and the user.

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CHRIS BEAUVILAIN DANIEL NEVES JOHANNA WASHCHYSHYN JENNIFER PRITCHARD RYAN EIDICK Osborne Village Age Friendly

Our project looked at Winnipegâ&#x20AC;&#x2122;s urban village, Osborne Village, to analyze some of the design features of accessibility with older adults in mind. We focused on the Age-Friendly guidelines for cities outlined by the World Health Organization. Osborne Village is home to many older adults who love their neighbourhood. After meeting with a group of seniors living in the area we were able to gain insight into some of the opportunities and challenges for an older population: the quality of sidewalks was difficult; navigating through the Safeway parking lot was dangerous; the neighbourhood bus route did not terminate at a transfer or destination; and there were varying perceptions of safety. However, they loved the fact that everything one needed was within walking distance, and the proximity to the Forks and downtown was an asset. All in all, our planning and design suggestions aim to make Osborne Village more age-friendly, for people of all ages and abilities.

The first area we looked at was Osborne Street itself; the heart of the village. The current layout of the street is four lanes of traffic, with a sidewalk on either side.

We designed a few proposals that would

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1.

3.

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4.

make a positive and dramatic change to Osborne Street.

Infrastructure built primarily for vehicles often suffers from heavy use during peak traffic hours while being underutilized most other times of the day.

Our first proposal combines the use of an alternating traffic light, (so that Osborne Street could accommodate the same traffic flows during both peak rush hour periods) and a lane reduction from four to three. The lane reduction would greatly benefit pedestrians and could also accommodate a cycling lane.

Walkability and safety would increase substantially and the added space could be utilized by both businesses and public.

In our second proposal, Osborne Street is turned into a pedestrian priority zone in which the physical space is designed to accommodate foot traffic and not that of motorized vehicles. The space would still allow vehicles to use the roadway however infrastructure would be tailored to humans. Lane width reductions would give pedestrians more room to navigate while naturally slowing down vehicle traffic. Raised roadways, so that the

1. View looking north towards the domed strip of Osborne proposal. On its own it becomes an interesting architectural element, however, it also provides a landmark as well as a portal into Osborne Village.

2. Conditions surrounding a new transit stop and kiosk at the corner of Osborne St.and Stradbrook Ave. 3. Rendering of possible transit stop.

4. View of a transit lane, providing safer conditions for patrons of the bus.

road is level with the sidewalk, would also have the same effect by encouraging motorists and pedestrians to share the road.

Our last and most daring proposal is to build a dome over Osborne street. This would create a protected environment while still allowing interaction with the elements. The dome would be an open design which would create a transition zone between extreme environments and indoor spaces along the strip.

Furthermore the dome would reduce the need for snow removal during winter months. Additionally the covered street would be architecturally pleasing and promote outdoor use.

We then moved onto the intersection at Osborne and Stradbrook. It is an important node in the neighbourhood, and although it comes second to Osborne and River it has the potential to be just as lively. The proposed changes would see a gradual redesign of the intersectionâ&#x20AC;&#x2122;s four corners. These changes would occur over the short, medium and long term.

A new transit lane is one long term option for the intersection. As the area

develops and various types of infill take root, the need to provide better and safer transit stop options will arise. A transit lane would allow busses to pull off the street into a safe, dedicated passenger loading/unloading area.

The aesthetics of the proposal are also important. The overall character of the neighbourhood is a relevant factor to keep in mind in any effort to develop this area. The plan proposes the area redevelop with better lighting and construction methods for sidewalks and streets, more trees and plants, and an attractive model for future infill development.

Neighbourhoods often have important sites where complex issues and heavy traffic come together to create challenging problems for urban planners.

In Osborne Village, the intersection of Corydon Avenue, Osborne Street and Pembina Highway, also known as confusion corner, forms a significant corridor for both transit and vehicle traffic. The result is a zone that many, especially the elderly, find difficult to access. Further compounding the issue is the addition of rapid transit along existing rail lines.

The Osborne rapid transit stop, when it comes online, will require pedes-

trian to cross major vehicle corridors that are less than friendly to those on foot. This intersection is of particular interest in terms of walkability, safety, access and efficiency. One reoccurring theme related to this area pertains to residents feeling that the intersection is a dangerous environment due to both high vehicle flow and speed. Another issue of concern relates to the difficulty in accessing services as a result of convoluted crosswalk design. There is very little aesthetic appeal to the intersection and the experience tends to be less than enjoyable. Lastly the immediate area offers little in terms of secondary services and remains poorly utilized.

The first phase of our proposed solution would focus on building in areas that can be implemented quickly and effectively. No major structural changes are required. Areas directly north east and south east could easily be utilized for increased density. The second phase of the solution is much more intensive and would require a higher level of study before being implemented. It would require that one way traffic no long run along McMillan, as Corydon would be widened east of Osborne. McMillan

5.

6.

5. Phase one. The blue represents buildings which could easily increase density.

6. Phase two. The yellow buildings represent new development.

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would then become part of a greenway and possibly a cycling lane all the way to Scott Street. More importantly though, would be the transformation of confusion corner into a more predictable, walkable and safer crossing. This is crucial given the location of the new rapid transit stop located next to the rail line.

From confusion corner, we turned our attention to pedestrian and public transportation on the whole. We noted that the 68 transit route is a popular choice for residents of the village, as it connects Osborne Village to downtown Winnipeg via its eastbound line. The westbound line, however, does not have the same popularity, as the line ends at the corner of Grosvenor and Renfrew, in the middle of a residential neighbourhood. By extending the route further west to the Tuxedo Park transit station, the 68 then connects with other routes to Polo Park and down Corydon Avenue.

This gives users of the 68 more options heading west, similar to the eastbound route.

The most popular walking path in the area is the boardwalk along the As-

siniboine River leading to the Forks.

Connectivity with Osborne Village and this path however, is minimal. By creating a similar boardwalk along the southern bank of the river, residents of Osborne Village have more options and easier access to reach destinations such as the Forks.

Extending the boardwalk into the neighbourhood, would create a designated pedestrian path through the neighbourhood, and connect all three neighbourhoods in Osborne Village.

The path would run along Roslyn Road, travel south down Nassau Street, east along McMillan Avenue into the new proposed development, and north up Scott Street. The path would use the building setbacks, reducing the space from the street to the buildings, as well as integrating seating, planters, vegetation and lighting into the fences and landscape already existing. Bike parking could be provided along the street, breaking up the long rows of car parking and providing spaces for cyclists to park and operate on their bicycles.

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2.

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1. View along proposed greenway.

2. Route of proposed greenway.

CHRIS LARSON JILL COLLINSON LAURA REMPEL ROBIN BEUKENS RYAN PARADIS Pinawa Age Friendly

In September 2010, students were invited by the Pinawa Age-Friendly Committee to use their community as a case study to generate ideas and suggest options towards a more age-friendly future. Students conducted an inventory of the amenities, resources and facilities and consulted with community members. Pinawa is a rural community of approximately 1500 people with 25 percent of the population being over 65 years old, compared to 13 percent in the rest of Manitoba (Statistics Canada, 2006). In many ways, Pinawa is an ideal candidate for an age-friendly initiative due to demographic changes, the natural landscape, social networks and active lifestyles that lend themselves to a strong community supportive of an aging population.

Through consultations, the Age-Friendly Committee identified key issues for

1.

2.

3.

4.

exploration including: implementing complete streets strategies that increase safety for pedestrians and cyclists; increasing housing options (including multi-family dwellings, mixed use and visitable housing); improve the connectivity of the recreational trail and pedestrian network; and provide space and programs for intergenerational interaction. In December 2010, students presented the ideas to the Pinawa Town Council and returned in April 2011 for a public meeting where 85 community members were in attendance. The presentations were well received, and the dialogue that ensued indicated which suggestions might be implemented, and which require further study.

