ARCHIVE 2021 by RSID Year End Show

graduate publication school of interior design

© 2021 Ryerson School of Interior Design's Year End Show Committee All rights reserved. All works, photographs, drawings and other content are courtesy of students and faculty. All content is copyright of the respective creators and is reproduced here with permission. The committee has made every effort to see that no inaccurate or misleading information appears in this publication, and is in no way liable for the accuracy of any content. Reproduction of any information without written permission of the publisher and respective students is forbidden.

TABLE

CONTENTS

04. Concept statement from 2021 Year End Show Committee.

06. Messages from the chairs of YES, Nehaa Rahman & Kristen Romano, Charles Falzon, FCAD, & Lois Weinthal, RSID.

08.

40.

Synopses of the professors and studio teachings from the Fourth Year studio, Interior Design 700.

48.

12. Synopses of the professors and studio teachings from the Fourth Year studio, Interior Design 800.

16. Afshari, Dayan Alkeyat, Nora

24. 36.

Bautista, Daniela Beckett, Monica Beingessner, Holly

Gao, Lin Georgieva, Liliya Glass, Kaleigh Gordon, Iszana Greene, Nya Krystien Grundy, Robin

72.

Hong, Eunbin

76.

Jensen, Kristen

80.

Chen, Xingyu

Ebsworthy, Rebecca Ellero, Daniela

Kerry, Liane Khalil, Sarah Khouri, Jessica

128. 92.

104.

136. Lan, Michelle Leung, Charissa Leva, Celeste Li, David

Miller, Shauna Morshedi, Elham Murdoch, Taylor

176. 116.

Nisbet, Elizabeth

188. 120.

Patel, Pooja Pavlovska, Simona

Rodrigues, Diane Romano, Kristen

Sharaf, Elinoor Sicat, John Sills, Alica Sinclair, Liam Smeets, Sydney Spafford, Lindsay Srikanth, Swetha Sun, Erika Sun, Yihanna Sung, Jimmy

Tocher, Lisa Trinchini, Laura Trinh, Jessy

Yakubova, Alexandra Yan, Amy

196. List of 2021 graduates and a message from the 2021 YES Team.

198. Thank you to our sponsors.

CONCEPT STATEMENT Design has always had the power to affect human experience, and redefine outstanding social norms. In these times of great change, we share the responsibility as designers to revise, reform, and renew the shifting paradigms in our current social, cultural, and political reality. Ryerson’s 2021 Year End Show, Re-vision, responds to these new paradigms and strives to forge new narratives that influence a positive difference in the community. The show bridges the digital and physical realms to establish a platform where the designers of the future can push forth new paths that are inclusive, barrier-breaking, and revolutionary. RSID's Year End Show (YES) is an annual exhibition of student work from all four years. Typically, our Interior Design building transforms from an educational studio space into a gallery showcasing a diverse collection of projects and installations. As an eagerly anticipated industry and public event, YES becomes a platform for students to celebrate their accomplishments, create connections, and establish themselves within the evolving industry. This year the Committee has decided to make the most of our current global circumstances and restructure the way YES traditionally takes place. We have expanded our platforms virtually to make sure our voices are heard and listened to, experiences are seen and acknowledged, and stories are told to educate and implement. In efforts to fulfill this mission, the YES 2021 Committee hosted Ryerson School of Interior Design’s first ever Digital Design Festival, a five-day event starring, keynote speakers, tutorials, round table discussions, and daily features in support of our local charities and business community. We encourage you to join in on the conversation to bring change 1.

21 1. Romano, K., & Rahman, N. (2021). Re-Vision 2021 Year End Show. yesrsid.com .

LAND ACKNOWLEDGEMENT The area known as Tkaronto has been care taken by the Anishinabek Nation, the Haudenosaunee Confederacy, and the Huron-Wendat since time immemorial. It is now home to many First Nation, Inuit and Métis communities. We acknowledge the current treaty holders, the Mississaugas of the Credit First Nation. This territory is subject of the Dish with One Spoon Wampum Belt Covenant, an agreement to peaceably share and care for the Great Lakes region. Settlers have not upheld this treaty and Indigenous Peoples across Turtle Island continue to resist settler colonial genocide at present day. Settlers, our responsibility is to honour the Dish with One Spoon Treaty and seek out ways in which we can act as accomplices in the resistance of 2 settler-colonial genocide .

ANTI-RACISM STATEMENT Racist comments and racist acts, no matter how subtle, can no longer be ignored or tolerated in Canada. We must make an effort to be actively anti-racist – to call out inequality and to challenge prejudice and bigotry even when it does not affect us. Even the most subtle forms of racism contribute to the conditions that permit overt racism and violence to occur. Now is the time for all Canadians, but especially non-racialized Canadians, to listen, learn and reflect on how white privilege and systemic racism contribute to injustice and inequality in this country. We need to look inwards and have the courage to challenge our biases, fears, assumptions and privilege. We need the courage to have difficult and uncomfortable conversations and to take action. We also want to recognize that if this is the first time you’re hearing a land acknowledgment or anti-racism statement and it doesn’t mean anything to you yet, that’s okay. Us saying these pieces are really just the first step. We encourage you to do your own research and reflection and discover what these acknowledgments 3 and statements might mean to you .

2. City of Toronto. (2019, July 5). Land Acknowledgement. City of Toronto. https://www.toronto.ca/city-government/accessibilityhuman-rights/indigenous-affairs-office/land-acknowledgement/. 3. Anti-Racism Statement . Statement – It's time to step up to end racism. (2021, April 14). https://www.chrc-ccdp.gc.ca/en/ resources/statement-its-time-step-end-racism-0.

C0-CHAIRS 2021 YEAR OF END SHOW, RE-VISION

KRISTEN ROMANO

NEHAA RAHMAN

We are pleased to carry forward last year’s graduate publication initiative, Archive, and spark the beginnings of a tradition at the Ryerson School of Interior Design to celebrate our graduates and their years of hard work, dedication and accomplishments. We would like to present Archive Issue 21 for this year, which continues as a publication to encompass the high caliber of work that the Graduating Class of 2021 will take with them into the world of design and workforce as the designers of our future. Congratulations to the graduating class of 2021! Despite the challenges of this past year, we did it! We made it WKURXJK DQG VXFFHHGHG ZLWK ê\LQJ FRORXUV 7KLV \HDU HVSHFLDOO\ ZH KDYH ZLWQHVVHG DQG VKRZQ WKH ZRUOG WKDW ZH are resilient and determined to make the best out of the circumstances given to us and not only that but exceed expectations. We managed to simulate studio culture as much as we could by banding together via a variety of virtual platforms from Zoom to Miro to Discord. We hope we can all reunite in person soon to celebrate together. 7KH VWXGLR DOO QLJKWHUV DUH RYHU EXW RXU MRXUQH\V DUH RQO\ MXVW EHJLQQLQJ ,W LV WKH VLOYHU OLQLQJV WKDW ZH FKRVH WR focus on this year and we would like to thank you all for shining bright and being a part of the silver lining. We would like to wish you all a prosperous and opportunity filled future within the industry and beyond! We encourage our readers to view this issue through the lens of envisioned change for a more inclusive community that celebrates the intricacies of intersectionality in all its forms. It begins with the individual self, and ends with the collective whole to make change possible. As designers yourself, we encourage you to take a moment to XQGHUVWDQG WKH FXUUHQW HYHQWV WDNLQJ SODFH LQ WKH ZRUOG DQG FUHDWH FKDQJH DV \RX êRXULVK /HWÍV DPSOLI\ YRLFHV so they are heard and listened to, experiences seen and acknowledged, and stories are told to educate and implement. <(6 &R &KDLUV Kristen Romano & Nehaa Rahman

CONGRATULATIONS! 06

CONGRATULATIONS FROM

CHARLES FALZON,

DEAN

FACULTY OF COMMUNICATION AND DESIGN Congratulations on graduating from FCAD's prestigious Interior design program! You've reached a huge milestone in your life and in your academic career. You should feel very proud of how far you've come since you first stepped foot at FCAD and the School of Interior Design. 7KH FROOHFWLRQ RI ZRUN LQ WKLV ERRN LV D WHVWDPHQW WR \RXU KDUG ZRUN dedication and refined creative talents. FCAD is where you came to learn and grow, and now it's time for you to apply what you've learned to shape the future of your field. Go forward and make your mark. We're cheering you on and we can't wait to see the amazing work you'll do as proud FCAD alumni!

LOIS WEINTHAL,

CHAIR

SCHOOL OF INTERIOR DESIGN &RQJUDWXODWLRQV WR WKH &ODVV RI 7KH ZRUN RQ WKHVH SDJHV UHYHDOV your achievements since arriving at the School of Interior Design. You are graduating at a historical time as the interior has proven to be more VLJQLILFDQW WKDQ HYHU DQG WKH SURMHFWV LQ WKLV JUDGXDWLRQ ERRN VKRZ WKH thoughtful and considerate approaches to design making you poised to be our future leaders. As you move forward on your path, remember to stay connected to your classmates and all of us in the School of Interior 'HVLJQ 7DNH DOO WKDW \RX KDYH H[SHULHQFHG LQ WKHVH \HDUV DQG EULQJ \RXU vision and knowledge to shape our environments. We look forward to seeing your achievements as you set a path for future years to learn from. On behalf of all of us at Ryerson School of Interior Design, congratulations!

MESSAGES! 07

PROFESSORS! I R N 70 0

I R N 70 0 I R N 70 0 I R N 70 0

TAYMOORE BALBAA Taymoore Balbaa is the recipient of 2 major national awards, the Prix de Rome for Emerging Practitioners and the Young Architect Award (awarded by the Canada Council for the Arts and the RAIC respectively). He received his Masters of Architecture from the University of Waterloo and won the 2004 RAIC Medal for his graduate thesis. He holds a Bachelor of Environmental Studies from Waterloo, and also studied architecture at Universitá Gabrielle D'Annunzio in Pescara, Italy. He co-founded AXIA Design Associates in 2010, building a body of work that includes cultural centres, educational buildings, places of worship, infill housing, and social housing.

LORELLA DI CINTIO As a child of immigrant parents, pursuing a career in design could only be viewed as challenging. Questions asked at the dinner table - what will you do for others who cannot afford your work? These questions became my design narratives. First, to diversify design. Second, to activate the socio-political. Working with First Nations communities in Canada, Mexico and Guatemala taught me to listen and learn from others. The range of design topics explored: acknowledged the importance of the makers and users of interiors, heightened awareness about Food-Security, and the pursuit of a social-political agenda in the arts and design. Design Activism.

I R N 70 0

PROFESSORS!

CATHERINE DOWLING &DWKHULQH FRPSOHWHG D 0DVWHU RI (GXFDWLRQ DW 8QLYHUVLW\ RI 7RURQWR following degrees in Architecture and Environmental Studies at University of Waterloo, a degree in Interior Design at University of Manitoba and study at Arcosanti in Arizona. As a practitioner and academic her teaching, research and practice is founded on design and construction excellence, design thinking, with an emphasis on WKH SURFHVV RI PDNLQJ &DWKHULQHÍV DFDGHPLF UHVHDUFK H[SORUHV SUH FRQWDFW SRWWHU\ IURP WKH *UHDW /DNHV UHJLRQ WKH UHODWLRQVKLS EHWZHHQ making, culture and learning, the realm of the handmade and impact of kinesthetic creation on the processes of critical thinking, education and cultural design literacy.

CINDY RENDELY Cindy Rendely is a registered architect with the Ontario Association of Architects. Prior to becoming an architect, Cindy trained and practised DV D JROGVPLWK MHZHOOHU DQG PHWDO DUWLVW &LQG\ 5HQGHO\ $UFKLWHFWXUH LV DQ DZDUG ZLQQLQJ GHVLJQ VWXGLR ZLWK D IRFXV RQ DUFKLWHFWXUH LQWHULRUV landscape, and product design. Cindy has a continued interest in designing DQG GHWDLOLQJ DW DOO VFDOHV 7KH VWXGLRÍV QDPH URRWHG LQ WKH ZRUG ÏWH[WXUHÐ UHLQIRUFHV WKH VWURQJ VHQVH RI PDWHULDOLW\ LQKHUHQW LQ HYHU\ SURMHFW $Q\ potential Client who is interested in working with the studio is interested in the craft of building and the making of beautiful things.

BARBARA VOGEL Barbara Vogel received her Masters of Science in Architecture at the 8QLYHUVLW\ RI 7HFKQRORJ\ LQ .UDNRZ 3RODQG 6KH KDV SXUVXHG KHU SURIHVVLRQDO career in Poland, Finland and Canada. She was a Design Director in Arthur (ULNVRQ $UFKLWHFWV RIILFH LQ 7RURQWR LQ FKDUJH RI WKH &DQDGLDQ (PEDVV\ LQ Washington, DC. Currently she is a partner in the Vogel Architects Inc, the Design Director for Canadian Embassies in Berlin, Germany; Seoul; South .RUHD DQG 7KH +DJXH +ROODQG HPEDVV\ SURMHFWV DUH D MRLQW YHQWXUH ZLWK other architectural offices), Pharaon Mountain Development in Egypt and Southlands Development, Bermuda. She received the Ontario Association of Architects 1999 Award of Architectural Excellence for the experimental 6XPPHU 5HWUHDW 3URMHFW 3URIHVVRU 9RJHOÍV SURMHFWV KDYH EHHQ IHDWXUHG LQ various architectural magazines in Canada and abroad.

STUDIOS

BETWEEN WORLDS: FROM INNER SOUNDS TO SACRED SPACE TAYMOORE BALBAA

INTERIORIST INTERVENTIONS AND ARCHIVAL STRATEGIES LORELLA DI CINTIO

For many, music and sound has been a channel to these inner spaces, and allowed for emotional and visual states of movement while physically static. Music and sound will be central to the Studio, and will propel your spatial explorations in direct ways. At the same time, the need to imagine and work towards new interiors for social, physical, DQG LQWHOOHFWXDO H[FKDQJH UHPDLQV IXQGDPHQWDO 7KLV SURMHFW DVNV WKDW you aspire towards interiors of a high order, and that you employ sound DQG LWV LQWHUSOD\ ZLWK PDWHULDO OLJKW DQG YROXPH LQ WKH FUHDWLRQ RI D ‘Sacred Space’.