We would like to thank the Pinawa Age-Friendly Committee and community members for their participation in our studio work!

1. The natural landscape and social networks in Pinawa lend themselves to active living and a strong community.

2. Infrastructure in Pinawa, including the sidewalks, is in need of repair or replacement.

3. View of Burrows Road, the most heavily used street in Pinawa and in need of complete streets concept to make it more pedestrian and cyclist friendly.

3. A vision of an upgraded Burrows Road with curbs, bikelanes, two sidewalks, green-space medians and trees.

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ALEXIS MILLER CAITLIN KOTAK JONATHAN HILDEBRAND MEGHAN NORMAN SHENGXU LI Fort Richmond Age Friendly

As Canada’s population ages at a rapid rate, more attention is being paid to how this will affect Canada’s society at large. It’s important to consider how this demographic change will affect senior citizens themselves, and the communities in which they live, for “it is in the neighbourhood, the community, and the regional milieux of Canada that population aging is experienced” (Hodge, 2008, p. 3).

Fort Richmond, a typical suburban neighbourhood located in the south end of Winnipeg, was evaluated for its agefriendliness by a group of city planning graduate students from the University of Manitoba in September 2010. A walking tour through the neighbourhood was conducted by the group in order to gain an initial impression of this neighbourhood. From an age-friendly perspective developed by Global Agefriendly Cities: A Guide (World Health Organization, 2007), Fort Richmond has the potential to move forward as an agefriendly community in terms of the built environment.

The student group engaged with older adults within the community and organized a walking tour to observe the amenities within Fort Richmond. These events revealed several issues regarding the lack of age-friendliness of the neighbourhood. In January 2011, group members presented their interventions to representatives of Pembina Active Living (PAL55+), which is an organization that concerns itself with the age friendliness of Fort Richmond. These interventions focused on short-term and long-term options that can promote Fort Richmond as an age-friendly community.

These interventions included: an active transport corridor design with an older adult outdoor exercise area; mixed-use development of a neighbourhood commercial area; more pedestrian-friendly facilities such as cross walks, wider boulevards, as well as street calming measures such as countdown timers for Pembina Highway that will increase safety and bring convenience for senior pedestrians; and the redevelopment of Fort Richmond Plaza with neighbourhood amenities and seniors housing that will provide a favourable environment for them to age in place. The presentation was well received by those in attendance, and elicited valuable feedbacks for further study.

The proposed active transport corridor will tie Fort Richmond together from

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Pembina Highway to King’s Park. The corridor works together with the City of Winnipeg’s active transport cycle routes and provides commuters a way to connect to the University of Manitoba.

Fort Richmond’s Active Transport corridor will increase both the walkability and the safety of Fort Richmond pedestrians through the following design elements: seating (bench planters with backs and arms); amenities (post boxes, newspaper boxes and trash receptacles); pedestrian-scale lighting (increases safety and visibility at night); public washrooms (at both ends of the path as well as the middle); local plantings (low maintenance trees, shrubs, and prairie grasses); cycling and pedestrian paths (coloured, etched concrete for grip and visibility); traffic calming mechanisms (narrower streets lower speeds); and active greenspaces (rehabilitate existing spaces along paths).

Public transit access will be improved through the connections forged by the Active Transport corridor network. The individual stop sites for transit services will be improved following the corridor design principles.

A new type of traffic calming (a way to slow drivers down and make things safer for pedestrians and cyclists) will slowly be introduced to Fort Richmond as streets are repaired and upgraded. This traffic calming is done through a number of means including: reducing total lane widths of local-level streets; creating a connection between pedestrians, cyclists, and drivers; introducing a more dynamic environment through the use of plantings and street furniture encouraging drivers to pay closer attention to their environment; and integrating raised crosswalks.

Killarney Avenue east of the Fort Richmond Plaza has one lane converted into a cycling lane, which both reduces traffic speed in proximity to the school, and increases transportation options.

References Hodge, Gerald. The Geography of Aging: Preparing Communities for the Surge in Seniors. (2008). Montréal & Kingston: McGill Queen’s University Press.

World Health Organization. (2007). Global agefriendly cities: A guide. Geneva: World Health Organization. Retrieved from http://www.who.int/mediacentre/news/releases/2007/pr53/en/index.html

King’s Drive connection to the University of Manitoba.

Main Active Transport nodal connection to King’s Park.

Dalhousie Drive connection to infill development site.

Active Transport Corridor connection to existing footpaths.

Active Transport corridor connection to Kilarney Drive and beyond.

1. An area map of the changes made in Fort Richmond.

1.

2.

3.

2. Rutgers Avenue is transformed into an open, active transport network for pedestrians and cyclists.

3. Killarney Avenue’s neckdown (lane bump out) reduces traffic speed and increases safety.

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DR. RICHARD MILGROM

Dr. Richard Milgrom is the Head of the Department of City Planning. He is an active member of the Faculty of Architecture successfully planning last years Atmosphere conference, Mediated Cities. He loves cities and is an avid user and supporter of public transportation.

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Give us a two-minute autobiography on the important details of your life so far.

I was born in England, just outside London. We moved to Winnipeg when I was nine – that was a culture shock. I spent most of youth until grade in Winnipeg and then I went out to Morden for high school. I came back to Winnipeg for undergrad in what was then called Environmental Studies. Thought I wanted to go somewhere else for grad school, decided I couldn’t go somewhere else for grad school, came back, started Masters of Architecture here. After a year, decided I couldn’t afford to stay here because I felt it was, at the time, dogmatic modernism. So I left here, took another year off, and then I went to the University of Pennsylvania for two years in architecture. I did my Masters of Architecture there, but while I was there I had an epiphany that the social issues surrounding built environment really mattered to me. Architecture alone wasn’t dealing with that very well, so a couple of us convinced the powers-thatbe in Penn let us also take a Certificate of Urban Design, which you weren’t supposed to do unless you already had a professional degree and we didn’t have professional degrees.

Then I went to Toronto and worked in architecture offices and had a similar professional experience to my academic experience, so I became more involved with non-profit organizations that were doing housing and social justice work.

Then I did my Ph.D. at York, and that was about urban design, culture diversity, and environmental sustainability. When I started that, I thought I was going to continue to be a professional, and all I was doing was informing my professional work. What I discovered in the process is that I could work with more organizations and people that I want to work with through an academic setting than I could in a professional setting where people had to pay me. Through studio work and through research funding, I could find ways to work with organizations that couldn’t really afford to hire planners or architects. I found

that I actually quite liked teaching and in the course of doing my Ph.D. I taught or T.A’d a number of different classes. I got a one-year job in California where I taught eight courses in three terms and didn’t do any more work on my dissertations. I didn’t make any progress but I learned a lot about teaching. Then I had two years in Buffalo at NYU in planning, but with some architecture students doing some interdisciplinary work. I finished my dissertation while I was there, but didn’t stay there. Another year in Toronto doing miscellaneous work, and a year in Minneapolis as associate director of the Design Center for Urban American Landscape. Then I came here.

How would you describe what you do to someone outside of the design world?

I think that most people don’t really know what planning is. First of all, we think that planners make decisions, which is the biggest problem because politicians make decisions, planners make recommendations. Most people think that planners are the ones that figure out where the roads go. Well in places like Winnipeg, they have something to say about that but actually the traffic engineers have way more to say about that than the planners. Planners do all sorts of things from figuring out densities and land uses and the allocation of resources, which is often about the physical and built environment.