7KH ODQGVFDSH RI WKH FXUDWHG LQWHULRU ZLWKLQ WKH LQVWLWXWLRQDO VHWWLQJ PXVHXP KDV FKDQJHG HVSHFLDOO\ GXULQJ WKHVH UHFHQW WLPHV ,W LV crucial to take stock of the different possibilities when addressing the VSDFHV EHWZHHQ WKH PHPRULHV RI WKH DUFKLYH 7KLV QHZ PHWKRGRORJ\ is substantially expanding critical discourse on the interiority, the LQVWLWXWLRQ DQG WKH DUFKLYH 7KH VWXGLR H[DPLQHG WKH FKDOOHQJHV IDFHG by two American museums and one Canadian museums’ exhibitions LQ WKH V 7KH VWXGLR WKHQ EHJDQ UHYLHZLQJ PRUH UHFHQW ZRUNV KLJKOLJKWLQJ SURJUHVVLYH FKDQJH ZLWKLQ WKHVH PXVHXPV WKH SLHFHV E\ +XUOEXW 0RQNPDQ DQG 0XWX ZRUNLQJ ZLWK PXVHXP FROOHFWLRQV DQG interiority.

OBJECTS, CULTURE, MEUBLES, PLACE, TIME. CATHERINE DOWLING

SMALL MEDIUM LARGE CINDY RENDELY

LEGACY OF THE PAST BARBARA VOGEL

7KH LQWHJUDWLRQ RI PDWHULDO FXOWXUH ZLWKLQ LQWHULRU HQYLURQPHQWV is a compelling vehicle for place making while simultaneously communicating and transferring cultural ideas, design thinking and the tacit knowledge of craft, materials and processes. From the French word for furniture, based on the root of the word moveable, meubles UHPLQGV XV RI WKH WUDQVLHQW QDWXUH RI REMHFWV DQG LQWHULRUV WKURXJK time. Making, process, custom design and detail is the focus of this studio with exercises that encourage and integrate analog and digital methodologies.

7KLV KROLVWLF DSSURDFK WR GHVLJQ DOORZHG WKH RSSRUWXQLW\ IRU GHVLJQHUV to work at all scales. Arguably, one cannot speak of architecture without considering the interiors and vice versa. Each informs the RWKHU (YLGHQFH RI WKLV WKURXJKRXW KLVWRU\ LV SOHQWLIXO 7R XQGHUVWDQG this concept fully, students will study, analyze and produce a body of work that exemplifies the possibilities of successfully designing at all scales.

7KLV \HDU RXU QHZ UHDOLW\ KDV QRW DOORZ IRU VWXG\ DEURDG +RZHYHU DV the initiative’s momentum is strong we will continue our partnership ZLWK WKH WRZQ RI &RUWRQD 7KH WRZQ RI &RUWRQD LV FURZQHG ZLWK WKH Fortezza Girifalco a magnificent legacy of the Medici’s time. Cortona 217+(029( WKH PDQDJHUV RI WKH VLWHÍV SULPDU\ JRDO LV WR WUDQVIRUP the Fortezza into an international centre for the arts, however, they are looking for new innovative suggestions and ideas for how the Fortezza could operate in the future.

PROFESSORS! I R N 80 0 I R N 80 0 I R N 80 0 I R N 80 0 I R N 80 0

JONATHON ANDERSON Jonathon Anderson is an Associate Professor of Interior Design and Director of the FCAD Creative Technology Lab at Ryerson University in Toronto, Canada. He holds a Master of Fine Arts in Furniture Design from Savannah College of Art & Design and a Bachelor of Science in Architecture from Southern Illinois University. His work explores how industrial manufacturing and CNC technologies influence the design and making processes. From this non-traditional process emerges a provocative, complex design language that visually communicates at varied scales and emphasizes corporeal and phenomenological experiences. To Jonathon, making is not only a practice but a form of critical thinking.

FILIZ KLASSEN Filiz Klassen is an artist, researcher and Professor teaching at Ryerson University, School of Interior Design since 1997. Her research emphasizes materiality with a focus on adaptability of architecture and interiors to improve built environments' impact on climate change. She has received industry and government funding for her project Malleable Matter: Material Innovations in Architecture (2005-2010) (Research/Creation grant from the Social Science and Humanities Research Council of Canada, and Integrated Projects Grant from Ontario Arts Council).

I R N 80 0

PROFESSORS! ADAM KOLODZEJ

One of many enthusiasts and admirers of beauty of life and that of an HPRWLYH VSDFH WLPH %URXJKW XS LQ FXOWXUDOO\ DQG VSLULWXDOO\ VDWXUDWHG DWPRVSKHUH RI WKH PLOOHQQLXP ROG FLW\ RI .UDN³Z 3RODQG LQ WKH WUXH centre of Europe, he strongly belongs to the world of his own beliefs. 7UHDVXUHV SDVW PHPRULHV DQG WUXVWV WKH IXWXUH 7HPSWHG WR FDOO KLPVHOI an Artist in Scenography; an ability to encompass theatre, film, interior design and architecture areas in service of our emotional, perceptual QHHGV +H WUXO\ YDOXHV KLV 3K' LQ )LQH $UWV IURP \HDUV ROG $FDGHP\ of Fine Arts, Cracow, Poland.

BRIGITTE LUZAR %ULJLWWH /X]DU LV D GHVLJQHU DQG HGXFDWRU ZKRVH UHVHDUFK IRFXVHV RQ environmental and human health. She has worked in the offices of 7KLUG 8QFOH 'HVLJQ DQG .RKQ 6KQLHU $UFKLWHFWV ZLWK ZKRP VKH H[HFXWHG VHYHUDO SURMHFWV UHFRJQL]HG IRU WKHLU LQQRYDWLYH VWUDWHJLHV 6KH UHFHLYHG a Master of Architecture, Bachelor of Architecture and Bachelor of )LQH $UWV IURP WKH 8QLYHUVLW\ RI 7RURQWR DQG KDV WDXJKW DW 8QLYHUVLW\ RI :DWHUORR DQG 8QLYHUVLW\ RI 7RURQWR DV ZHOO DV 5\HUVRQ 8QLYHUVLW\

LINDA ZHANG /LQGD =KDQJ LV D UHJLVWHUHG DUFKLWHFW OLFHQVHG DGYDQFHG GURQH SLORW DQG DUWLVW 6KH LV D SULQFLSDO DQG FR IRXQGHU DW 6WXGLR 3DUDUDXP DQG DVVLVWDQW SURIHVVRU DW 5\HUVRQ 6,' +HU GHVLJQ UHVHDUFK H[SORUHV memory, cultural heritage, and identity as they are indexically embodied WKURXJK HPHUJHQW WHFKQRORJLHV LQFOXGLQJ 95 DQG $5 PDWWHU DQG PDWHULDO SURFHVVHV +HU ZRUN KDV EHHQ H[KLELWHG LQWHUQDWLRQDOO\ LQ &DQDGD *HUPDQ\ ,WDO\ -DSDQ 6SDLQ WKH 8QLWHG .LQJGRP DQG WKH 8QLWHG 6WDWHV LQFOXGLQJ /RQGRQ )HVWLYDO RI $UFKLWHFWXUH 0LODQ $UFKLWHFWXUH 'HVLJQ ([SR *ULIILQ $UW 3URMHFWV (ULH &DQDO 0XVHXP 7RURQWR 2IIVLWH 'HVLJQ )HVWLYDO DQG 7RN\R *DOOHU\ $

STUDIOS

ROBOTIC 3D PRINTING FURNITURE DESIGN JONATHON ANDERSON

BUILDING WITH WASTE FILIZ KLASSEN

Creative scholars are increasingly investigating integrated design and URERWLF FRQWURO PHWKRGV IRU DSSOLFDWLRQV LQ RQ VLWH GLJLWDO IDEULFDWLRQ and bespoke digital prefabrication, to reimagine the possibilities of LQWHULRUV DQG GHVLJQ 7KH VWXGLR H[DPLQHV WKH ZD\V LQ ZKLFK URERWLF arms have transcended their traditional role as performers of the monotonous tasks of mass manufacturing and instead be a creative WRRO IRU WKH SURGXFWLRQ RI FUDIWHG DQG XQLTXH ZRUN 7KH VWXGLR GHVLJQHG DQG SURWRW\SHG ' SULQWHG IXUQLWXUH XWLOL]LQJ WKH .XND URERWV LQ WKH &UHDWLYH 7HFKQRORJ\ /DE DW )&$'

7KH WHUP $QWKURSRFHQH D QHZ JHRORJLFDO HSRFK KDV EHFRPH widely used in circles from science to art and design, to describe our insurmountable capability to change Earth’s climate and HQYLURQPHQWDO WUDMHFWRU\ 2QH YHU\ YLVLEOH LVVXH FRPLQJ RXW RI WKHVH discussions is the amount of solid waste that we generate around the world, over two billion tonnes annually. A design culture based on the exhaustion of natural resources that favours a take/make/waste attitude is threatening the social and environmental ecologies that DOO KXPDQ DQG QRQ KXPDQ EHLQJV UHO\ RQ IRU VXUYLYDO 7KH JRDO LQ WKH Building with Waste option studio is to pursue conceptual and practical H[SORUDWLRQV ZLWK DQ LQWHQWLRQ WR XVH OHVV UH XVH DQG XS F\FOH ZDVWH as a renewable resource for interior design.

EMOTIVE SPACE ADAM KOLODZEJ

THE SPACE OF ILLUSION BRIGITTE LUZAR

FUTURE INTERIORS OF WFH LINDA ZHANG

We, the designers, are artists/philosophers of Emotive Space formation. We are the ones willing to explore and express in a spatial form the relations between human emotions and space. Emotive Space is the true dramatis personae of our life. It represents a highly integrated system; a group of components connected by their mutual attractive forces. Sequence of action, critical to the appearance of Emotive Space includes: addressing ethical as well as aesthetical challenges, defining the ‘script of space’ by creating dramatic nodes, and following the V\QWKHVLV DQDO\VLV V\QWKHVLV PHQWDO SDWK ZLWK XQGHUVWDQGLQJ WKDW analysis is a product of an intellect and synthesis coagulates emotions.

7KLV VWXGLR IRFXVHG RQ IRUPDO H[SUHVVLRQ 6WXGHQWV H[SORUHG VWUDWHJLHV which might be employed to challenge human perception through space/form making and material selection, carefully considering visual language and visual effects, working with the fundamental characteristic of the physical world. Students began with a concept RU LGHD WKH\ ZLVKHG WR H[SORUH DQG SURSRVHG D SURMHFW WKURXJK ZKLFK they would pursue their investigation.

7KLV ,51 VWXGLR H[SORUHV FDVWLQJ DV DQ LQGH[LFDO SURFHVV ZKLFK FDQ elicit both memories and empathy for nature. An indexical cast can be XQGHUVWRRG ERWK DV D SK\VLFDO REMHFW EXW DOVR DV D YLUWXDO REMHFW )RU example, casts can be physically taken from the surface of mountains with natural latex molds, or they could be virtually taken off the surfaces of leaves and trees through 3d scanning. Using cast traces as the starting point for interior design, this studio will also experiment with ecological casting materials such as bioplastic.

DAYAN AFSHARI

VERSACE EXHIBIT

# %% &+ #

$ ) % $ #* #$ $ $! # * % !% #% & % *# % $ $! # % $ ! + % % $ #' $ % $ ( $ % % ' * % $ # % * #$ % # & &% % ! $% %* * #$ ( $% # &$ #$ ( % $ ) ! *# % $ &$ #* % # % $ &$ # # % $%# ! ' $ % #$ ( * # % # & #$% ( * &#% # ( * # % # !# ' % $ #* % "& %% #$ $ ) % ($ & $%$ % )! # $ ' # &$ $ % # % &#% # * & )! # # % % # % # % !$ %( % ! #% % $ $ # % % # ! % ! $ ' % & &$ * % & % &% ' ( #$ # # % ( % % ! ) %* % *# % # # % % $% & #$% % ) % $ % + $ # ' # % #$ $ ( $ % &$ % % $ !$& % ( % *# % &#% # # % * &% % ! #% % $ ( % % $! $ # % * &$ %*! # ! *# % $ % % ( $ % !& % # ## $% * * ( % % # $ % * # $ % # % ! % % ($ &$ #$ % ' ( % # ! % %# '

) % $

NORA ALKEYAT ! # ! ! # $ ! ! ! # " ' ! ! ! ! # # ! $ " # $ & # " ! ! !" & ! & " ! & ! ! & ! ! # ! ! & ! # ! # ! !" % ! " "! & ! ! # ! ! $ & ! ! ! ! ! ! !& " !& " !" " $ ! " ! % ! !

GROWTH ! " # ! " " ! # # ! # # ! # # "

! !

Growth

DANIELA BAUTISTA

EPICYCLOID The cross-discipline of robotic applications and digital fabrication is at the innovative forefront of design, by exploring the different robotic control methods and applications the entire design and production process can be reconsidered and challenged. This project's objective is to explore large-scale 3d printing off an interior object using the KUKA150 industrial robotic arm and custom end of arm tooling. This project aims to view robotic fabrication as an available toolset in the production of intricately crafted work. Epicycloid consists of the exploration of 3D printing a single continuous line on the same plane and letting the extrusion material fall onto a constructed substrate, adding the element of gravity. The final interior object created will consist of a light fixture, and the exploration will be done through the study of intersecting linear and radial grids that inform each other. The linear grid will inform the rectilinear volume of the substrate that the extrusion PLA material will fall onto, and the radial grid will inform the extrusion path of the robot. In multiples of 40, the linear grid will expand outwards and the radial grid will expand inwards, creating a higher density in the centre of the extrusion, and also creating an opening for the light cord set that holds the light fixture.

Course Code IRN /800 Contributers Jonathon Anderson Design Type Digital Fabrication

Top piece resting on top of the bottom piece, not secured.

HEMMA White Cord Set, IKEA Securing piece at the bottom

LED Glove Opal White Bulb

PLA Material + Blue Colourant

! # $ & # ! ! ! $ $ ! ! ! ! " & " ! ! ! ! $ ! & ! " ! & ! # !& ! $ # ! "! !& ! # " % ' " ! ! " %

&('" # ' $ -- & "% (&

&('" # ' $ -&('" # ' $ -- %"'$ "' (& &('" $ --

MONICA BECKETT

PROXIM As the understanding of the connection between nature and wellbeing becomes more widely understood, the ways in which nature can be brought into the interior through less obvious techniques becomes more critical. Using bioplastic casts of amethyst crystals, the oppositional relationship between work and nature is disrupted. Nature is brought forward from the sole backdrop of leisure activities into an office environment, allowing for a moment of pause and mental retreat. A transient space is created, which produces connections to its surroundings through either physical openings in the form, or varying transparencies of materiality. The hexagonal crystal system of the amethyst is utilized throughout the space, as surrounding partitions and furniture follow the same tilted angle of the hexagonal bioplastic form. Both ends of the form are open, providing a clear sightline to the exterior at one end. A gradient of visibility is used in order to create a more obvious transition between interior and exterior, as the transparencies of walls act in opposition to the density which surrounds the passageway.