But there’s also other planners who are doing things like working out housing policy; or working out environmental policy, which has much more to do with energy use; or affordability standards; or working out programs that will make housing affordable but has nothing to do with the physical design necessarily.

I try to put onto that an equity element that says there’s an element of justice that isn’t an allocation of resources in a way that is not benefitting just one group of people but is making everybody’s lives better in some way.

Whether that’s in the built environment or whether it has to do with physical policies or whether it has to do with

ecological and other policies, it’s not an easy one to explain.

How much influence have urban planners had over a typical North American city and how much should they have?

-laughs- Well, they should RULE! -bangs fist on table- In Winnipeg, I’d say they have very little influence. The politicians don’t listen to them, generally; a few of them do, but most of them don’t. I would say, and I’m just discovering this more and more, that even the reports that the planners are writing are being written for their political masters in a way that says they’re not really telling the whole story because they know what the politicians are going to do. I think they should be providing good analysis of proposals and they should be providing good alternatives for planning. In the design of the bus rapid transit system (BRT), for instance, I don’t think the city has ever really looked at putting the BRT on Pembina Highway because they knew they would get political resistance. A lot of people would think that wouldn’t make room for cars. We had a student who looked at that last year, and it was a really good thesis for his practicum. He actually made some good points about the development potential and the good that would come out of it. But what is influence? Planning is a process more than a product. There are “plans”, but in good “planning”, you come up with a plan and you keep revisiting that plan because the context within which you develop the plan doesn’t the exist the day after the plan has been developed.

How does the study of design differ from when you were a student, and is this a positive change?

I’m not entirely certain that this is right, but there seems to be far more emphasis now on letting students do whatever they want – that students actually define what the project is. That’s not the way things happen in the profession. Someone comes to you and says, “design me a fire station.” They don’t say, “here’s an unlimited budget. Look up the city and

decide what interventions would be appropriate. Go for it!”

I think we used to get much more focused when someone actually gave us a design brief and you get what the client would give you. “Here’s the design brief, here is the site, do something.” Maybe there’s a fear that somehow this stops creativity or stops theoretical exploration, but when you have a defined program it actually lets students get into depth that they often don’t get into now.

I find in watching students now that they spend their whole time messing around with the big idea, and they never actually test it. They never actually drill down and figure out and say, “well if this is the big idea, what happens when we get down to the doorknob?” A lot of the time, I just don’t see where the project is at the end of it. I can sort of understand what the idea is, but I don’t see how that resolves itself into a piece of design or a project, and I think that’s a shame.

That’s probably the biggest change that I’ve seen.

I’m actually interested in what the individual students want to learn and want to do and how their approaches are going to be different. I’m not interested in imposing an approach, but I am interested in seeing what the different approaches are on a site and what that means in terms of difference between proposals for their site. I think there’s something to be learned in that because if you’re just taking a section of a city and everyone’s choosing a different site and doing a different project, there isn’t as much to talk about between the approaches. You’re not seeing the different ramifications of the different approaches on the same site.

What do you do on your free time?

I read novels, I listen to music, I go to shows, go to the gym, make food, have dinner parties. Dinner parties are good things. Nothing like a little bit of food and a late night argument about something. I’m trying to resurrect an interest in photography, not just to illustrate what’s good and bad about cities.

AARON SHORT ALEXIS MILLER CAITLIN KOTAK CAROLE O’BRIEN CHRIS LARSON CHRISTINA MAES JENIFER PRITCHARD JONATHAN HILDEBRAND LAURA REMPEL MIKE FRIESEN ROBERTO GRANADOS ROBIN BEUKINS THANIA MORENO PALACIOS VANESSA LOZECNIK Chiapas, Mexico Indigenous Planning Cross Cultural Exchange

The Chiapas Intensive School on Models of Indigenous Development was a two week course and 3 day conference which provided an opportunity for students interested in Indigenous issues in planning and development to experience Indigenous planning first hand in Chiapas, Mexico. The location was chosen because of a rich indigenous and colonial history that is continuing to have ramifications to this day. Forty percent of the state’s population is Indigenous, and Indigenous culture is both proud and prevalent. Indigenous communities in Chiapas are in the midst of very tangible transitions with population growth, population exchange between the rural and urban centres and a strong Indigenous rights movement (including the Zapatista revolution).

Based in the city of San Cristobal de las Casas, the IPEX Field School involved inquiry into different contexts of Indigenous planning as presented by students and professors from participating institutions, as well as research into the local conditions of Chiapas. A three-day international conference supplemented the field school with academic, planning and community leaders sharing knowledge and experiences in: relationship and capacity building; reciprocal learning; and communication. The topics ranged from Indigenous planning theory, language, culture, natural resource management and place-making to community organizing. Student presentations and formation of student research groups from each institution facilitated cross-cultural communication and peer learning.

The IPEX Field School student groups conducted hands-on research with local community members on four key areas: landscape and natural Resources, economic activity, indigenous settlements, and culture and worldview Research for the landscape and natural resources section focused on San Cristobal’s water, including: access to potable water, the availability of water, and water quality. Nearby autonomous settlements control their own sources of potable water, and research and interviews revealed a mistrust of municipal water sources and a reliance on private providers for clean drinking water. This inquiry illustrated local adaptations to address poor water quality and that access to water was based on location.

The economic activity inquiry examined

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recent municipal efforts to relocate a central Indigenous market to a new site on the periphery of San Cristobal.

Proposed with little consultation and likely economically prohibitive for many current vendors, a forced relocation would potentially result in further marginalization. The giant orange structure constructed at the new market site stands in stark contrast to the existing market, which is integrated into the urban fabric. Informally organized economic activities are increasingly the norm in cities around the world, and planners must recognize this phenomenon as part of planning’s own process of decolonization.

For indigenous settlements, students had the opportunity to explore three indigenous communities: San Juan Chamula, where religious practices have been adapted from both colonial (SpanishCatholic) and Mayan traditions; Oventic, an autonomous Zapatista community; and the Mayan ruins of Palenque.

Relationships between communities on the periphery of San Cristobal de las Casas, including La Hormiga, were also explored and contrasted with the tourist-friendly urban core.

It was not known where conversations on ‘culture’ and ‘worldview’ would lead the study, but in the end it seemed more important that the journey itself become a fruitful struggle for shared knowledge.

The importance of understanding the philosophical and spatial relationships between values, beliefs, traditions and land tenure that are rooted in Indigenous communities were discussed. Today, the struggle for balance has turned into a struggle for freedom and control as Indigenous planning values continue to be suppressed by western planning values. Communicating experiences and truths on what has been, what is, and what will be and how to get there, define and shape reality. It provides an opportunity to share experiences, understand various perspectives, to redefine and realign knowledge and to find strength to move respectfully forward.

Towards the end of the Field School, students were collectively tasked with drafting an Indigenous Planning Statement, a manifesto of sorts to be presented at the end of the conference, which would summarize the experience and newfound perspective. This statement addressed four areas to consider in the decolonization of planning practices: planning as an institution;

the goals and objectives of indigenous planning; planning tools; and the role of planners. This was done from a collective understanding that Indigenous planning can only be practiced when driven by the values of Indigenous peoples, and knowing that the role of non-Indigenous planners is to create the conditions for Indigenous planning to grow.

Through the IPEX Field School, students gained invaluable insights and this knowledge and understanding will be a positive influence on future planning practices. The students were very grateful for this experience.

1.

2.

1. Main market plaza in front of one of many San Cristobal churches.

2. Informal markets dispersed throughout San Cristobal.

2. Palenque.

3.

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CAITLIN KOTAK JOHANNA WASHCHYSHYN MEGHAN NORMAN Mitchell Rural Municipality of Hanover

The planning in the Rural Municipality (RM) of Hanover thus far has been to accommodate growing families and a growing population. With population growth at a steady rate and many young families and children coming to the municipality, Hanover would benefit from planning for child- and youthfriendly, age-friendly communities.

Age-friendly communities are not only geared toward an aging population, but a framework for a community that is accommodating to people of all ages and abilities. This framework considers accessible infrastructure and housing, social opportunities and information sharing, transportation systems and civic participation. An age-friendly community is safe for all through good environmental design practices, such as integrated public spaces, lighting, sidewalks and active transportation networks safe from vehicular traffic.

Daily services and amenities should also be within walking distance for residents â&#x20AC;&#x201D; all connected by safe pathways.

With this framework we aim to promote development that encourages connectivity to community services and neighbours, through alternative subdivision designs and integrated pathways. We also would like to establish central business districts and public spaces that are accessible and well utilized. We are also encouraging the RM to engage the youth of the community in planning, place-making, and most importantly, in community visioning. Planning by a community will produce richer results than planning for

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a community.

Child-friendly cities promote the United Nations Rights of the Child as equal participants in society. We encourage the RM, parents, and schools to partake in educational programs that can benefit the community. Programs like agriculture in the classroom and community gardening promote health and education. Public art programs can display the work of the local schools, and be used in place-making practices to make each urban centre unique.

Creating signage and an entrance way to each centre could be local place-making done exclusively by the children in the community. Recreation opportunities could also be enhanced through integrated programming at the schools and arenas. These initiatives are smallscale and simple, and are inexpensive to partake in, especially with the long-term vision of the community as a whole to consider.

The purpose of the community designs is to promote a safe, healthy, accommodating and active lifestyle for all residents of Hanover.

A. Commercial infill extension.

B. 55+ Living Centre.

C. Apartment units.

D. Commercial and office units.

E. Green/open space.

H.

F. Six-plex units.

G. Four-plex units.

H. Duplex units.

G. E.

B.

F.

C.

D. A.

75+ 75+ 70-­‐74 70-74

1.

65-­‐69 65-69 60-­‐64 60-64

2.

55-­‐59 55-59 50-­‐54 50-54 45-­‐49 45-49 40-­‐44 40-44 35-­‐39 35-39

3.

30-­‐34 30-34 25-­‐29 25-29

1. Illustration of potential land rezoning in the center of Mitchell.

2. Bioswale pathway section. A bioswale is a small ditch that helps to control storm-water runoff.

3. 2009 Population

by Age and Sex in Hanover, Manitoba.

(Manitoba Health Report 2009).

Red represents females, blue represents males.

20-­‐24 20-24 15-­‐19 15-19 10-­‐14 10-14 5-­‐9 5-9 2-­‐4 2-4 0-­‐1 0-1

00

100 100

200 200

300 300

400 400

500 500

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CHRIS LARSON JILL COLLINSON SHENGXU LI Grunthal Rural Municipality of Hanover

Growth management in Grunthal must be done in consideration of local resources, economic concerns and quality of life. Preservation of productive agricultural land and natural areas, along with townscape enhancements, can maintain existing character while increasing values of future development.

Community consultations suggested that the recent growth in the Rural Municipality (RM) of Hanover will result in the southern expansion of Grunthalâ&#x20AC;&#x2122;s boundary. Sector mapping is a regional tool to recognize areas where development should (or should not) occur and identify logical directions for growth based on existing transportation, infrastructure, and natural resources (Tachieva, 2010). Forested and natural

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brush areas have been identified as a unique feature of Grunthal and can contribute to property values, provide windbreaks, and strengthen local character. Such environmentally significant lands, including watercourses and natural areas in need of rehabilitation, could be mapped as preservation areas. Once identified, natural boundaries can direct expansion and development.

Provincial Highway 205/216 runs through the centre of Grunthal, bisecting the town. The speed limit slows from 70 to 50 km/h between Cottonwood Road and Froese Road. Many businesses and commercial facilities are located along this section of road, such as Parmalat, Grunthal Welding and the Red Wing Diner. Despite the reduced

speed limit, there remains fast-moving vehicular and industrial traffic, often exceeding the speed limit. The incorporation of traffic calming measures need to be considered, as street safety is a vital contributor to a strong town centre.

Infrastructure adaptations including the reduction of lane widths, enhanced crosswalk signage and surfaces, boulevard medians, bump-outs, curb extensions and tree-lined streets can decelerate the flow of traffic.

with mixed-use development, as such strategies result in more efficient use of land and existing infrastructure, thus helping to reduce capital costs.

As increased population density can accompany infill, there is increased potential for new commercial businesses as demand grows. For community members, these types of development provide a walkable environment and increase the diversity of housing options and household types in Grunthal.

Proposals for Main Street, the town centre of Grunthal, focused on mixed-use and infill development to build a more vibrant town centre. Mixed-use development is considered a practical way to sustain land use and create a dynamic urban lifestyle. Infilling could coincide

3.

1.

4.

2.

1. A sight unique to Grunthal.

2. Future residential development around Grunthal should be clustered following conservation subdivision models. This ensures a high quality of life for residents and contributes to building a strong local character. As the distribution of potable water has been identified as a concern, development must be undertaken with a consideration of water resources and infrastructure.

3. During community consultation processes concern was voiced regarding park appearance as it is one of the first visuals encountered upon entering town.

For short-term solutions, recommendations include implementing attractive fencing and landscaping.

Longer-term recommendations include instituting design guidelines which create a more welcoming appearance.

4. Traffic calming measures.

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Dr. SHERI BLAKE (Sheri Blake sitting on her front porch) The good thing about this is when people ask me things, and then it’s over, I tend to just forget about everything that happened, so there will still seem to be a certain degree of spontaneity.

A brand new interview!

Dr. Sheri Blake is a professor in the Department of City Planning. She is an active participant in city development offering expertise to marginalized community groups in the form of planning, research and a knowledgeable political voice. She had to sit through a Warehouse interview twice, because we forgot to turn the recording on. Thankfully, she is enormously patient, and an excellent conversationalist.

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Editor: Scott Irvine

What are some important details of your life, and where did you grow up?

I grew up in Toronto, on the Scarborough Bluffs, climbing up and down, trying not to kill ourselves. I went to fashion school; Fashion design at Ryerson because I started sewing and making my own clothes at the time I was twelve years old. So by the time I got to Ryerson I was already making my own patterns and learning how to design. I was at the top of my class at school, and I spent a lot of time teaching the students who didn’t understand the teachers how to actually drape clothes on a body, how to design patterns, how to use materials, and sew. I eventually ended up leaving the school because I got into a big fight with the Director of the school over pedagogy (laughs) and then I had to find something to take! I really liked math, I really liked design, so I applied for three universities: Chemical Engineering, Architecture, and Industrial Design. I got into all three, and the only reason I didn’t chose Industrial Design was out of thirty students they accepted every year, only five graduated, so I though ‘nah, I’m not that good’ (laughs).

I thought Chemical Engineering would be kind of boring after a while, so I went into Architecture. I finished the first degree, started the second degree which was a term in Rome, and then I decided that I’d had enough of the Euro-centric focus of the design school so I left and went to work for an Architect in Papua New Guinea. That didn’t work out, so I went to Japan and started doing some research for a professor of mine in Canada. Came back in 1981, second oil shock, couldn’t get a job, applied to Columbia University for graduate school in Architecture, but I had no money so I went back to Japan and got a job with an Architect there and stayed. I planned

to stay forever actually, I had not intended to ever come back to Canada because I ended up getting married and having kids there. My husband was a candidate for Karōshi, which is death from overwork, he was working full time while I was working part time raising the kids and we decided to switch. I couldn’t get a job in Japan that would make enough money to support us in Tokyo because the cost of living was so high, so I started looking for jobs in North America, and that’s how I ended up here.