Course Code IRN 800 Contributers Linda Zhang Design Type Workplace Design

" & #&! "( & #&

$ -' !# + ' " '' &- (# ( $&# ( ' ( $& ' "(' ( (&) '( & $& ' "( ( #" # !- #&! ( ! ( & (- " # #)& ' !#'( )& ( " ( ' ! ' ' + ' $&#* " '$ #& + " " ( ! & # " ()& &#, ! '# )" ( #"' ' (+ & ( " " ( "( & #& )' " ( " & "( ' ! (& "'$ & "( %) ( ' # ( #$ '( ! ,()& # )(( & - $ $#+ & " '$ &) " + ' )' (# * ( ' " ()& # #)& " ( #$ '( "

) " ,#"#! (&

( & & "'$ & " - '(' & (# &

" & #&! ,( & #&

& ) ( #" ( " ' & !

( #"

# ! &'$ ( * +

# ! #$ '( "( & #&

! % % * #$ ' #$ %* $% #% $ ! $$ # $ # % % !&#$& # # % !# ' ' #* * ' #$ )! # % * #$ $% # * # (% ' ! % % * )! # % ' ' # % * ! $$ # ( % $&$% $ $ ( % # & * &#% * # !# %$ % # % ' % ' $ &% $ % % ! $ ( # ( % &%&# % $ % % # % % & % ' # % % $ % % # &# # % $ ! ( % %&# $ ' # %$ # ! ! % % # ' ( # $ # % % # $ $ #( # % % & # ! % $&$% $ $ &% $ % !# ' "& %* $ # "& %* ! $ % ' * ! % $ %* * $$ #

* $$ # $ %%!$ ((( * $$ # %%!$ * $$ # ( )$ % ! #%

HOLLY BEINGESSNER

MOMENTS OF PEACE

Course Code IRN800 Contributers Linda Zhang

This design intends to promote wellness in the workplace by creating moments of peace in the office. The moments aim to attain a sense of calm and connection to nature, embraced by water, allowing any stress, frustration, and any other negative feelings to float away. The space consists of three meditation rooms with a contrast of partition material. Some partitions are bioplastic moulded in the shape of waves from Lake Ontario. The other partitions are painted white and are soundproof to provide a surface for the reflection of the waves to cast on as the sunlight shines through the side windows and skylights. Integrated behind the bioplastic partitions are transparent, adjustable LED panels to ensure employees have the opportunity to meditate at any time of the day. The LED wall panels and the rest of the power in the office are solar-powered. Each meditation room is unique in its shape and meditation strategy to suit all employees' needs and preferences to ensure relaxation. The meditation rooms provide a space with no distractions encouraging workers to focus on their health, de-stress, and appreciate nature. The incorporation of nature into the built environment reawakens the positive connections between people and nature.

Design Type Office Design

! $ ! ! # ! ! $ $ " " ! ! ! $ ! " ! & ! & ! ! ! !" ! " ! $ ! ! ! ! ! & ! "! ! ! " ! ! ! ! ! & ! ! ! "! ! ! ! ! ! ! %! ! !

& ! ! " $ ! ! ! ! ! ! ! & ! # ! ! ! "! " ! ! ! ! # & ! " ! " "! ! & ! ! " # ! $ ! $ !& ! ! ! "! # " ' ! ! ! ! ! # " ! " & $ # ! $ $ & ! ! ! # " ' ! ! $ & $

" ' !

! ! ! !

! # #! "" "

! "$ ( #

$" # #

! % !

& & #! # # "

"# !# #

' #

# ! !

&# ! !

STEVEN XINGYU CHEN

THE SPIRIX Project Brief With the development of digital technology, digital fabrication is more frequently seen in furniture design and robotic fabrication has become a new popular trend in the design industry. In this project, students will be developing their furniture pieces by modeling with Rhino/ Grasshopper and printing with an industrial robotic arm. Inspiration Designed by Mark Hemel and Barbara Kuit, Canton tower is the world's tallest TV and Sightseeing tower. Canton Tower is Canton's most iconic building and would represent the 20 million inhabitants counting the metropolis as a developed and progressive city. The world's tallest TV tower reaches 600m in height and is hoped to attract 10 thousands visitors daily. The architects goal was to design a slenty free-form tower with a rich and human-like identity that would represent Canton City's prosperity and excitement. The structure consists of an open lattice-structure, built up from around 1000 nodes and the same amount of connecting rings and bracing pieces. Basically the tower can be seen as a giant 3D puzzle of which all 3300 pieces are totally unique. The idea of the tower is simple. The form, volume and structure is generated by two ellipses, one at foundation level and the other at a horizontal plane at 450 metres. The bottom ellipse is bigger than the top ellipse. These two ellipses are rotated 135 degree relatively to each other. The tightening caused by the rotation between the two ellipses forms a waist and a densification of material. The rotation from the bottom to the top is where my design idea came from.

Course Code IRN 800 Contributers Jonathon Anderson Design Type Furniture Design Digital Fabrication Design

"& $ +" &

# , ! + +" &+

'( "&

%% " $ "&

',,'% "&

$ , &

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

REBECCA EBSWORTHY

BLOSSOM

Course Code IRN 800 Contributers Linda Zhang

FROM TREE TO BLOSSOM Blossom explores the use of integrating biophilic elements of texture and materiality into our interiors through object. The material texture, casted from a tree to take advantage of nature beyond its aesthetics, to develop a vibrant series of bioplastic plinths. Blossoming colour adds liveliness to a space, with the additional element of light by the flick of a switch to play with the effects of light & shadows, texture & colour. Blossom is small yet impactful in a modern way to reconnect interiors to nature through object.

Design Type Furniture Design

% 0&!" ,# 1%" -)&+1% 4"/" &+!&3&!2 ))5 * !" 1%" * / )&+$ ,# 1%" &,-) 01& 4 0 % +! -,2/"! * (&+$ " % 0&!" % 3" &10 ,4+ 2+&.2" * / )&+$ "##" 1 %" -)&+1% 0 #/ *" %,)!0 1%" &,-) 01& 0 #,/* !" #/,* /5)& !,4")0 1% 1 1 0 1%" ,+"0 ,# 1%" -)&+1% 20"! 1, # 01"+ " % 0&!"0 0%""1 ,# &,-) 01& 1, 01/&- )&$%10 4"/" !!"! /,2+! 1%" #/ *" 1, /" 1" 1%" )&$%1&+$ &*"+0&,+0 ,# 1%" )&+1% "+$1%

&!1%

"&$%1

&+ ) )&+1% & $/ *0 &+ ) )&+1% )&1 4%&1" )&$%1 &+ ) )&+1% )&1 -&+( )&$%1 &+ ) )&+1% )&1 -2/-)" )&$%1 ) "! &+ #,/"01 ,++" 1&+$ , '" 1 1, * 1"/& )&15 ,/&$&+

DANIELA ELLERO

CONNECTIVITY IN MULTI UNIT HOUSING

!$ !'% % $ & $ & ) %" % ( ! & ( & ! ! ! %! % $! % $% " $% ' $% $!' & $ &% ! ! ! + & ! %% % & %' '$ !! ! & % & !'% $ % % ! * & ! & "!$ $* ! !) $ %" %& $ % !$ !'% % ! & % %! * !$ %" $ %!'$ % ( "'$"!% % !'% "$! &% * %!' & & $ !'$ !! % %' % &! ! !'& $ ( & ' !$&' & ! & %" % &! !%& $ ! & ( &* & & $ & % ( ' ! ' &* "$ ( & ! % "' " $ % & $ * $!%% & "! )!' " ! & !$! &! % &! & $ !) ! ' & % % ) % !& $%

% "$! & % !& %&' * $ & #' ! ! ' &* !$ $ & $ & !'% !$! &! % ) % !""!$&' &* &! $ %! ( %%' % ) & & !'% $ &

!'$% ! ! &$ '& $%

% *"

# $ # $ %# # $ ' # '# " $ $ $ %$ " " ' #$ " $ ( # " # #$"% $%" # ' $ $ $ % $# # #% # * ) $ & " $ ) " #$ " ) % # ' # " $# %$ $ "

$ '# $ $" $ #$ ' " % $) %# ' # ) $" $ # # "# # & $ $ # $ " % $ " $# # $ # %"" $ ) $ ) %# ( ) " $ % $) %# ' # " % $ $ % $) & $ #$ "# % !% # $ " "$) " & " $ "# $ " # # $ $ ' " # # $ $ % # " " * "# " $ ' "" " " # " ## "% # " % $ " $ " $ ( $ $" '

!$ # & "

&( ! ''

'' #

" !- # ( "

* $& # ( " / #(&- ! * # '% ( # # ! )# &-

# # &$$"

+$& '%

' )# ( ! # ' "$& ( * '% ' ! ( ! * # # # # '% ' ($ ( & # #* !$% # ( " + ( )( ! ( ' ! ( ( # # ! )# &- ' )# ( !'$ ' '() $ '% + ( '!$% &$$ ! . # # $&%$& ( # !)' $ -! ( % # " ' ( & $& % $%! ($ '( - $## ( ($ ( & & &' &$" $" $& # # + $&" $ # $" '() $ '% * &' ( ! #$) ($ %&$ & "" #($ $" $ # &( '(' '() $ # ! ( # #' '() $ $& + ( * & ( ( # #( ' & ' # #( &# ! #(& # ' + !! ' # ,( &# ! #(& # %&$* '' $& ( ( # #( "%!$- ' $& %$( #( ! )'($" &' # ! #('

#(&- ! * # '% ! )# &-

# # ( #

&$$"'

' ' $) ! '($& - )# ( + ( # #( &# ! '( & ' ' # $& '" !! " !- ! * # '% ' $) ! ( & + ( ! & + # $+ $# ( &'( !$$& # '!$% ! . # $# ( &$$ ! # %! # * &( ! & )! ( $# ' !$ ( $# ( % & " ( & $ ( ! * # '% + ( )'($" #( &( #" #( #(& # '$ +$& # &$)# ( & # $ (' %$+ & &$$" ! )# &- &$$" # ( $# ( ( ! % $# ' ( * ( ( $&& $& ($ ( $% # ( # # # # &$$"

LIN GAO ! ! ! ! ! !

! !

FLOATING DAY

! "

! " ! !

! !

! " ! " # # $ " ! # " # $ # # ! !

# " " $ " ! $ ! $ " ! $ " " ! " " " " ! " # $ # $

LIN GAO 500812848 LIN.GAO@RYERSON.CA IRT501-051

NOTES:

utilitary room

pump

Operatable Transluscent Perforated Screen

pool

Float Room

exercise space aerial flow yoga

shower

locker

bench

utilitary room pump

pool

Float Room shower

locker

DRAFT No.

Date

FEB.28, 2021

bench

utilitary room pump

pool

Issue/Revision 1

juice bar Float Room shower

locker

bench

reception

utilitary room pump

Glass Partition Columns

pool

Float Room shower

Benches

locker

bench

utilitary room pump

pool

Key Plan

Float Room shower

mechanical room

locker

bench

Project Name Enter address here

Title:

Unnamed Scale

1 : 50

Drawing No.

Floor Plan L-1

LILIYA GEORGIEVA

TRANSCENDENCE

Course Code IRN 800 Contributers Adam Kolodziej

Transcendence; the feeling of the extraordinary, to go beyond the boundaries of the natural world. Off the coast of Venice, and within the Laguna of the Adriatic Sea lies the small and abandoned sanctuary of the Madonna del Monte Isola. Slowly disappearing, yet frozen in emotion, the life of the island is captured in the immortality and eternity of the glowing moon cycle. While the phases of the moon illustrate the rhythm of time and the encompassing aura of mystique surrounds the full moon, a focus on the physical bridge to the metaphysical is encountered. Holding the spirit of the island so elegantly as floating above the flooding water. The seven moons in the configuration of the shining Pleiades star cluster expressing the death of the Madonna del Monte. As time transitions entering one stage to another, a full moon appears, held in the sky by it's reflection in the waves below, only to grant a new beginning.

Design Type Experiential Design

! # ! $

" % ! #( " ! # " % !( #$! # # " # " & ! % # # $ % ! & ! $ #( # ! $ " # " % ! " "#! ( & # $#$! "# # ( " # " # " " # # # ! $ " ! ! "" "#! " & # ! ( # $ # % # # #!$ # "$! # #$! # "# !" # # ! (# # % # ! & " # $

# $ ' ! ! # " ! " " # # !# $ # ! % # ! #" " ( '# # % & # ! $ # " " # # & # # ! " " #( #! " !# # # #! ' ! " # & ! " # " #" $ # # #

% # ! & " # ! #"

KALEIGH GLASS

LABYRINTH

$ && ', $

% #$" & ) % ( + !%# $ + $ $$ ! % !%& & "! )"$ ) & "$& ! %& + '% ! " ! & "! " +$ !& ! '! ! #%+ " " + & "$+ ) !& &" $ & ! !%& & "! & & %# +% & # % % "! " % & $"' !& $! + ! "$ $ &" % ' #& ) " & + $ % # $%"! ! $ #$ % !& & % "'$! + ( $+"! " % & $"' ! & $ $ !& %# % & '% $ )"' ) & $"' $ #"% % #&+ $"" % &" +"' & ! %&$ & + "'& & %& % ) %' "!% "'% + " & $"' ! "$ $ &" $ % !% " ) " ! %% % # $%"! "% %& % $ % %' & # $%"! & % ") ! ( ' & "! ! & % # $%"! % & % %" "! #'&% "! ! "$ $ &" " ") %" &+ !"$ % * $ & ( $% "!% " "'$% ( % ! "$ $ &" "!( ! "& $% ) $ ! & & $$ # "# & # $&% " "'$ # $%"! & % & & ) $ % " "$ $ %% " % ") % & $ % " "! % # $%"! &+ % ") " "! % % $ & %# &% ) ""% &" $ & ! $ #$ %% ! "$ $ &" & !&" %" &+ !"$ % % % %" ) $ +"'$ & "$ & !%& ! &% $ ! ! ( ' & "! % & %& ) $ "! !"$ + *# $ ! % & ! ! " &" & & % & ! %& ! "! % % "'$! + ! & % %& # $%"! " % #& ! &") $ % & # $&% " & $ # $%"! &+ & & % & ) " & + $

!%& & "!