What was your childhood like, and how did it influence your movement towards a design career path?

That’s an interesting question!

It’s a new angle. (laughs) Ok! My dad was an inventor.

He had designed and built our house, he was very, very interested in design. (pause) I don’t know if that influenced me. When I first decided I wanted to go into Architecture, he would find every article in the newspaper to say why you shouldn’t do this (laughs), because you’re never going to make any money. Probably, I was influenced by his creativity. My dad was a real weird guy (laughs), (pause) made some really interesting inventions, nothing related to design per say. (pours the warehouse editors more wine) What’s your approach to teaching?

I think it’s really important to balance practice with theory. To contextualize the theory with the work I’ve done in the inner city. So I do a lot of story telling to try to draw out some of the applications of the theory to practice, and the limitations and opportunities that it offers.

What should students expect from their professors?

I think that it’s important for professors to show up to class on time, to deliver a competent curriculum, and to be responsive to students in the classroom.

I think there are some professors who shut down conversation, who don’t let

students explore critical thinking. I know it’s a struggle; you set up a lecture, and you want to make sure you cover all the material, but what I find is that it’s better to let the students take the discussion where they want to take it, and then send them the notes afterwards.

But students don’t read enough, and that’s a really frustrating.

Where do you get your enthusiasm for design?

I don’t know (laughs). I just love designing. I don’t know where the passion comes from, but I can’t stop designing.

If you put a pad of paper in front of me, I will find something to design. It’s fun! It’s challenging!

Where do you believe the balance is between digital and analogue?

This goes back to my experience at the University of Tokyo. The more students worked on the computer, the poorer the design work became, because they were trying to create a beautiful drawing rather than focusing on design details.

There is something more tangible about having a pencil in your hand and sketching out something on paper.

What causes within the planning profession really stir you, and what is your take on them?

Backroom politics really drive me crazy.

It usually results in additional infrastructure costs or just bad design that really makes an unlivable city. In design this relates to every level, some people feel a desperate need to control and in the process of doing so take power away from others. They feel only they can do a good job. This happens a lot in community development, it happens in the University, it happens in the city, it happens in a lot of different locations.

If you were to bump into someone at a party, and you had to describe what you do, how would you do that? (laughs) This is a really hard question.

As a planner, we always joke that you really can’t define planning because planning encompasses so many different

areas. I tend to contextualize things.

I would describe areas of cities that I think work really well and then talk about why design and planning matter.

What book would you recommend to every design student?

For Architecture, Landscape Architecture or City Planning students, Witold Rybzynski’s recent books, Last Harvest: How a Cornfield Became New Daleville: Real Estate Development in America or Makeshift Metropolis: Ideas About Cities.

What would be your favourite or your signature drink?

Red Wine Ingredients of your week?

There are three hours a week when I walk with a friend and the dog (Spunky, who has been wandering through the interview and occasionally objecting to certain questions), one hour when I do yoga, and beyond that it’s all chaos (laughs).

The last question is, what do you do with your free time?

Yeah, nothing (pause then laughs). Trying to get a life. Just say that, I’m trying to get a life (=

JONATHAN HILDEBRAND RYAN PARADIS JENNIFER PRITCHARD New Bothwell Rural Municipality of Hanover

New Bothwell is a small, unincorporated village that is expecting unprecedented population growth in the coming years.

After meeting with town stakeholders and listening to their ideas and concerns, we explored ways in which future development and growth could maintain the strong community spirit already present there, and help make the town a pleasant, walkable, and vibrant place to live.

For the prospective ‘new townscape’ and rural fringe on New Bothwell’s periphery, residential development is proposed that combines the tenets of agricultural urbanism and conservation subdivision design. The proposed development decreases in density nearer to the fringe of agricultural land, with the natural

open space on the development’s edge functioning as a buffer, and as a smooth transition, between urban and rural areas. This open space creates opportunities for community gardening, or for recreational use.

In the existing townscape there is little in the way of pedestrian infrastructure.

With two provincial highways intersecting in the town next to an elementary school, there is the potential to create dedicated walkways not only for children but also for all community members. Connecting walking, biking, and running paths to existing parks and green spaces is also important, particularly in the case of the community centre area, which functions as a year round social gathering place. Small-scale

A. Footpaths allow for connections between the north side of Park Bay, and the open rural space bordering farmland to the south. Footpaths also provide connections to Main Street and the west of town.

B. Spaces between larger lots provide views of rural land to the south, and provide a smoother integration between urban and rural.

C. Open space is publicly accessible, provides a rural edge to urban development, and allows people to interact with nature, maintaining close ties to the surrounding farmland.

D.

E. A.

F.

A.

D. Tree lined streets along the park and recreation area provide a pleasant environment for the denser multi-familiy units along the street.

A.

G.

B.

B.

D. Compact multi-family units.

E. Prairie grass and brush along the creek bed.

C.

F. Single family lots.

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G.

agriculture throughout the town fringes, combined with green spaces and possibly natural playgrounds, can help create an environment that is conducive to active living, and that is in tune with the agricultural areas surrounding it.

ment along the main streets and at the main corner could be located nearer to the street, and mixed-use development could become an option as population grows, and as more commercial opportunities arise.

The townâ&#x20AC;&#x2122;s main intersection at Main Street and Crown Valley Road is a geographic and social centre for the town, and could be developed into a strong town centre in the future. A canal for overland water drainage runs northsouth along Main Street, and could be incorporated into a pleasant and inviting town centre area. This could be accomplished with increased landscaping and the planting of trees along the canal, as well as by the installation of a boardwalk. Future commercial develop-

Conservation subdivision design is a residential development approach suited for areas surrounded by agricultural land or undeveloped land. The design objective is to maintain and conserve as much open space as possible without compromising the number of houses that can be constructed.

An important feature of conservation design is the fluid coexistence between residential development and the natural environment. Such an approach could be a good fit in the Rural Municipality

of Hanover, which is largely composed of agricultural land. Benefits include: quicker appreciation of homes; smaller infrastructure costs due to smaller lot sizes; a high quality of life due to the proximity to natural surroundings and open space; the possibility for increased social interaction within open spaces; and the conservation of natural habitat.

In Hanover, new developments on the periphery of existing towns that follow the principles of conservation subdivision design can help maintain the rural and agricultural character of the area, while still allowing for urban growth.

1.

3.

4.

5.

2.

6.

1. New Bothwell, the urban fringe, and the location for a conceptual new subdivision.

2. Potential new subdivision.

3. View looking southwest from the intersection of Main Street and Crown Valley Road (before).

4. View looking southwest from the intersection of Main Street and Crown Valley Road (after).

5. Location of potential subdivision, looking east along Bark Bay (before).

6. Location of potential subdivision, looking east along Bark Bay (after).

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ALEXIS MILLER CHRIS BEAUVILAIN LAURA REMPEL Kleefeld: The Land of Milk and Honey Rural Municipality of Hanover

The village of Kleefeld, meaning clover field, was the first Mennonite village in Western Canada and was settled in 1874. Kleefeld is known as the â&#x20AC;&#x153;land of milk and honeyâ&#x20AC;? with its primary agricultural industries revolving around dairy production and beekeeping.

We met with community members to seek insights on community assets, challenges, a vision for growth and an understanding of community identity.