$ ' ) "

) %# $ )" $ % !#) ) $ ") ' $ $ " $ #$ $ $ $ #! )# $ ! # # # $ " % $ " ) " " $ # % !$ ' $ ) " # ! "# " !" # $ $ # %" ) & ") # $ " % $ " # !" $ ' # & ) #! " ) " "" !" # % !$ " #$ # # #$ $ # " ) " $ ' $ "$ #$ % $ $ # ($ " " %" $) $ # "%#$ !! " # " $ ) $ # ! # $ $ $ " $# !" $ $ & ) " $ $ !" $ $# #$ $ #! " "" # "" " $ #$ $ "$ $ $ ' # $ #$ $ $ # ' ' # $ $" & #$" $ $ ! ) #$ ! $ ! " !$ $ ) $ # % !$%" %$ $ $ " & " $ # " ""

( $"

# # " # ! # ! " # # # # # # # #

ISZANA GORDON

EDUCATION REDISCOVERED

Course Code IRN 700 Contributers Lorella Di Cintio

'Education Rediscovered' is a proposed interior installation designed with the intention to reveal the shortcomings of the Ontario Primary Curriculum and expose the need to decolonize the education system. The design is intended to mimic a cave-like experience, to provide the user with a feeling of discovery as the lack of African and black history is figuratively and literally buried in the system and must therefore be rediscovered. The project site is adjacent to the OISE Library: Canada's largest academic education library. The choice in location of this installation, along with its intent, is used as an ironic tool. Each tunnel projects the contents of one primary level text selected from the OISE Library collection. Each story was found in the historical, cultural or social category of the curriculum in search of discourse that publishes black and African history in the Canadian diaspora. While each text depicts a piece of black or African history, it shows the limits in the curriculum. Often, black and African historical discourse is reserved as a segment of the curriculum rather than an inherent makeup of history. The stories mostly cover the topics of slavery, racism and colonialism as a thing of the past rather than a residual component that continues to plague society. I believe if the correct and relevant history of colonialism and racism is revealed in the classroom to the most impressionable members of society (children), there is hope of dismantling systemic racism.

Design Type Installation Design

& $ &' % ! !! %" *% - +

( &'$ % ! #' !. , %&!$* " & & ! "& ( % ( ) ! % % ) * &! $ ! "' %

- ' & ! % !( $ . %" *% & $ " % ! & $ &'$ !' & & $ ! ( '$$ ' ' !$ $ ) !! % " % %&$ & $ $! ! ! !$ $ * * $ ! "' & ! & $!' !'& & (!* & $!' & ( &' % & & % ! $ & $ &'$ ! $ % * %! * ! % !'% '& ! !& & & & & & & $ % )!$ &! ! % & %&$ '& ! !

$ % !'$% & ! % $ & ! ! & & ! & "%* $%& &' % & & & ! * &! & & ! %&!$* "$ !$ &! % ( $* % ! &' "$! &% - $ %&%. ! $ " ! & ! ! & ( % ( &% ! %&!$ $% & $ !( & "' %

!'$& &' "$! &% - !'& $ ! $ & " & ! * . "' % %&!$* & "% &! & &$'& ! $ ! #' &* '$ .% " & ! ) & & & & !$ $ + $!'"% ( $ & % % & $ % "$! $ %% ( !( & &!) $ !$"!$ & "!% & ( $* & $ &'$ !$ $ % !'$% & %&!$ % & %&!$* &! %&$' & $!' % ( $* & & % !( $ ! '& % &! $ %% %&!$ %*%& $ % & & ! & ' % &! &$ & %! &*

' '!" ! !! " #" " " $ "! #" ( " !" & !! " $ "' " " " $ # " ! ! ! $ # %! " $ % & ! ! " # ! " " # # ! #" ! ' '!" $ # ! !" " " "# " #" ! ! ! " " & " "! ! ! % ! !#!" ! ! # ! !! "! ! !# " # " ' !"# ' " !! "

NYA-KRYSTIEN GREENE

ISLAND RETREAT HOUSE

! ! "

! ! " " " "

" ! " ! " ! "

! " "

,)", ''$(" $ ", '

# - & . !), .# -& ( ., . #)/- $- *./( 3 *./( 3 $- -' && 3 &) . ( , )(" -& ( $( # # ' - *./( 3 $- -+ !. # & (".# )! .# 3 $- !. 1#$& .# 1$ .# )! .# 3 $- !, # -)/.# -$ )! .# 3 $- )0 , $( &/-# ' (",)0 - 1#$& .# )* ( - $- 0$-$ & )( .# (),.# -$ *./( 3 $- $( &)- *,)2$'$.3 .) .# . && ,$- $,*),. ( ' ,$( #$- -' && $-& ( -$. 1 - -., . "$ &&3 - & . !), .# &$ (. - $. *,)0$ - -* !), -/-. $( & !)) *,) / .$)( $-)& .$)( ( , .$0$.3 / .) $. - .,)*$ & .')-*# , .$)( , 1$("

# *,)", ''$(" $( &/ - ( ,. -./ $) )!!$ -* 3)" -./ $) "3' -/ ( 1 -#,))' ,))' &$0$(" ,))' " , ( ( %$. # ( #,)/"# .# /- )! /-.)' & ," !),' . -&$ $(" )),- .# ,. -./ $) 3)" -./ $) &$0$(" ,))' ( ,))' &&)1- !), .# &$ (. .) # 0 -.,)(" )(( .$)( 1$.# .# -/,,)/( $(" ( ./, ( " , (- * # ' $( !) & *)$(. )! .# #)/- $- .# & ," /-.)' -&)* ,))! # ,))! $(. ", . - .# #)/- $(.) .# & ( - * # /,0 - 1$.# $( .# ,))! , . - 0 ,3$(" # $"#.- 1$.#$( .# #)/- #$- , . - - (- )! *,$0 3 $( .# ,))' ( ", ( )* ( -* $( .# &0$(" ,))' ( %$. # (

-. & 0 .$)( , 1$("

ROBIN GRUNDY " ! % $ ' & ! %&' !& ! !& $ "$ % ! & & + $%"! "" " !& $ "$ % ! ( ! #'$%' % ! & $ " # & "! " "$ " $& %&"$+ $" ' ! % ! ( $% &+ " ! % # %% "! & "'& % ! & & % % &" %" ( #$" % ! *# ! # "# % # $%# & ( % % !& $ %& ! !& $% & "! % ! %" '& "!% & & $ %% &" + % %%' % ! $ ! & #"& !& ! & %# % ) ! & " ! ( % & & % ! ! "! + "" & % "$ ( $+"!

CHANGE ROOMS In ! ! Canadian museum culture ! and '$ &"$ curatorial #$ & practice, ! '% ' ' &'$ there is a lack of indigenous voices in permanent & $ % " ! !"'% (" % ! # $ ! !& leadership $" % roles, ! and ! in * ' ! excluding & % these (" % voices ) we $% # perpetuate the erasure of indigenous perspectives that # $# &' & & $ %'$ " ! !"'% # $%# & ( % & & has plagued modern Canadian history. In order to bring % # ' " $! ! ! %&"$+ ! "$ $ &" $ ! everyone to the table, the & table ! % needs &" to * %& exist "'&% outside ( $+"! &" & & & of & the %+%& systems% ! and !%& &'& "!% institutions & & that ( have %&"$ + historically " neglected and oppressed indigenous people. ! & ! "##$ %% ! !"'% # "# "Change Rooms" offer a temporary space for the curation ! "" % " $ & #"$ $+ %# "$ & '$ & "! of historical objects and textiles, placed ! in "##"% & "! opposition " %&"$ " &% ! & *& % # to each other in order to challenge the neutrality of the &" "& $ ! "$ $ &" ! & ! '&$ &+ " & museum's narratives ! and ") allow the viewer &" to $ & create '% ' % ! $$ & ( % & ( ) $ connections within the threads of material culture. "!! & "!% ) & ! & & $ % " & $ ' &'$ In "Change Rooms", historical textiles act as a stand-in ! ! "" % %&"$ & *& % & % %& ! ! for the body, suggesting the projection of identity onto "$ & " + %' %& ! & #$" & "! " !& &+ "!&" garment as a spatial repository for personal and cultural $ !& % %# & $ #"% &"$+ "$ # $%"! ! ' &'$ information. In & the $"" room, & the ( ) $ viewer % is "! $"!& confronted ) & with ! "$ & "! ! their ")! own image superimposed on a life % , size %&"$ historical & $ %'# $ #"% "! textile, and they can further interact with a C&C & *& ! & + ! '$& $ !& $ & ) & milled cutout " of & the $ garment '&"'& !& and ! a VR experience *# $ ! placing # ! them ! in "##"% & "! opposition ) & with "& $ other %&"$ historical " &% objects. % This & dialog between the objects as intermediaries suggests " &) ! & " &% % !& $ $ % %' %&% a conversation between the viewer and the artifacts, as "!( $% & "! &) ! & ( ) $ ! & $& &% % well as between the original wearers of the artifact. ) % &) ! & "$ ! ) $ $% " & $& &

Course Code

"'$% " IRN 700 Contributers

"!&$ '& $% Lorella di Cintio

Design Type % ! +# Cultural/Instal lation

&, *!'*

$/ 1+ , + #!& + ' !+ -++!'&+ ' -* + ! . *1'& !+ +!,,!& '& $ . $ ($ 1!& ! $ + ! & ',! ,!'&+ (( & /!, % +!,,!& *'++ *'% 1'- & / * "-+, , $#!& & / & /'*# !, '-, -+ / ', . & )- $ %'-&, ' ('/ * !& , !+ +' ! ,1 '/ & / % # , ' " ,+ / /'*# /!, $!. & + , % + $!.!& !& + '/ & / $ , , % $!.!& ' 1 /!, (-$+ '/ & / $ , , !&, * ,!'& ,/ & & ' " , & & !& !.! - $ ,* &+ '*% ,!. 0( *! & !,

-* ,'* ' & ! &'-+ *, '*'&,' *'% * % -$+ !. * $!. * ,' , & ! &'-+ '$$ ,!'&+ 1%('+!-% !& & ''%+ $$'/+ '* +( '-,+! ' , %-+ -% &.!*'&% &, / * & / -* ,'*! $ .'! + & !&+(!* & / , '- , ( * ! %+ & !&,*' - ! ! -$, '&. *+ ,!'&+ , *'- , '* &! ' + *. ,!'&+ ' '&& ,!'&+ ,/ & ' 1 & ' " , +- " , & ! &,!,1

0, *!'*

$ &

! /

,!'&

0'&'% ,*!

*,! ! * %

EUNBIN HONG " " " " " " " " " " !

GRAND JETE This project has begun with an interesting constraint. It had to be eligible to be printed with the robots, KUKA PRC or the 3D printer. At the beginning of this project, I was introduced to a Rhino plug-in called the 'Grasshopper'. I was interested in organic shapes and forms that portrays 'free' and 'airy' atmosphere. My experimentations with the 'Grasshopper' led me to a controversial topic about organic and artificial. "Should the form be considered organic or artificial if an organic-looking form is generated with the most artificial tool, the robot? The most organic form that I could think of was the human body. Therefore, I've started exploring the lines that various body postures create and I've landed on a ballet pose called Grand Jete. I not only used the posture itself but also tried to capture the movement and time into the object. I imagine the object that I've created to be used in diverse ways since it is fabricated using 3d printer which makes it easy to modify it's scale, colour, and material.

Course Code IRN 800 Contributers Jonathon Anderson Design Type Object / Furniture Design, Digital Fabrication

CHALLENGE IDEALISM Kristen Jensen Kristen Jensen advocates for the use of waste or "unwanted items" as new material resources within the field of interior design. Her aim is to challenge the notion of design idealism and explore how the industry can re-imagine standards collectively. Kristen hopes her work inspires others to consider the depletion of Earth's resource and actively reduce unwanted items in ecosystems. Kristen received the "Best in Sustainable Practice" award during Ryerson University's 2021 Year End Show and Digital Design Festival for her curiosity of materials, innovative ideas, and thought-provoking design considerations. Kjjensen@ryerson.ca @kristenjensendesign /in/kristenjensendesign/

design with waste

Course Code IRN 800 Contributers Filiz Klassen

In this project entitled Design with Waste, the Ryerson School of Interior Design is re-designed to address current thermal and ventilation issues. This will be achieved by designing for deconstruction (not demolition) and utilizing waste as a primary material. The vast two storey studio will be re-organized into a clustered three level arrangement by deconstructing the existing second and third floor studio into a series of smaller vertical units (re-using the deconstructed site materials as much as possible). By spatially re-organizing the one floor open concept into a vertical stacked design, thermal ventilation is addressed in numerous ways. First, by creating verticality, hot air rises through the atrium and is eventually led out through the center stairway cavity leading to the roof (similar to that of a ventilation chimney effect). Second, floor to slab partitions are replaced by adjustable curtains made of various up-cycled materials for spatial flexibility. Finally, permanent seating is pulled away from hot/cold zones located on the east/west perimeter of the interior creating more optimal conditions for occupants.

Design Type Sustainable Design

Level 4 (NTS)

Level 3 (NTS)

Section (NTS)

...Concept Continued To provide more comfortable outside access, the RSID building roof will be converted into a rooftop garden. A double building skin is introduced to better regulate interior temperatures and the facade materials will be locally sourced from up-cycled bricks. The three story stacked volume with addition of the exterior roof garden not only improves thermal and ventilation issues but also offers flexible spaces that can be reprogrammed daily, seasonally or annually as needed without future renovation leading to demolition and construction waste. Level 2 (NTS)

Process Sketches

Partial Section (NTS)

Axonometric (NTS)

YOUR VOICE, YOUR FUTURE Lianne KerrY Originally from Trinidad & Tobago, Lianne moved to Toronto in 2017 to pursue her studies in Interior Design. Throughout her undergrad, she has discovered a keen interest in the residential, retail and hospitality sectors as her ethos lies in creating great design through subtle gestures. She truly believes that the smallest design choices can have the largest of impacts to help improve the wellbeing and day to day lives of those who occupy them.

liannekerry@outlook.com @liannekerry linkedin.com/in/liannekerry/ https://issuu.com/liannekerry/docs/lk_design_portfolio

gariBaLdi natUre PaViLiOn

Course Code IRN 800 Contributers Brigitte Luzar

Focusing on the space of illusion, this design proposes a 90 sq.m interior observational pavilion. The structure acts as a viewing component where certain design strategies are used to frame and emphasize reflectivity of the surrounding landscape within the interior and exterior. Located at northwestern point of Garibaldi Lake, B.C, this nature pavilion creates a journey and point of approach to the final view of the turquoise lake. The main design is influenced by a monolithic green roof structure beginning from the ground level and gradually folding at certain peaks to mimic the bordering mountains and glacial features. Additionally, through the use of reflective materials, the architecture reconnects the larger landscape environment as it becomes a canvas for its context. As one journeys from the densely forested area to the picturesque view, the chosen materials allows each occupant to be immersed within a 360 degree optical experience.

Design Type Public Space Pavilion Design

Interior Rendering Facing Garibaldi Lake

The Nature Pavilion as a Framing Device The Garibaldi Nature Pavilion is all about creating an optical user experience from the point of approach at the exterior, to the point of entry and contemplation in the interior. As it is located within the Garibaldi Provincial Park, hikers are able to journey through a densely forested area, to a public pavilion open for those who seek a place for refugee, camping, contemplation, rest or to grab a bite. The main structure formed by a monolithic concrete roof is designed to function as a gently sloped green roof on the exterior and a means of shelter within the interior. This allows persons to enjoy the surrounding landscape from the pavilion no matter the day, time or weather. Additionally, highly reflective glass is used all throughout all four sides of the exterior, allowing the beautiful views of Garibaldi Lake to be reflected on the most eastern façade, and the forested areas to be reflected on the remaining sides, where the structure almost acts like a chameleon among the landscape. Keeping in mind reflectivity and the pavilion as a "framing device", the interior is strategically designed using a mirror wall encouraging the user to be overwhelmed and fully immersed within their surroundings.

Site Plan

Floor Plan

Massing

Mirror Wall Concept with Monolithic Roof

Interior Rendering Facing Mirror Wall

Exterior Rendering Approaching Pavilion

Sections A & B

Explore. Explore by thinking. Explore by sketching. Explore by designing. Explore by initiating. It's time to think outside the box! Exploration for me is a way of learning, a way to grow, and a way to develop new strategies. As a 2021 graduate from Ryerson School of Interior Design with a Business Minor, I have found that designing spaces for clients has been a passion of mine. I find it fascinating that I am able to undertsand the ideas of my clients and myself, turn them into sketches, then designing it digitally, then turning the digital realm into real life. As an inspired designer, I always wanted to specialize in a firm that focuses on retail, office and hospitality design. sar_20_8@hotmail.com @sarahkhalil56 sarah-khalil07.linkedin.com

TAKE ACTION TOWARDS THE TRUTH!

sarah KhaLiL

OFFiCe design

Course Code IRN 600 Contributers Andrew Furman

The moment you enter into a work space, what do you want to feel? You want to feel motivated. You want to feel productive. You want to enjoy what you do. You are entering your space five times a week for as long as you want to work. You want to be excited and attached to the place you will be working for 8 hours straight. My whole concept plays around THAT feeling when entering a space. It plays with the influence of colours to people's emotions. In an open office, the space will be divided into categories of noise level which influences workers productivity. Many of these colours can play a huge role in the way they can affect someones mood, or change their state of mind, or how they behave in a space.

Design Type Corporate Design

'Creatives' Office - Evening

Hallway - Morning

Axonometric Office - 'Creatives' | Accounting | Kitchen

Axonometric - Podium (meet up space)

Kitchen/Lounge - Afternoon

'Creatives' Office - Morning

Office Design Grip Limited is an advertising firm that got relocated to 18 Hook Avenue, Toronto, for a larger area space for its office. Using their colours and creative aesthetic from their website, the office is designed and rendered in way to match their style of design. Each area is identified by a colour to create a different feeling and emotion for workers. For instance; the quiet area of the space where the 'creatives' are located, is the colour orange which represents; creativity, determination, motivation and success. This encourages workers to produce the best of work.

Floor Plan - Second Level Office Legend Accounting Multipurpose Room

Contract

65 m²

31 m²

Board Room Break Out Space Client Meeting Room

Client Meeting Room 8 Production

Contract

28 m²

17 m²

Control Booth

Library 9 Sound Lock

Control Booth 5 4 m²

Break Out Space

2 m²

22 m²

Creatives

59 m²

Focus Area A

Board Room 20 Live Room

38 m²

W/C

Focus Area B

17 m²

4 m²

Kitchen/Lounge

Reception 10

W/C Focus Area B 18

Library

28 m²

19 4 m²

Live Room

18 m²

Private Office A

Private Office B

5 m²

Multipurpose Room

Kitchen/Lounge 16

26 m²

Accounting

Another example is the breakout space, where everyone is simply there to relax, and have light conversations. That colour of space is green, which represents nature, relaxation, calmness and security.

Creatives

67 m²

78 m²

Private Office A Private Office B

Paying attention to detail is crucial in design, since the challenge and creative aspect is to design a space that reflects on the clients style.

Production Reception

Focus Area A 17

Sound Lock

9 m²

W/C

Block Plan Plan Block

- Second Level

1 : 200

87 Block Plan PROJECT

OPEN OFFICE

Mental Health: it’s time to talk JessiCa KhOUri Born and raised in the Cayman Islands, Jessica came to Toronto in 2017 to continue her education at Ryerson School of Interior Design. RSID's multidisciplinary program has allowed her to explore many facets of design including interiors, product, and lighting, all at various scales and scopes. It is through her time here that she realized her passion for residential and office design, taking personal interest in the dichotomy between live and work spaces despite the fact that there is an inherent human need to find a balance between them both. Looking through this lens, Jessica plans to continue creating thoughtful and functional spaces rooted in human experience, incorporating her Caribbean fIare along the way. jessicakhouri1@gmail.com @jessicakhouridesign www.linkedin.com/in/jessica-khouri

COraL stOne Light

Course Code IRN 800 Contributers Linda Zhang

Nature has been informing the work environment ever since the landscape office movement of the early 1950s, using irregular geometry, open flows, and organic patterns which take direct inspiration from the earth's natural surroundings. However, digital advancement to keep up with the globalization of businesses in the corporate sphere has meant that connection to nature has become increasingly lost in modern interior spaces of production. To course correct this trajectory, Coral Stone Light aims to reconnect workspaces and interiors to nature through biophilic design that can satisfy an innate human need for atmospheric connection to natural elements. To accomplish this, Coral Stone Light is born from an indexical casting process that achieves its main form directly from components found in nature; in this case, a rock found in a back garden. Due to the adapted online learning environment caused by the COVID-19 pandemic, this project was developed in its entirety in the Cayman Islands, whose tropical landscape no doubt inspired the design outcome. The project name itself, "coral stone", references the beautiful marine life of the island from which a connection was instantly made upon seeing the natural coral-like patterns of the rock. From there, the textures became the main point of focus, using light as an enhancement to create a modular wall light installation that pays homage to the nature we do not often get to see lying below the surface.

Design Type Biophilic Design (Fixture)

Lobby Render (Far)

Coral Stone Light Keeping with a thoughtful ecological approach, the pieces of the Coral Stone Light were created from environmentally conscious bioplastic, and when poured into a mold made from the surface of the rock subject, produced the lookalike coral pieces. A 1:1 prototype of the fixture was made from 10 cast pieces of bioplastic (each slightly different due to the nature of hand crafting), mounted in an organic arrangement reminiscent of an aquatic seascape. LED light strips fitted behind the pieces make for an indirect lighting display that emphasizes the texture of the bioplastic cast.

Partial Office Plan

A modular arrangement of the prototype was showcased as a wall art installation behind a reception desk in a contemporary office lobby, acting as a focal piece for the office entrance and the adjacent conference room. Nonetheless, the installation could find its home anywhere in a workspace or have several of them scattered throughout. With its modular nature and customizable colour scheme, the Coral Stone Light lends itself to an endless sea of possibilities.

Reception Wall Elevation

Section & Detailing

Lobby Render (Near)

1:1 Model Prototype

build each other up. MiCheLLe Lan As a designer with an innovative spirit, I see myself at the intersection of two avenues - design and business. My creative versatility in both categories awakens a new perspective balancing ingenuity and practicality. I am passionate about storytelling, the design process and community engagements that spark connections with diverse individuals. Through actively exploring a human-centred approach, I work to develop compelling designs and thoughtful experiences that leave a meaningful impact on users.

michelle.lan@ryerson.ca @miich_lan linkedin.com/in/michelle-lan michellelan.me

the aCCess hUB

Course Code IRN 800 Contributers Brigitte Luzar

The Access Hub will retrofit and reactivate the experience of an existing community center located in Vancouver, British Columbia. A large portion of the centre's members are low-income families facing diverse challenges to meet their basic needs. Thus, programs are less focused on recreation and arts, and more directed towards helping the community through food security and social support services. The project's design concept of connectivity and permeability will enable the community to foster social unity and serendipitous interactions throughout the building. The design integration of a community greenhouse and kitchen provides sustainable opportunities for a local food system and better access to environmental educational resources. The permeable facade draws curiosity upon the space and blurs the boundaries of environments creating ambiguity to connect the experience of nature inside and out. The grand atrium within the Access Hub is flexible and multi-purposeful - farmers' markets, town halls, and a place to have community gatherings are encouraged. As well, the connection between the two floors allows new visibility to the existing gymnasium - creating a versatile and engaging public realm for sustainable connectivity in an evolving world.

Design Type Community Centre

Exterior Facade

Grand Atrium

East Elevation

94 Community Greenhouse

Concept Sketches

Section Perspective

Multi-Purpose Space - Farmers' Market

Charissa is a fine artist and a spatial designer aiming to merge the two identities through a wide range of experiential projects. Her projects involve creating emotive, narrative spaces with the intention of improving the connections and wellbeing of people that inhabit them. She is interested in working on projects that have a high emphasis on sustainability and cultural diversity.

charissa.leung88@gmail.com @ct.leung_ linkedin.com/in/charissa-leung

“Not a melting pot, but a beautiful mosaic”

Charissa LeUng

COnsCiOUs design: BUiLding with PaPer waste

Course Code IRN 800 Contributers Filiz Klassen

An unprecedented global crisis is among us and has led us to a new geological epoch, the Anthropocene. This term describes mankind's prolific capability to change our Earth's climate which in turn, has led to an overwhelming amount of environmental issues. One visible issue is the amount of waste humans generate around the world, specifically paper. Despite the act of recycling, paper accounts for around 26% of the total waste at landfills and is one of the largest industrial polluters of air, water, and soil. The goal of this project was to take the paper waste that is prevalent within many of our campus buildings and to transform it into a newly altered and desirable, construction material. Not only does the project aim to minimize the amount of paper sent to landfills, but it also uses the waste as an advantage to solve the acoustical and spatial problems encountered in our school's open studio environment.

Design Type Interior Installation

Hanging system

Blinds cover Clutch

Transparent waste Paper waste Parti Sketches

Down rail 1

Screen Components

Circulation Diagram

RSID 3rd floor Axonometric of Installation

Paper to Partition My design takes inspiration from the Japanese art of paper thread making, Shifu. In traditional paper thread making, paper is spun into yarn using a wooden spinner. The yarn is then used for weaving textiles and garments. An alternative that I used was my sewing machine bobbin which created the same effect. Using this technique of threading and weaving, the discarded paper transformed into a new screen that offers spatial and acoustic solutions. The screen is composed of solid and sheer components. By overlapping or staggering the components, it is possible to create different types of partitions. As the solid strips overlap, it creates a fully private space that is distractionless and quiet. As the solid and sheer strips stagger, it creates a semi-private space for a more casual work area. The screen is also able to completely lift and lower, allowing an open studio when needed. There are several variations of how these screens can be arranged in order to eliminate visual distraction and sound reverberation in studio spaces.

East Section

Render Of Lifted Screens

Traditional Shifu Spinner

Paper Yarns

Render Of Lowered Screens

Sewing Machine Alternative

Paper Strip Transformation

Woven Paper Yarn

Scale Model

Used Dryer Sheets

Zebra Pattern

STOP ASIAN HATE! daVid Li Being a design enthusiast in Toronto, I am always striving to extract new knowledge from my surroundings. One of my greatest passions is the art of photography, so I aim to create and achieve a similar effect when imagining a space and bringing said space to life. I learned so much throughout my years at Ryerson and many important skills that I will bring with me to my future opportunities. I believe that what is considered 'good design', whether interior or exterior, is design that benefits and improves the target audienceno matter if it is an individual, group, or community. I hop that I can create good designs in the future. davidhyli3@gmail.com @davidhyli linkedin.com/in/david-li-812219175/ davidhyli3.wixsite.com/website

100

the sUMMit

Course Code IRN 800 Contributers Linda Zhang

Located in a penthouse suite of 87 Peter Street in the downtown core of Toronto, the Summit is a work/live studio based on biophilic design. With the increase of work from home jobs, how can you feel at most comfort and peace while working? The Summit creates the atomsphere of peace and tranquility, a perfect place to work from home. The name itself comes from its location. Situated 154 meters and 49 floors above the ground, far from the sounds of the city, you are truely experiencing the peek of the mountain. Using bioplastic, a natural ingredient to create the outline and texture of the Swiss Alps makes the environment shift from a busy, urban city to calm, quiet, mountain top. The transparent form of the bioplastic creates a calm effect with the natural sun, as if a melting glacier.

101

Design Type

Live/ Work Redesign

360 degree VR Model photographs (Day/Night)

Climbing the Mountain When creating this atmosphere of biopilic design, there were challenges. Bioplastic is a plastic material made of renewable resources. Once hardened it can be very strong but because it is made by natural resources, it can be prone to mold. Exploring this new form of material was difficult at first but with practice and more percerverance, many astonishing outcomes followed. Now looking back at the process, it shaped a new side of model making I can use for the future. Night Render

Day Render

102

360 model of Swiss Alps

Bioplastic (1:1) in Sunlight , Night with lights

Detail of Model

Axonometric 3D Render, Section, Lighting Section, Rendered Floor Plan, Lighting Elevation

Axometric 3D Render, Section, Lighting Section, Rendered Floor Plan, Elevation, Lighting Elevation

103

SPREAD LOVE NOT HATE! shaUna MiLLer I love design and I always have. Ever since I was a young kid I remember being very observant and pointing things out that involved design that people would never normally see. When I came to the realization that all these things were related to design, it became my dream as a little girl to become an interior designer. I worked harder and harder as I got older and to be able to say that I have been a part of RSID is a dream come true. I'm excited to continue this path, take on new challenges and keep working hard. Thank you to everyone that made this experience so amazing. shauna1miller@yahoo.ca linkedin.com/in/shauna-miller-ab9568203

104

natUres Path

Course Code IRN 800 Contributers Linda Zhang

Within Sherwood Park, located near downtown Toronto, there is a magnificent tree that stands taller and larger than the others around it. Using this tree in its natural surroundings but in no way harming or touching it, I was able to incorporate it into the design of an office lobby space. Inspired by past work done throughout the course I turned the tree into a lighting fixture that guides people through spaces with the natural shadows it creates. Placing the light fixture at different heights makes the intensity of the shadow stronger or weaker. I used this to my advantage by making stronger shadows at the destinations of where someone would stop and slowly diffusing the light to guide you to your next destination within the office lobby. These lights bring a sense of nature and wayfinding on your way in and out of work.

105

Design Type Office Design

Tree Light Model

Render of Office Lobby

Light Shadow from Model

106

Model Close-Up

Section

Model Close-Up

Light Fixtures

Light Fixture Elevation

Reconnecting Work and Interiors to Nature

feel while they walk through the office lobby. These lights will inspire the people at work to reconnect with nature and get them to consider all the other factors the natural world has to offer. By taking a 3D scan of the tree and then 3D printing it, I was able to recreate the exact bark texture from the tree into my bioplastic model.