With an anticipated doubling of the population by 2020, from roughly 750 people to 1500, the following suggestions can be considered for Kleefeld to grow in a healthy and sustainable way.

Community members identified the need for cohesive residential development plans that links existing and future

Topic areas considered while creating a long-term vision for Kleefeld included inter-community cooperation, growth management, multi-functional assets, economic incentives, and community identity. Proposals encouraged the integration of agricultural and natural elements in the town rather than just on the outskirts. Public recreational spaces providing intergenerational learning opportunities such as beekeeping, gardening, and preserving vegetables were suggested as well as expanding

1. Main street looking south.

1.

3.

2.

community assets and services. There was interest in increased diversity of housing types, recreation options, and a Main Street re-development as well as a marketing strategy to make Kleefeld a destination and not just a thoroughfare.

4.

2. What the main street could look like.

http://www.mymanatee.org/ home/government/departments/ planning/comprehensive-planning-section/imagine-manatee/ main/01/text_files/file0/Accessible.OldMa

3. A site plan of potential developments in Kleefeld.

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4. A site plan of the redesigned main street.

The proposed design keeps the street as two lanes, focusing on beautifying the pedestrian realm through trees. Hidden parking lots ensure storefronts are visible from the street.

recreational trails in proposed preservation areas.

The emphasis regarding residential development was a focus on existing resources and unification to the heart of the community. Encouragement of walkable neighbourhoods and less reliance on single occupancy vehicle use while in town fosters opportunities for interactions with neighbours. Urban and landscape design features such as a gateway, market square, banners, lighting, and edible landscapes would enhance the main street redevelopment through local history and culture.

The Province of Manitoba is intimately linked with water. The southern portion of the Province, including the Rural

Municipality (RM) of Hanover, sits within the Red River Basin. Water and water management are vitally important to the area, both in terms of agriculture as well as economic and residential development. Manitoba Water Stewardship has outlined a strategy, which calls for cooperation and investment from all levels of government and citizens toward healthy and viable water resources within the province. Protection of the environment is essential to sustain life but can also provide economic, environmental and social benefits for generations to come.

The RM must consider the many uses and ways of managing water such as storm water, agricultural waste, ditches, dikes, bioswales, biogas plants, and storm water lagoons.

TOWNSCAPE

Existing trails & social assets.

Existing water features.

Proposed recreational trails.

Proposed assets.

Proposed public greenspaces.

Proposed multi-family units.

334

335

336

STUDENT INDEX A AARON POLLOCK Cloud Pakistan School

ANDREA LINNEY 35 43

AARON SHORT Chiapas, Mexico

Galvanized Prarie Hortus Delicarum

178 199

ANDREW SCHLUKBIER 323

The Observatory

223

ADAM DUBYNA Cohesion Through Collision Neighborhood Matrix Urban Forest

188 183 187

ANGELA CHEN Latency

17

ADAM NOLETTE Sculpting Memorial Park

202

ADAM WATSON Carve Neighborhood Matrix Sedum Grow

189 183 177

Collaborative Workplace Polyp

Clearwater Wind Shelter

309 304 311

109

APRIL DAVID Immersed in Idleness (Part1):C Immersed in Idleness (Part2):E

AIMEE MAH Body as Both Object and Subject

ANNELIES WESTERBEEK

135 137

ARIADNA CHOPTIANY The Program - Edge of the Milieu

159

ALEX ALLEN 35.

259

Whisk Culinary Arts Education Center

ALEXANDER KRYLOV Dreamscape

25

ALEXIS MILLER Chiapas, Mexico Fort Richmond Kleefeld

337

AUDREY PLANTJE

323 319 333

285

B BING WANG Earth, Air, Water

BRITNEY BELL 173

A Speck of Green in a Sea of Gold

193

BLAISE LACHIVER The Observatory The Right of Way

223 207

BROCK KLASSEN Clearwater Wind Shelter Mobile Design Studio

BRAD LAFOY Earth, Air, Water Set Adrift on Prairie Bliss

173 201

Roofing

BRYCE REZANSOFF HOP Walk the Plank

BRANDON BERGEM Elevation

109 111 115 15 30

67

BRENT BELL Clearwater Wind Shelter Lighting Mobile Design Studio Puppet Theatre Roofing

109 113 111 107 115

C CAITLIN KOTAK Chiapas, Mexico Fort Richmond Mitchell

CATHERINE FREDERICK 323 319 325

CANDICE LUI Marché des Artes: Center for Sculpture and Painting

157

CHAD CONNERY 149

CAROLE O’BRIEN Chiapas, Mexico

Urban Network Station

Aersol Ecologies

153

CHELSEA SYNYCHYCH 323

Rock vs. Dock

247

CAROLINE INGLIS On the Edge of the Horizon The Regurgitation of Architecture

96 65

CHRIS BEAUVILAIN Kleefeld Osborne Village

333 315

338

CHRISTINE PLETT

CHRIS BURKE dwelling [?]

Vertical Shift Clock

83 95

CHRIS LARSON Chiapas, Mexico Grunthal Pinawa

307 311

S.N.A.P. Usagi

297 303

COURTNEI ROEDEL 15

CHRISTINA MAES Chiapas, Mexico

Polyp

CLARICE TO 323 327 318

CHRISTINA BOSOWEC HOP

Buffalo Gal Pictures

Walk the Plank

30

CURTIS KRUL 323

FMH_10-11 The Last Resort

208 225

D DARIUS DIAS

DANIEL DUFAULT Clearwater Wind Shelter Coast to Coast Mobile Design Studio Territory (in)flux

109 249 111 160

DANIEL NEVES Osborne Village

Clearwater Wind Shelter Coast to Coast

109 249 111

DAVID MURRAY PATON Auto_landschaft

99

40

DAVID KURY

Mobile Design Studio

315

DANIELA MANDARANO Interstitial Surface

Shelter

Plazas of Connection This is Not Just a Design Problem

195 179 175

DESIREE MCKAY DANIELLE LOEB Neighborhood Matrix Parker Steps

Faculty Kiosk

183 190

Karl

291 280

DARCI MADLUNG Buffalo Gal Pictures Polyp

307 311

E EDELMA MIRANDA Looolo

339

EMILEE TAYLOR 264

Page One Youth Library

267

EVAN JAMESON

EMILY JONES Cultural Prefabrication

54

287

Walk the Plank

Degradation Vs Generation

93

EVAN TREMBLAY

EVAN GOMES Urban Containters

150

EVAN KALLUSKY

ERIN RIEDIGER Neubergthal Brewery & Education Center

Üsküdar Divergence

47 30

4:12 AM

28

F FRANCES-ANN PENA HOP

15

G GENEVIÈVE JOYAL Le théâtre domestique

GRANT FAHLGREN 117

[Agro]polis Earth, Air, Water

197 173

GILL HEROLD Polyp

311

H HEATHER WALLIS

HAILEY DARLING

Corner Construction: Intimate Spaces

257

Stay

265

Dwelling

89

I IAN MACDONALD Auto_landschaft

IGOR CABRILO 195

O Lugar De Nossa Senhora

103

IAN STEPHENS Hub Neighborhood Matrix Parker lands This is Not Just a Design Problem

192 183 185 175 340

J JENNIFER PRITCHARD

JACQUELINE YOUNG Clearwater Wind Shelter Mobile Design Studio Roofing

109 111 115

JAG SINGH Mimic Recontain & Rebuild Scatter

New Bothwell Osborne Village

Broken Shelves Pistachio Popout Playhouse Stage

JAMES SIMPSON

Grunthal

Clearwater Wind Shelter Roofing Sunshade Canopy Floodway Mobile Research Station

Quad Revolution

Mitchell Osborne Village

109 111 115 114 112

JASON ARPAD EJZENBART Capullo

31 20

JASON HARE 249

Chancellorâ&#x20AC;&#x2122;s Hall Redesign Designing for the Senses

Neighborhood Matrix

Chiapas, Mexico Fort Richmond

Urban Forest

Sidewalk Thresholds

JORDAN PAULS Cubo do Feirinha da Madrugada

102 101

JORDY CRADDOCK 183 187

JAYNE MILES Door as Instrument

323 319 331

183

JAYMS LYON Neighborhood Matrix

301 295

JOHNATHAN HILDEBRAND

Gyroscope

JASREEN SIDHU

325 315

JOHN DEWOLF

New Bothwell

Coast to Coast

327 318

JOHANNA WASHCHYSHYN 199

JARRID CHRICHTON Mobile Design Studio

256 262 266

JILL COLLINSON 155

Pinawa

Hortus Delicarum

323 331 315

JESSYCA FAN 29 39 19

JAMES RUBIO Immateriell Geschichte

Chiapas, Mexico

119 120

Modern Home No.201: Living a Domestic Death

163

JUBRIL IDOWU Sleep Movement

11

JUDITH CHEUNG Butterfly Archipelago

JEFF KACHKAN JYSK Intervention

341

81

209

JUILA EVANCIO Float

JUSTIN LADIA 49

Get Lost, Little Man Why Not Lamp

278 281

K KELSEY CONNOR

KAELEY GOULD A Speck of Green in a Sea of Gold

193

Elevation

KAILEY KROEKER At Bay

Book Burning

78

59 61

KELSEY HALLSON Meandering Intimacy of a Winery

125

KAITLYN JARDINE Perch

269

KALEY LAWRENCE School for the Image Arts

299

31

[Agro]polis Urban Market

79

Faculty Kiosk Helping Hands Mennonite Camp Oakley

199

193

Liveliness & Quietude The Green Beanery

Latency

17

4:12 AM

28

KRISTIN SZUMINSKY

KELLIE D. WITZKE Emily Street Childrenâ&#x20AC;&#x2122;s Center

291 288 283

KRISTIN DEFER

KEEGAN KENT A Speck of Green in a Sea of Gold

197 180

KRISTA GOODMAN

KATIE BLACK Hortus Delicarum

75

KIMBERLY KORNELSEN

KATE JACKSON Mars House

House

KEVIN WIENS

KARA BURMAN Capullo

KELSEY ONCHULENKO

271 255 263

A Terminal Engraved in the Aerodynamics of its Place

151

KYLE WARREN Survival Tea Party Use-Less

51 36 27 342

L LANDON LUCYK A New Sport_129600° Boundaries Float Latency

LIA ABOLIT 33 12 49 16

The Last Resort

225

LINDSAY BIBERDORF Faculty Kiosk

291

LAURA REMPEL Chiapas, Mexico Kleefeld Pinawa

323 333 318

LAURIANNE PARENT Cloud Sleep Movement

Parker lands

35 11

Park(er)

The Hive

183 185

183 181 187

LINDSEY SALTER Clearwater Wind Shelter Integrated Body

LEA REMPEL Neighborhood Matrix

Neighborhood Matrix Urban Forest

LEE ANN BOBROWSKI Neighborhood Matrix

LINDSAY GRESCHUK

Mobile Design Studio

109 169 111

LOGAN SENICAR Auto_landschaft

195

183 191 LORI FOSSUM

LEAH M. RAMPTON If a Tree Falls...

Outdoor Cinema

130

233

M MARIE E. LEVESQUE

MALLORY ENNS Submerge

38

MARIA SYROEZHKO (cawp us) Retooling Survival

235

If a Tree Falls...

233

MARK VAN DORP 21 37 53

MARIE CAREY Memorial Garden

Emergent Future / Emergent Landform

A Shifted Reconstruction Axial Rearrange

89 71

MARSHALL VERBRUGGE 203

Use-less

27

MEAGHAN KUSYK A Section through the Omniverse Experimental H20 House

343

57 77

MEGAN WILSON Sculpting Memorial Park

MICHAEL BLATZ 202

Faculty Kiosk

291

MICHAEL BUTTERWORTH Catharsis

MEGHAN NORMAN Fort Richmond Mitchell

Dreamscape

319 325

MELISSA NEIRNICK Neighborhood Matrix

MELISSA VASCONCELOS AMID Winnipeg Centenial Concert Hall

MICHELLE TUSTIN O-Cap Pon Park

183 279 289

45 25

Memorial Garden

205 203

MIKE FRIESEN Chiapas, Mexico

323

N NADINE LOWES Earth, Air, Water Set Adrift on Prairie Bliss

NICOLE SHEWFELT 173 201

Float

NICOLETTE LAYNE Polyp

NADINE BURNER Songs of Wine and Winemaking: Vertical Viticulture and the Ear

127

49 311

NURGUL NSANBAYERA Corner Construction La Bibliothèque: Public Library

258 272

NICOLE HUNT Art Barn

60

NICOLE LESKO Little Deer Ranger Camp Starlight Luminaire

275 284

O OLIVIA FUNG Clearwater Wind Shelter Mobile Design Studio Roofing

ONILEE ZABORNIAK 109 111 115

Darkroom Usagi

302 303

344

P PIAO LUI

PAUL DOLICK Getting Ideas In All Directions

142 139

Bench Shelter

22

PAULO CASTILLO Clearwater Wind Shelter Mobile Design Studio Roofing

109 111 115

R RACHELLE KIROUAC Neighborhood Matrix This is Not Just a Design Problem

ROBYN ARNASON 183 175

Use-less

ROBYN LARSEN Survival

REBECCA WONG Rubbish

27 44

152 ROSEMARY ELLIS House

REHANNA HARTUNG Polyp

311 ROXANE GRATTON

RENEE STRUTHERS Such Great Heights

261

Neighborhood Matrix Parker lands

Osborne Village

145

House

ROBBIE BELTON 17

ROBERTO GRANADOS Chiapas, Mexico

ROBIN BEUKENS Chiapas, Mexico Pinawa

345

323 318

63 73

RYAN PARADIS New Bothwell

323

315

RYAN MARQUES Boxcar

Latency

183 185

RYAN EIDICK

RICHARD CHIANG Oxbow Project

91

Pinawa

331 318

S SAJUN HAUPSTEIN 4:12 AM

SHEILA YONG 28

SAMANTHA BERTRAM Shadow Box

In Between

277

SHENGXU LI 86

Fort Richmond Grunthal

319 327

SOUK XOUMPHONPHACKPY SARAH CLOHERTY The Last Resort The Sports Line

225 211

Winnipeg Centennial Concert Hall

214

Y2D + Dowsview Park

Canada Malting Silos

227 215

The Observatory

Sleep Movement

217 223

[Agro]polis

163

Plain Plane

SHAWN STANKEWICH Concrete Poetry Waterway: Playing with Water in Downtown Halifax