I designed these lights as if I would be walking through this office lobby to get to work everyday. This office space is located in Ottawa and I go there when I visit home and need a quiet place to work on school projects. This tree is located in a park in Toronto and I visit the park whenever I need a break from the downtown core. The park is my happy place and where I find my peace which is why I brought it into the office lobby by using the bioplastic material the light models are made of. The way I feel when I walk through the park is the experience I want others to

107

be the change! eLhaM MOrshedi As a graduate of Interior Design at Ryerson University with interior architectural design knowledge, rendering skills, 3D visualization, digital fabrication experience and graphic design, I would love to improve the quality of people's lives by utilizing different design features such as colors, space, texture, and shape. I believe that there are psychological correlations that create explicit moods for the viewers. As a designer, I hope I will be able to improve the quality of life, productivity, and safety of the citizens while giving them different senses such as tranquility, cheerfulness, and excitement. elham.morshedi@ryerson.ca elhammorshedi.linkedin.com elhammorshedi.com

108

ParaLYze

Course Code IRN 700 Contributers Lorella Di Cintio

Paralyze is a design that emphasizes the surrounded and trapping feature of our boundaries and shows the audience how they can stock in them without awareness. A characteristic way of thinking, feeling, judging, and action defines our culture. How many times did you feel stuck in your boundaries? Sometimes the boundaries that society, religion, and family assigned for us work as a maze. As much as we dig into them and limit ourselves, we get trapped more. They assign limits not only for our behaviors but also for our thoughts. We cannot grow our thinking and expand them. These limitations also do not let us break our borders and norms. As much we grow from our childhood, our boundaries expand and surround us more. They shape our beliefs, values, and thoughts. This pressure and the awareness of how others will judge us by breaking these boundaries can prevent us from making the right decisions and hurt our mental health. At this moment, we feel trapped in them and can sense their sharpness which causes us mental pain. Paralyze is a pathway that demonstrates our lives from early childhood to adulthood. The patterns and edges in our surroundings present our boundaries and their sharpness.

109

Design Type Installation Design

Design Ideation The location of the installation is at Queen St and Ossington Ave intersection beside the CAMH building which is the Centre for Addiction and Mental Health and one of the Canada's largest mental health teaching hospital and world's leading research centers in its field.

The pattern of my thread represent the boundaries. I designed them inspired by Neuralplasticity which is the change in neural pathways and synapses that occurs due to certain factors, like behavior, environment, or neural processes.

For my maze design, I was inspired by the human brain to design the maze pathway since my concept emphasizes the mental health issues from our boundaries.

Perspective View of Fourth Loop Religion

Culture

Society

Family

Programming

110

Neural Plasticity

Perspective View of Second Loop

Initial Idea of The Maze

Perspective View of Third Loop

Transition

Final Pattern of The Maze

111

silence is oppression. taYLOr MUrdOCh As an aspiring registered Interior Designer I am passionate and determined to create beautiful, functional, and safe spaces. With both a creative and technical mind I strive to find solutions that enhance the spatial qualities of interior spaces and the users experiences within them. I believe in form and function, hence from the initial concept to the final design I find a balance between the aesthetics and functionality of the space, providing the client with the best option. I enjoy 3D rendering and learning about building code requirements. I am eager and strive to continually learn new skills and methods to improve how design impacts people and the environment. taylor.murdoch@outlook.com taylormurdoch.linkedin.com https://taylorminteriors.myportfolio.com/

112

La COMUnita

Course Code IRN 700 Contributers Barbara Vogel

La Comunita strives to create a contrast between the past and the future of the Girifalco Fortezza located in Cortona, Italy. Respecting the original medieval architecture and the defensive fortress' military past, this design concept aims to create year-round programming to provide users with an artistic, cultural, and educational experience. As a visual arts academy, students and professors will be able to immerse themselves in the Fortezza's rich history by studying and experimenting through the various social, lecture, and studio spaces available throughout the complex. Individual studios and accommodations for rent allow students to live on-campus and experience day-to-day life in the Fortezza including restaurant and bar services, nightly events and exhibitions, and access to workshops, lectures, and collaborative studio spaces. Local and international visitors will be able to experience the Fortezza's artistic and cultural history through retail, restaurant and bar services, events, and art exhibitions in the Capitano building and newly revitalized courtyard.

113

Design Type Adaptive Re-use Mixed Use Design

Interior Restaurant Rendering

Courtyard Render

Section

Student Accommodations Render

Student Accommodations Section

114

Capitano Building Facade Render

La Comunita The Girifalco Fortezza stands on the hilltop of Cortona, located in the central region of Tuscany, Italy. The Fortezza has a long complex history dating back to the 5th or 6th century BC, and is known for its medieval architecture and solid Etruscan stone walls.

Concept Parti Sketch

The purpose of this design intervention, La Comunita, is to create an experience that will allow various users to immerse themselves in Italian art, culture, and education. The goal is to increase Cortona's social and economic sustainability through year-round programming that will not only enhance but also be in harmony with the Fortezza's rich history and original architecture. Focusing on the Capitano building and courtyard, the programming consists of restaurant and retail space, lecture rooms, studio space, student accommodations, and multi-purpose outdoor space. Inspired by the Girifalco Fortezza's military past and following the original plan which included barracks, the concept follows this index in the courtyard and re-creates it through a contemporary architecture intervention while animating it with a new function: student accommodations. The accommodations consist of private studio space, living space, and a rooftop terrace overlooking the courtyard.

Site Plan

115

we can be the difference eLizaBeth nisBet From a young age Elizabeth was always fascinated by the English language and storytelling, which led her to study literature and film at Queen's University before deciding to pursue her passion for interior design at Ryerson. Over the past four years Elizabeth has developed a deep understanding of the language of design, and has perfected the art of infusing strong communication and storytelling into her design work and concepts.

elizabeth.nisbet@ryerson.ca @e.n.design linkedin.com/in/elizabeth-nisbet

116

waste-sPaCe

Course Code IRN 800 Contributers Filiz Klassen

Waste-Space is a new design concept for Ryerson's School of Interior Design that addresses environmental concerns by eliminating rigid drywall partitions that contribute to building construction waste. The new design tackles existing thermal comfort and air flow issues within the historic brick and beam building by introducing flexible dividers made of textile offcuts and recycled industrial plastics. These transformable acoustic curtain pods furl and unfurl to divide and expand the school's third floor space to meet the changing programmatic needs of students and faculty, from classrooms and studio pods to exhibition spaces, while providing better air flow and circulation throughout the floor.

117

Design Type Commercial Redesign

118

Designing with Waste "In this studio, we pursue conceptual and practical explorations to develop spatial, material and product strategies with an intention to dematerialize, rematerialize, up-cycle and use waste as a renewable resource for interior design"” (Klassen, 2021). This project will address the ever-growing issue of drywall and stud waste in the design industry as well as looking at textile and plastic waste, and ways that we can divert fabrics from landfills, and utilize them instead in construction and interior design projects. Ryerson's School of Interior Design is a 19th century brick warehouse that houses approximately 400 students and over 30 faculty members. The school's programming

ranges from workshops and fabrication labs to faculty offices, classrooms and studio spaces. The space can also be converted into an exhibition space throughout the year for industry and networking events. The third floor is currently divided into classrooms and faculty offices that present issues in thermal comfort and ventilation. This new design proposal for the third floor addresses environmental concerns by eliminating rigid drywall partitions that contribute to building construction waste. By using flexible fabric dividers, the new design also addresses thermal comfort and control within the historic brick and beam building. The flexible fabric dividers also provide transformability of instruction, work and breakout spaces to meet the changing needs of design students and faculty.

119

spark change. ignite future. POOJa PateL As a dynamic designer and artist, my personal goal is to continue to learn and inspire. Through multifaceted experiences in making, mentoring, and co-creating - my passions lay in the field of analog and digital fabrication. Through innovative thinking I drive to design real solutions for urgent problems. My aspirations as a multidisciplinary designer is to bridge the issues of sustainability with quality craft.

pooja3.patel@ryerson.ca @pooja_33 linkedin.com/poojapatel33 poojadesign.com

120

KUKa 3d Printing / FUndaMentaLs With the rise of digital technology in design, industrial robotic arms are reshaping design and spaces. The integration of robotics has pushed the boundaries of fabrication both on and off-site. By tapping into robotic fabrication techniques, the designer is freed to reimagine the endless possibilities of conceptual design rather than focusing on the physical craft. The project goal is to investigate the practice of large scale 3D printing using the KUKA industrial robot and custom arm tooling designed for PLA pellet printing. Attempting to disassociate the industrial robot from the typical autonomous, mass production and rather highlight it as a future toolset for designers to create unique and unprecedented works. The project communicates the fundamentals of large scale 3D printing and democratizes the practice of operating industrial robots arms. Through a series of vessel studies, the project defines the narrative of standard design parameters to consider when designing with the KUKA robot. The resulting outcome homogenizes the unique design aesthetics resulting from the use of large scale 3D printing technology, and introduces it as a standard for design of the future.

121

Course Code IRN 800 Contributers Jonathon Anderson Design Type Digital Fabrication

KUKA Robot Arm - Light Trace Photography

KUKA Robot Arm - Robot Axis Movements

KUKA Robot Arm - Pellet Colourant Extrusion

122

KUKA Robot Arm - Center Points

3D Printed Vessels - Intended Failure

3D Printed Vessels - Design Failure

3D Printed Vessels - Applications - Small Objects

3D Printed Vessels - Pellet Colourant Variation

123

Hi there, my name is Simona Pavlovska, a fourth-year student at Ryerson's School of Interior Design (RSID). From an early age I found myself incredibly interested in the world of design and have worked for years to be able to attain a post-secondary education at world renowned Ryerson University. With a plan to continue onto a master's degree at the Paris College of Art in France, my journey is just beginning. Aside from my passion for design, people often describe me as a hardworking, charismatic and sociable individual with the ability to focus and complete any task I set my mind to while maintaining a positive attitude throughout. My long-term goal is to set myself apart in the industry by designing purposeful and sustainable spaces with a focus on the hospitality/retail sector. simonaapavlovska@gmail.com @simdesigninc https://www.linkedin.com/in/simona-p https://simonaapavlovska.wixsite.com/simdesign

124

“Be the change you want to see in the world”

siMOna PaVLOVsKa

wharF waVes

Course Code IRN800 Contributers Filiz Klassen

'The Wharf and the Waves' installation at the Ryerson School of Interior Design will be the newest feature of sustainably created work spaces for students. The intent of the design is to create a dual functioning study space where its users will be able to both have a place to sit comfortably and work and also have a leisure area to relax and recharge. A wharf is a common term for a built structure that is located by a body of water. 'The Wharf' design in this case refers to my design of a curved communal seating space ranging in varying heights where individuals can work and grow themselves creatively. With the wave being a common term for the structure of a body of water, 'The Wave' in this case refers to my design of a curved seating structure which can be used in interchangeable positions of relaxation. The Wharf and Wave installation will also simultaneously increase my sustainability initiative by solely using reclaimed and reduced ocean plastic waste for the structure and textile materiality.

125

Design Type Commercial/ Education

Axonometric View

Wharf and Waves Continued 'The Wharf and the Waves' installation at the Ryerson School of Interior Design will be the newest feature of sustainably created work spaces for students. The intent of the design is to create a dual functioning study space where its users will be able to both have a place to sit comfortably and work and also have a leisure area to relax and recharge. A wharf is a common term for a built structure that is located by a body of water. 'The Wharf' design in this case refers to my design of a curved communal seating space ranging in varying heights where individuals can work and grow themselves creatively. With the wave being a common term for the structure of a body of water, 'The Wave' in this case refers to my design of a curved seating structure which can be used in interchangeable positions of relaxation. The Wharf and Wave installation will also simultaneously increase my sustainability initiative by solely using reclaimed and reduced ocean plastic waste for the structure and textile materiality.

Cushioned seat

Molded plastic

The Wave Attachment Process

Metal framing

Molded plastic

The Wharf Attachment Process

Bolt peg

Diagram

126

Floor Plan Circulation Diagram

Section View, North

Section View, West

127 South Entrance/Exit

South Entrance/Exit

698.5 mm 698.5 mm North Entrance/Exit

The Waves The Circulation

The Wharf

3352.8 mm

711.2 mm 711.2 mm

1092.2 mm 1092.2 mm 1092.2 mm

698.5 mm 698.5 mm 698.5 mm

1092.2 mm

North Entrance/Exit

The DC The DC

5588 mm

Interior Collage Render

Throughout the process obtaining a bachelors of Interior Design at Ryerson University, Diane Rodrigues has developed a multidisciplinary approach to design and a drive to elevate user experience within our environment. Strategic planning for the highest quality in design solutions is her goal when providing a new perspective to project executions. Through the design process, she is driven to inspire and be inspired.

diane.rodrigues@ryerson.ca @dianerodriguesdesign https://www.linkedin.com/in/diane-rodrigues-design/

128

INCLUSION. DIVERSITY. EQUITY.

diane rOdrigUes

highParK COMMUnitY sUPPOrt Centre High Park Community Support Centre is a place for Torontonians of all backgrounds to enjoy and interact, assisting to forge social connections and relationships while decreasing loneliness among those who feel isolated. Through providing resources that facilitate the process of integration into society, this proposal focuses on a change in emphasis in social policy towards the integration rather than the separation of immigration communities. These efforts contribute towards the wider community, in addition to providing support to new comers. A virtual library gives you access to a large collection of multi-lingual literature, which is vital for Toronto's changing demographics, acting as an excellent resource tool for people to acclimatize themselves to the city. The building also offers adult literacy night classes for new immigrants and parent-child reading interventions that assist in closing the gap in performance of children from higher and lower socio economic backgrounds. This opportunity provides the resources to parents of all backgrounds to contribute towards their children's spoken language and school readiness. At the very centre of the building, is a sunken conversation pit open for the use of unplanned activities or the occasional speaker. It allows for social connections and networking, emphasizing the idea of a community clubhouse space for everyone and anyone to enjoy.

129

Course Code IRN 800 Contributers Brigitte Luzar Design Type Institutional

Exterior Perspective

Connection and Continuity The building peeks through the trees on Bloor Street, which demonstrates a gradual connection between the busy street and High Park. Large corten steel baffles radiate around the exterior of the building, in a material that embraces natural forces and demonstrates continuity in the transformative nature of its surrounding environment. The depth of these baffles along with the roof overhang creates shadow to suppress the reading of the glass. The panes that are found in mirror coated spandrel panel, such as in the bathrooms, create an illusion that connects to its environment through the reflection of it. Aside from the baffles acting as a solar shading device, the building's ring shape and interior and exterior pivoting windows, acts similarly as a solar chimney to reduce the cooling load in the summer and increase the heating load in the winter. The exterior and interior curtain wall windows are not adjacent either, to incorporate cross ventilation. This environmental solar strategy reduces the need for air conditioning, which ultimately conserves energy. Being that the building is surrounded in deciduous trees, the plants will also absorb heat, resulting in a cooler area.