249 241 242

11 197 175

STEPHEN MUIRHEAD Neighborhood Matrix

Coast to Coast

219 202

STEPHEN HIMMERICH This is Not Just a Design Problem

SHANNON WIEBE Modern Home No.201: Living a Domestic Death

Sculpting Memorial Park

STEPHAN DENISET

SEAN GALLAGHER Gardening on the Gardiner

290

STEPHANIE MCKICHAN

SCOTT IRVINE Philosophy, Ethics, and Aesthetics

143

STEPHANIE HILL

SARRY KLEIN Finding, Disturbing, Awakening

Antiotic Infratecture: Extended Market

This is Not Just a Design Problem

183 182 175

STEVEN GAIRNS “Natural” New York City

133

T TAMARA NYYSOLA Buffalo Gal Pictures Polyp

TAMARA URBEN-IMBEAULT 307 311

Demonstration Parking Lot (U-lot) Winnipeg Inland Port

231 239

346

TAYLOR HAMMOND The Fairground and the Riverbank

TIFFANY LEONG 72

Seasonal Winery Vertical Staircase Apparatus

TINA GIGLIOTTI

TAYLOR LAROCQUE Harbour Square Park Memorial Garden

221 203

Trainsformation

292

A New Sport_129600° IceScape Latency Survival

THALIA ANDREGLOU Dreamscape Sleep Movement

25 11

THANIA MORENO PALACIOS 323

33 18 16 48

TRENT THOMPSON Elevation House

Chiapas, Mexico

69

TRAVIS HAHKALA

TETYANA SALAPATA Revit Drafting & Rendering

129 124

64 85

TREVOR COUTHARD Studio Space

13

V VINCENT HOSEIN

VANESSA LOZECNIK Chiapas, Mexico

323

The Kensington Market Project

213

VIKKI DRAPEAU Observing and Experimenting with Decay

123

Tailoring Patterns

121

Y YING GUO Collaborative Workplace

YURICHORONG SEO 304

YU FUNG CHAN 4:12 AM

28

Z ZEPHYRA VUN Clearwater Wind Shelter Mobile Design Studio 347

109 111

Theater in New York

118

348

SPONSORS

349

5.

6.

1.

7.

8.

9.

10. ÂŽ

11.

2.

3.

4.

12.

1. The Manitoba Association of Architects.

2. Smith Carter.

3. Friesen Tokar.

4. EQ3.

5. Carlyle + Associates.

6. The Mosaic Company.

7. Stantec Consulting.

8. 5468796 Architecture Inc. 9. Hilderman Thomas Frank Cram.

10. LM Architectural Group.

11. Dean Spearman Landscape Architect.

12. PIDM

Dean Spearman Architect

The Professional Interior Designers Institute of Manitoba 350

ACKNOWLEDGEMENTS It takes the support and commitment of many people to put Warehouse together. Even the smallest contribution helped to make this book a little bit better.

to get a glimpse of life in the faculty.

Justin Ladia

Caroline Inglis

For the awesome party you will help plan for the launch of Warehouse Journal Vol. 20!

For your critiques, and advice. Thank you for going through the book with a magnifying glass and identifying all of our late night spelling mistakes. I know we’ve made you nervous all summer, but I hope that you’ll agree we pulled through in the end.

Cindy Jackson

Katie Black

For sleeping by the phone so that you could help us edit our proposal at 5 a.m., and for driving all the way to Winnipeg to go over every square inch of this book, making sure that the spelling and grammar were perfect.

Chris Leigh and the CADLab

For helping us to troubleshoot our troublesome computers.

Donnovan Bergman

For your commitment to the Warehouse Journal since Warehouse 15. Friesens has been unbelievably good to us, patiently teaching each generation how to put together a book.

Doug Clarke

For your friendly words, your confidence in us, and your guidance in approaching sponsors.

The Dean’s Office

For your continuing generous support and funding.

Frank Fantauzzi

For recommending us for the job.

Herb Enns

For opening up a new market for this book and finding a way for the students in the first year of Environmental Design 351

For helping us in the proofreading process, and doing it without too much sass.

Dr. Marcella Eaton

For agreeing to be our advisor, and providing valuable advice on complex issues.

Robbin Watson

For answering every little question that we barged into your office to ask, and helping us with all things financial.

Scott Irvine

For donating a little bit of your spare time to lighten our load.

Sean Gallagher

For helping us to find a starting point in this enormous project, and helping us find the ISBN!

Shawn Stankewich

For visiting every once and a while and boosting our confidence.

Stephen Muirhead

We promise not to ever put you in the same room as us again. Thank you for your tasteful and honest opinions, for being a tie breaker when the occasion arose, and the ability to tell us if we’re going down the wrong path. Thank’s for being with us since the beginning.

Jae-Sung Chon, T. Jeffrey Garcia, Deborah Ann Scott, Dietmar Straub, Dr. Sheri Blake, Lancelot Coar, Nancy Maruca, Ralph Stern, Dr. Richard Milgrom, Dr. Marcella Eaton, and Eduardo Aquino Thank you for putting up with our questioning and cameras. A special thanks to Dr. Sheri Blake, who had to go through the whole thing twice when the recording failed to work.

Everyone who submitted their projects

You make Warehouse possible year after year through your commitment to this publication. Please keep submitting ever year you are in this faculty!

MUSINGS To get out of this florescent, cinderblock, de-oxygenated, broom closet would be a blessing to breath the fresh, crisp, fall air, and watch the squirrels natter at the leaves fluttering to the ground. Time has stood still in here, and in my mind, I have just sheepishly exited the classes of my ED3 year. Somehow, the next school year has begun along with the now routine cycle of events, so familiar, and yet paradoxically different.

New faces, new projects, the studios move from the empty state of summer, to the cluttered and hasty mobile condition of creativity. My eyes see an overlay of the two conditions and I am reminded jarringly of how quickly time moves on.

A twenty-year tradition of editors has proceeded me. Editors of 18, and 19 commiserate, “this is the hardest time,” they say and pat me on the back. The book is a construction of countless hours of work through excitement, joy, boredom, and apprehension. It lays now in pieces, like a 1000 count puzzle, and I can only hope that it will come together in a fashion that best represents the passion, the craft, and the skill of this faculty.

It has not dawned on me that the end to this monolithic project is near at hand.

And at the end I am gratefully reminded of the genuine human spirit. Those friends of this project have drawn closer at the end, offering a helping hand when it is desperately needed, tying off lose ends, proof-reading, critiquing, and just offering help, I cannot thank you enough.

Warehouse has been a dream of mine for two and a half years now, a dream that was only realized through the help of my enigmatic partner. A person I only truly met at the launch of Warehouse XIX, through a mutual friend (Stephen Muirhead). Ian, I never thought we’d make it this far. It’s been nearly one year now since we shook hands on this deal. Thank you for always being the optimistic, go-getter, and never being afraid of diving into what needed to be done, thank you for putting up with my

friendly reminders, and thank you for being an incredibly fascinating person to sit beside all summer.

Katie Jackson

with someone who is easily distracted, and for making this summer memorable.

Ian Stephens

I have never been one for long projects.

I tend to lose interest on endevours that stretch in both time and scope.

I’d rather complete a series of smaller, faster works than put myself in for long haul undertakings. At the end of this process, i will have been putting my efforts towards Warehouse 20 for nearly a year. An entire year. I understand that this can be considered a short amount of time for a book, but to me it has seemed like an eternity.

I am assured however, that i will always be able to look back on this time with satisfaction. While my memory affords me the oppurtunity, i must be honest with myself. I have not enjoyed every minute of it. Far from that. It has been a struggle, a pain, and a burden.

Warehouse, like any large project, makes you its captive. It steals your time, your energy, your very being it seems. You grow to hate it. You try to avoid it, but are unable to escape.

The time you have invested traps you completely.

Yet i know these portions of my experiance will fade, and i will be left with the gifts of this involvement. It is because of these gifts that i know i will put myself though future ventures with confidence.

There are probably three main reasons I’m in this position today: Impulsive action. I tend to make large descisions based on very little thought, with the naive attidue that i’m capable of anything.

Hard work. Once i have bitten off more than i can chew, i am blindly compelled to finish.

Kate Jackson. I could not have asked for a better partner for this project. Thank you for matching my own stupid enthusiasm, for having the patience to work 352