130

Cafe Seating Perspective

Courtyard Perspective

W/C READING SPACE

CONVERSATION PIT CAFÉ SEATING

RECEPTION/ CAFÉ

TABLET TABLE TOPS

Floor Plan

Ceiling Plan

South Building Elevation

Building Section

South Building Elevation

131

Building Section

From music to dance, photography and videography, fine arts and writing, there was no doubt in Kristen's mind that she would enter a creative field. However, it was important to her that she pursue a career through creative work that could directly impact the lives of others and improve livelihoods in the most real and tangible way possible. Kristen is a recent graduate and passionate designer with a drive to forge new paths in design and architectural activism. Looking to work within a variety of design sectors, Kristen hopes to improve and revolutionize the fundamental systems that govern education, medicine, and leisure. kristen.joyce.romano@gmail.com @kristenjromano www.linkedin.com/in/kristenjromano http://kristenjoyceromano.com/

132

Be a part of the movement, not just a moment.

Kristen rOManO

PinnaCLe

Course Code IRN 700 Contributers Taymoore Balbaa

In an ideal future, the experience of homelessness no longer exists and marginalized communities are no longer displaced for the sake of those of more privilege. Pinnacle is a proposal for the redevelopment of Toronto's New City Hall to include a memorial and columbarium space for the displaced and forgotten communities and people of Toronto. Cutting through all levels of the New City Hall, this project aims to serve as a space for selfreflection, gathering, and education as well as tackle important issues such as our increasing lack of land to bury our dead, lack of education about the history of marginalized communities, and lack of empathy for those who need it most. Pinnacle is a proposed revitilization of Vilijo Revell's existing City Hall built in 1965, inspired by the recent revitilization of the podium as a green roof space by Plant Architect, Perkins+Will Shore Tilbe Architects, and Hoerr Schaudt Landscape Architecture.

133

Design Type Memorial and Columbarium

Second Level View of Columbarium Stacks

Pinnacle will serve as a sacred space to remember the displaced and forgotten souls of Toronto. The John Does and Jane Does of the city, the unclaimed and those experiencing homelessness. As a nod to the existing Toronto Public Library City Hall Branch that will be replaced by this new addition, auditorium seating on the first level of this new addition will house books about the history of the land that New City Hall sits upon, previously St. John's Ward. The books will tell the story of the working class immigrant communities that were forced out of their homes and neighbourhood so that the new Discovery District could be developed with two city halls, multiple shopping districts, and a hospital.

Site Plan

The new addition will primarily consist of stone materials and what looks to be layers of rammed earth. As if we are cutting below the surface of the earth as we cut into the podium of New City Hall, the columbarium and memorial sit below the surface of the structure, buried not under soil but under the concrete jungle that is Toronto. Natural materials and colours are used primarily throughout the design of Pinnacle to symbolize that the Earth is a home to all. Everyone, no matter their status or walk of life, deserve a home and a place to rest. Exterior Green Roof Night Rendering

134

Initial Parti Sketches

Third Level Green Roof Floor Plan

First Level Gathering Garden and Library

Second Level Columbarium Stacks Floor Plan

Green Roof View of Self-Reflection Garden with Privacy

135

Learn, speak-up, do bet ter elinoor sharaf As a designer with a visual arts background, Elinoor has a distinctive approach to all kinds of design and artistry. With a multidisciplinary frame of mind, she addresses all projects from several perspectives to enhance user experience. Her designs are influenced by honing all talents of the design process, as she strives for a balance of feasibility and function her work. Her passion in design is driven from handmaking and working with tangible material.

elinoorsharaf@gmail.com @el__embroidery linkedin.com/in/elinoor-sharaf

136

polysemy This project explores the concept of polysemy through bioplastic partitions that share a common thread of connectivity, separation, colour, and layering. These several attributes of the word partition hone categories that interpret the overall concept of integrating these panels and forming a partition language in a workspace. Starting with the biophilic design concept and its attraction to how we can incorporate nature's footprint into our surroundings. These panels are transformed from using solid elements found in nature to transparent office partitions. Polysemy Partitions celebrates nature's textures that are consolidated into office workspaces. Derived from a common origin; partition, having contrasting abstractional elements.

137

Course Code IRN 800 Contributers Linda Zhang Design Type Workplace Design

Interior Render: Open Workstations

Reconnecting Work and Interiors to Nature Polysemy partitions are found and integrated in Studio Noor, a detail oriented studio who believes in project sustainability and solidity. Several partitions are arranged all throughout the office in distinct proportions paired in altitude and broadness. Placed strategically, these partitions play a significant role in the floorplan by creating pockets of space and pathway circulation. Given the open office concept, the partitions separate the space without isolation occurring and allow flow of motion. Connectivity is formed through the transparent nature of the partitions. Using only two hues, red and yellow, these partitions take a leading role in Studio Noor. Moments of overlapping found through movement and perspective, causes partition hues to change. The layering of the two colours and the overlapping of the same colour alters the office's notion.

Plan

138

Section

Texture: Red

Overlap Texture

Texture: Yellow

Interior Render: Presentation Room

139

Taking interest in creative writing and the humanities, John pursued an initial education in journalism. However, he swiftly found himself missing creative processes. Pivoting towards a more tactile profession, John found himself in interior design and has been in love ever since. Today, John continues to pursue his passions through a distinct experimental design approach which blends his interests in multiple disciplines into unique design interventions. His approach to design bridges physical fabrication processes with technical methodologies that emphasize human affects, and sensory possibilities within a designed space or artifact. John's current interests lay in explorations of biomaterials and design that tackles underserved communities or cultural issues. He hopes to further explore this relationship between materiality, place and time in his future design work. jvsicat03@hotmail.com @jvsicat03 https://www.linkedin.com/in/john-sicat-757a8b170/

140

embrace diveristy; create change !

john sicat

quiet gravitas: re-animating drifters through void pedagogy. . A playful approach to the typical live/work unit, Quiet Gravitas, presents a new way of tackling the issue of homelessness within Tokyo, Japan. The proposed architectural ecology explores sustainable materials, cultural rituals, place, and time through a study of how materials and users behave in a spatial context. The interior design is further elevated through an extension of objects serving as social experiments in social interaction and human empathy as a means of redefining perceptions on homelessness. Reminiscent of speculative architecture, the proposed project employs a process of integration, connection, and empathy to reanimate the homeless populace in Japan.Inspired by the floating communities of the Philippines, Quiet Gravitas seeks to spark this change through a breakdown of two design components: an empathetic live/work temporary structure and a collection of experimental social objects. The primary live/work unit employs the curious occurrence of Tokyo Void caused by Japan's vulnerability to natural disasters. These disasters have cultivated a series of voids within the Tokyo landscape left as often-unused spaces. These serve as the site for the primary elevated co-housing live/work unit. A unique structure that allows for a seamless integration of multiple occupancies above and at ground level, that act as a relief shelter for drifters, while introducing them to hydroponic farming as a potential career path. The latter component features a series of objects at varying scales, aimed toward reimagining public connotations and denotations of homelessness. Composed of waste and local materials, these objects act as social experiments for combatting stigmas and generating trust and empathy, rather than aversion toward drifters.

141

Course Code IRN 700 Contributers Catherine Dowling Design Type Mix-Use Design: Live/Work + Public Design Installations

Diagram: Concept Narrative

Speculative Design Sparked by speculative architecture, the project draws from the imaginative scope and surreal qualities of speculative narratives. Quiet Gravitas galvanizes our ability as designers to drive, inspire, and reform the built environment; and thereby our socio-cultural landscape. This intention is then augmented by the unbound creative possibilities of speculative design, as a tool for architects and designers to candidly explore existing issues through experiential and experimental methodologies. Somber and empathetic, this thesis project investigates the past, present, and future narratives of Tokyo's urban fabric. Beginning with an understanding of drifters (homeless populace) as a new cultural typology rather than outcasts, the project speculates a new future wherein this new typology can develop and coexist alongside long-standing social paradigms. A future narrative in which drifters can develop their emerging nomadic lifestyle and traditions in a dignified manner. As a whole, Quiet Gravitas seeks to create a speculative world that focuses on inclusion, diversity, and empathy. A society of cohabitation and intersectionality that is fostered by empathetic structures and artifacts, which present novel ways of communication and understanding.

Site Map

Live/Work Unit: Floor Plans

142

Live/Work Unit: Sections

Live/Work Unit: Interior Vignettes

Live/Work Unit: Elevations

Social Objects: Graphic Visualizations

Diagram: Overall Architectural Ecology

143

Find peace in the everyday alice sills Alice is an up-and-coming designer who's work aims to blend function with innovation. Focused on becoming a residential designer, Alice plays on the human experience within a space and the simplicities of everyday life. With experience in countyside dwelling design, Alice aims to let the landscape inform the interior, creating harmony between the existing and the proposed. She believes design should create an ease within daily life while still creating nuances that inspire and rejuvenate.

aliceksills@gmail.com @aliceksills alicesills.linkedin.com

144

passage house The Passage House is four modules connected through linear passageways and a long slab of corten steel that spans past the boundaries of the home. The modules are based off the routine and functional needs of the users while displaying materials and finishes that allow the interior to reflect the qualities of the surrounding landscape. The Passage House brings three co-existing themes into balance as it focuses on sightlines, passages and framed windows of opportunity. The linear plan allows for long sightlines spanning the length of the home to emphasize the passages throughout. The design linearly follows the daily path of the occupants starting in a private space then moving through the living space, kitchen and garage. As the occupants come home the pathway is reversed, once again matching their routine.

145

Course Code IRN 700 Collaborators Cindy Rendely Design Type Residential

Division by Function Throughout this dwelling, the design is derived from the function of the user. Designing to the occupants' routine maximizes the functionality of the home and creates ease in daily life, The house follows ones moves, routines, and needs to create an effortless flow while still sparking moments of the unexpected through framed views of the interior and surrounding landscape.

LEVEL 1 0’- 0”

Section: North

Interior Render: Main Passage

Interior Render: Framed Views

146

Elevation: South

Floor Plan: Level One

Elevation: West

147

I chose to become a designer to provoke change in the world. Whether it be small or large, I aim to leave behind an impression that lives on when I'm gone. Through changing perceptions and enhancing emotions of one's surroundings, design gives reason and purpose. With this purpose in mind I have dedicated my time to pursue this love of design.

liam.sinclair@ryerson.ca www.linkedin.com/in/lcsinclair

148

Change Design and Design for Change

liam sinclair

sacred space The design aims to create a sacred space for the art community of graffiti alley dedicated to building social opportunities, whereby artists are encouraged to craft, promote and showcase their art in a unique public atmosphere. Bringing together individuals from every walk of life in order to form a sense of community from underneath the canopy of their own sacred space. Artists are provided with a public platform to exhibit their artistic street renditions - shedding light on an otherwise overlooked form of creative artistic expression. To provide street artists with a publicly integrated space necessary to stimulate growth for the individual artist and to construct a social nest within the community. Forging a flawless stream of opportunities for both their career as well as their social industry, by offering a space that can be sacred for the art community. Enabling the artists to have a location that acts as a blank canvas, where events can be hosted, and relationships formed. This space is proposed to be a focal point that landmarks the artistic hub that makes up what is known as Graffiti Alley.

149

Course Code IRN 700 Contributers Taymoore Balbaa Design Type Design Installation

Rendered Perspective

Graffiti Alley: Proposal To provide opportunity for community members to aid in the development of their careers, making it more accessible for artists to connect and present to the public eye. Creating an environment where artists share the same passions and drive towards their artistic showcasing's.

Design Process

Integrating the art of music and sound within the artistic hub for public gatherings and speaking events to properly showcase and engage the public eye. Generating a public artist community from within the larger surrounding community of downtown Toronto, of which everyone feels at home. Create a space where the artists are capable of honing their own individualized artistic expression while simultaneously establishing a mixed-use space where everyone has a sense of belonging.

Concept Model

To fully immerse the design within the existing environment, by enhancing the experience without taking away from any existing artwork or the path of travel.

150

Site Location

Reflected Ceiling Plan

Gallery Wall Detail Section

Exploded Axonometric

Rendered Perspective

151

Sydney Smeets is a graduate of Interior Design at Ryerson University. She has studied abroad at Middlesex University and is set to begin a graduate certificate in Environmental Visual Communications in 2021. She has grown up fascinated by environmental studies and hopes to learn more about sustainable design practices and inspire others to do the same. As an aspiring Art Director and Environmental Storyteller she is extremely passionate about telling emotive and authentic stories through effective design that insights personal action and reflection.

smeetssydney@gmail.com @sydney.a.smeets sydneysmeets.linkedin.com

152

Feel the Ground and Be In the Now

sydney smeets

constructed contemplation Fluidly adapting to the islet of Filfla and it's troubling history, this emotive space explores romanticism of light, constructed contemplation and isolation in nature as a meditative experience. The process explores the lineage of growth in meditation and how that presents itself physically to those who occupy it through a sequenced tunnel system in recognition of the neolithic temples that trace beneath Malta. Additionally exploring how the new Filfla relationship impacts the geology and species that call it home; reshaping the relationship of humans and the islet, acknowledging that from which we came and lending itself to an existing presence. To view the final resolution and walkthrough of this emotive space please click the link below or scan the QR code.

153

Course Code IRN 800 Contributers Adam Kolodziej Design Type Emotive Space

Cave Crack Render

Filfla to Malta and the Neolithic Temple Connection

Connecting Space Render

154

Meditative Space Render - Final Destination

Narrative - The story of the progression We begin on the medeterranian island of Malta peering south over the limestone cliffs that abruptly connect to the suspiciously blue waters of the sea. To look south from our vantage point is to stand with our backs to the city, the country and the history. To look south is to gaze beyond the neolithic temples that carved their way below the feet that ground themselves on the topsoils skin. To look south is to look past the horizon as it intertwines with the sky. To look for prospect, reflection and longing. But a cut of the same limestone stands amidst the southern sea, cutting a silhouette out of the meditative sky. The rock as it stands now acts as a block from the main island looking south.

overhead when a small boat approaches. The waves crash along the shore of the small islet, once obstructing view onward from the mainland, giving warning to a new visitor. Scaling the vertical shoreline and finger trips gracing the sheer cliffs, a crack in the rock along the island's east side converges inwards on itself along the grain of the texture. The rest remains to those who choose to venture deeper but a word of advice shall linger; take your time and take it in, it was here before you arrived and will stand long after.

Our boat crashes onto the shore. The rock shard ridden graveyard like shore of the target practice remains, tower

155

Lindsay Spafford is an aspiring Interior Designer, who has a strong belief in using design as a tool to solve problems. She does this by recognizing and forming connections in design to make her ideas become a reality. Over the course of her undergraduate degree in Interior Design, Lindsay has specialized in both lighting and residential design. She is an innovative designer who pays close attention to detail with extensive research prior to creating and establishing curated designs. Through extensive research, she has advanced and actively learned various design skills to incorporate into her projects such as sustainability, space planning and ergonomics.

lindsay99@rogers.com @lindsayspafford lindsayspafford.linkedin.com

156

BE ENVIROMENTALLY CONSCIOUS

lindsay spafford

resigned apartment standards Small and minimal living is the new normal when living in an urban setting. The standard apartment layouts are outdated and need new variations for developing city lifestyles. Presented are two ideas that will solve frequent problems when living in a small space. One involves the idea of movement in a space to define areas of living through level changes and the circulation. The other idea is disappearance being achieved by millwork partitions that allow for hidden space behind both levels. It provides space saving conditions for potential growth in families and maximizes function within space planning. A great base provides a great solution.

157

Course Code IRN 800 Contributers Brigitte Luzar Design Type Residental Design

158

Movement - Section 1

Movement - Detail 1

Movement - Detail 2

Disapearance - Section 1

Disapearance - Hidden Entrance

Disapearance - Washroom

Disapearance - Hidden Level Behind Panels

Proposed Standards HIDDEN - An instance or fact of someone or something ceasing to be visible. This is to keep a smaller square footage more organized. MOVEMENT - An act of changing physical location or position or of having this changed. Movement through a smaller space needs to be controlled, this is accomplished through different levels and strict space planning.

Movement - Mezzanine

159 159

empathy and diversity swetha srikanth Swetha Srikanth is a Telugu Tamil Canadian designer who is drawn to community, culture, and sustainability. Throughout her studies, she has focused on extra-curricular collaborative projects surrounding these topics in various applications. This includes work in small-scale interiors, installations, objects, graphics, project management, and social entrepreneurship. Swetha believes collaboration, empathy, and diversity are integral to her work, and are key components for navigating through life. Through her creative explorations, Swetha is striving to understand the nuances in these topics, as well as becoming more familiar with intersectionality and identity. Moving forward, she is extremely eager to be engaging in this eternal process. swetha.srikanth98@gmail.com @rajasri.ca linkedin.com/in/swetha-srikanth/

160

rock-sky The natural progression of time can be seen as the sun rises and sets, and as the seasons change seamlessly from one state to another. In our day-to-day activities, we are bound to clocks and strict intervals of time as we attend meetings, work, and even socials. What if we go back to unconfined passages of time in our spaces of productivity and incorporate natural elements to move towards ecological empathy? rock-sky incorporates light and colour as the indicators of time and merges contrasting elements in nature into a single plane. The bioplastic wall fixture is intended for spaces of high intensity activity. In a residential application, the lights can be programmed to change colours in 20 minute to 20 second, back to 20 minute intervals, inspired by the guidelines of breaking away from screens to allow the eyes and mind to rest. Instead of relying on clocks and alarms, users can put their devices away and look to rock-sky as a reminder to switch between work and rest, and overall, any activities they set out to do for the day. As the experience of the wall fixture is through light, colour, and organic textures, individuals move away from numerical confines of time and into a natural progression from one activity and mental state to another.

161

Course Code IRN 800 Contributers Linda Zhang Design Type Wall Fixture

Side View of Workspace

Rock-Sky In a small-scale application, rock-sky can be used in a residential workspace to help indicate moments of work and rest. In a large-scale application, it can be used in a commercial office to aid meetings and group activities. rock-sky brings organic materials, textures, and concepts into interiors of productivity to reintroduce workers to the benefits of biophilia and ecology. In a residential setting, viewing rock-sky indirectly while working at the computer for 20 minutes, users can experience feelings of enclosure and groundedness, improving their concentration. When the wall changes colour, individuals intuitively switch activities. Viewing rock-sky directly while pausing from digital screens for 20 seconds, users can experience feelings of airiness and dreaming, improving their creativity and productivity.

Wall Intervention

rock-sky can also be incorporated in commercial offices. In this setting, the wall fixture can be applied to meeting and event spaces to aid the progression of scheduled activities. During workshops, seminars, and symposiums, rock-sky and its changing colours can serve as subtle reminders to switch topics or activities while attendees are speaking or engaged in group activities without rudely disrupting the natural flow of the event.

Alcove Intervention

162

Collage of Colour and Lighting Conditions

Front View of Workspace

163

erika sun My interest in interior design has strengthened & broadened throughout my schooling, as I am continually being inspired by work in varying fields of design. I have always strived to meld functionality with visual appeal in a creative way, whether that is a residential space, an installation, or a theoretical movie set. Design is everchanging & with my experience in school & other experiences I have been lucky enough to have, I will continue to seek opportunities where my imaginative, yet viable ideas can take flight my & expand my knowledge of design.

erika.sun@hotmail.com @erika.sun www.linkedin.com/in/erika-sun

164

enchanted liBrary The Enchanted Library emerges from a story of a young orphan captivated by the magic of stories. She finds herself engrossed in a book she is reading and is unexpectedly transported into an enchanted library. This space becomes her oasis and the set designed incorporates elements of fantasy and enchantment for the viewer to experience through her. The scene follows her journey through the space as she is introduced to the wonders this library holds. Upon seeing floating books and strange staircases, her curious nature is provoked as she explores up a stacked spiral staircase. Arriving at the top platform, she is greeted with the bright sunrays shining on a temple; she then absorbs her surroundings and the vastness of the library. A glowing book holding the library's secrets captures her attention, and the scene ends with her approaching it. Her journey is important as it becomes the viewer's perspective of the space. Given the story's imaginative nature, the main design goal of the library is for the viewer to be as enticed as the character and feel the desire to explore further. Wonder can be bestowed on the viewer throughout the exploration of the space and the goal is for the architecture and emotive atmosphere to further propel this curiosity.

165

Course Code IDE 304 Contributers Adam Kolodziej Design Type Set Design

Render of All Three Staircases

Architectural Design The design of the space blends the rustic atmosphere of an aging library with elements of baroque architecture. It encompasses the endless wooden bookshelves many libraries seem to have, mixed with architecture using travertine and gold ornamentation, inspired by architects such as Roman Baroque architect Francesco Borromini. The evident architectural symmetry of the space is interrupted by less balanced elements, making the library appear more dynamic. Different toned glowing books on each staircase, unpredictable movements of floating books and light beams/ shadows help achieve asymmetry. Designed for a set, architecturally imaginative parts of the space such as the tall staircases or books being their own entities to be feasible. Set design can exist separate from the reality of everyday building constraints, this knowledge used to help make the design as enchanting as possible.

Section View

166

Render of her Arrival to the Platform

Render View of Platform

Render of Floating Books and Platform

Rendered Cut Plan View

Close-up Render of Bookshelves & Glowing Books

167

old ways don’t open new doors yihanna sun My interests as a designer lies at the junction of storytelling and design which stems from my captivation with the fantastical environments captured in experiential exhibits, film sets, and the video games from my childhood. My background in the visual arts allows me the ability to combine and communicate my imaginative ideas with my passion for functional, experiential spaces. With the rapidly growing plethora of digital tools available and a forth-coming transition beyond our traditional ways, I am always looking to add to and utilize my arsenal of skills for the upcoming future of change. yihanna.sun0@gmail.com @id_yihannasun linkedin.com/in/yihanna-sun/ https://issuu.com/yihannasun

168

angular house Throughout the studio of Small, Medium, and Large, we are to maintain a fluid design language that reflects ones designer identity across all scales of design. Throughout this journey I played with irregular polyhedrons, a geometry I often find myself always gravitating towards. The ultimate evolution of this journey was a residential unit, with my Angular House as the result. Two angular volumes - public and private - are conjoined by an interstitial space where they overlap. Nestled in the sloping hills by Lake Wanaka, New Zealand, the challenge of this site is that the sun shines from the north but the desirable views of the lake and glacier-carved mountains are directed at the south. It was important that regardless of the private volume, natural light must reach the public volume somehow. Thus, a fIap from the ceiling geometry was folded up to allow sunlight to wash the ceiling to change the overall effect in the space.

169

Course Code IRN 700 Contributers Cindy Rendely Design Type Residential Design

Exterior

Heritage Views To avoid looking super-imposed in on its surroundings, it is nestled in and sloping with the hill of the landscape. Built with cast-in-place board-formed concrete and clad in cedar, the house will naturally camoufIage with the land as the cedar silvers through time, while contributing to a beautiful warmth on the cavernous interiors.

Site

Floorplan - First Level

Floorplan - Second Level

170

Front Elevation

East Elevation

Section Elevation - Facing East

Section Elevation - Facing North

Interior - Kitchen

171

our voice is our power jimmy sung Reflecting on the past few years at RSID, I've had the opportunity to meet and work with some of the most creative and hardworking minds in the field of design. Along with gaining vital experience through numerous engagements in individual, collaborative and team-driven work, I've been motivated to continue translating my ideas, concepts and endeavours into projects I encounter in the future. Encouraged daily by my passion to design aspiring and emotive spaces, I look forward to seeing what the professional world has in store for us designers. A huge thanks to my professors and peers, for providing me with unforgettable experiences and memories I'll cherish in the years to come. jimmysung22@gmail.com @_jimmysung https://www.linkedin.com/in/jimmy-sung-99436a206/

172

light speed Light Speed is a project exploring the possibility of a large-scale intervention to one of the more prominent and recognizable cliffs located in the Scarborough Bluffs. With emphasis on creating the sense of illusion around time and infinity, the subterranean experience connects Scarboro Crescent Park situated on top of the cliff to the beach level of Bluffers Park. This allows individuals to embark on a journey by foot, either descending or ascending the staggering height of the cliff. Light Speed incorporates a logical circulation route with the impression of being endless, resulting in a highly compelling spatial experience.

173

Course Code IRN 800 Contributers Brigitte Luzar Design Type Subterranean Intervention

Plan & Section

Spaces & Features The intervention incorporates four different spaces: the entry pathway providing access to Scarboro Crescent Park, the viewpoint for individuals to enjoy the panoramic view from the edge of the cliff, the tunnel connection to the beach, and the void connecting all the spaces together. Located within the void is the ramp spiralling the height of 48 meters, resulting in the length of approximately 630 meters. The design will encourage people to dedicate time in order to get from one level to another, while making room for exercise due to the sheer size of the ramp. The illusion of infinity is enforced when observing the concrete structure of the ramp from either the top or bottom level. The rotating hexagonal feature lighting can be found in both the void and the tunnel path, illuminating the subterranean intervention. Along with the distance from one entry of the ramp to the other, the length of the neighbouring spaces were pushed as well in order to create the sense of time and infinity. The entry corridor, path to the viewpoint and the tunnel all span a distance of approximately 75 meters. The only enclosed space is the viewpoint, yet the skylight opens up the corridor and exposes the exterior. Site Plan

174

Entry Pathway

Top Level of Ramp

Bottom Level of Ramp

Tunnel Connection to Beach

Axonometric Section

175

Let’s be Kind lisa tocher I am always amazed at how a space can transform the way we think and feel. I love design and I want to create spaces that make people feel uplifted and encouraged. Studying at Ryerson has been an amazing experience that I will always remember. Thank you to everyone who has been part of these four years with me. See you out in the field! :)

lisa.anne.tocher@gmail.com https://www.linkedin.com/in/lisatocher/

176

lighthouse of hope While considering the theme of hope for my emotive space, I remembered how a lighthouse is a light in the midst of a storm, and how it is able to lead people through to safety, so I decided to begin with this analogy... I think hope can be described as looking positively towards the future, but the more I thought about it, the more I realized that hope can just be wishful thinking if your expectation is not based on truth. If a good parent keeps a promise, for example, you can have an expectant hope that what they say will happen in your future. Still, I think that to know our future for certain would require a mind that is able to see outside of the time and space that we are in, in order to view our timeline. I believe that the gospel message according to the Bible is like a promise of a good parent who is outside of space and time. In this case, the hope of everlasting life, is an expectation of what is yet to come for those who desire it, based on knowledge which has a claim to a source outside of space and time. I would like this design to tell a story about a hope that is beyond this life. The elements of a lighthouse, such as the travel upward, the light and the perspective from the highest point, are used to illustrate this journey. Lighthouse of Hope Short Film:

177

Course Code IRN 800 Contributers Adam Kolodziej Design Type Emotive Spaces

Light and Perspective From the Highest Point

To best understand the narrative, please imagine the following... The story begins at the land. Travelling across the water to the tower represents turning away from the temporary things that we hold onto, in hope for something that will last forever. Making our way to the foundation and stepping onto the platform is like making a decision by faith in Jesus, to journey in a different direction that is destined upward. Every revolution of the slowly rising platform illustrates the passing years and the perspective it brings from the renewing of our mind by God's Holy Spirit. As we get older and grow closer to our Earthy demise, we ultimately rise to our eternal home where in the light and at the highest perspective, we see clearly; and our hope of a perfect and everlasting home is realized...It is where we always belong and where every tear is wiped from our eyes... At night when the sky is dark and we see this bright golden light high above the water, it appears like a sign to remind us of where we are and where we can be...

178

179

choose kindness ! LAURA TRINCHINI Laura Trinchini's zeal for design resinates in the creative process that seeks innovative solutions at the forefront of art and human experience. For Laura, the beauty of interior design lies in the interaction between raw, transformed materials and the evocative, emotional response the outcome provides. Experiential design that rebuilds emotion through the integration of space, tactility and movement, is a primary focus of hers across each expanse of project and process. This vision has allowed her to complete various projects in hospitality, corporate, retail and exhibition settings, all of which apply various elements that seek to enrich the lives of others. lauratrinch@gmail.com @lauratrinchini https://www.linkedin.com/in/laura-trinchini-872083192/ https://lauratrinch.wixsite.com/design

180

OCCASUS. Nature's influence on design and experinitality, continues to unfold innovative thoughts and needed questions about the ways in which people choose to work. With beginnings rooted in the closed office plan, designs of today have grown through the emergence of the open office plan; whose success is owed to the spatial qualities it borrows from nature. Still, there seems to be a call for a 'greater workplace' that speaks on ecological and mental empathy for the user and the earth on which the design stands; begging the question, how can design begin to account for human's desire for the natural? The following project titled 'Occasus' is anchored by the need for atmospheric change in the workplace; working alongside known studies of red light therapy and a bioplastic textile to create a room for treatment and renewal. Meaning 'Setting of the Sun', Occasus borrows the linear texture of a tree to mimic the rolling grounds of the Red Planet. Fixed to the ceiling, the textile follows a steady undulating curve, until it is set to move; pulling the suspended cables up and down to create a wave motion. Developed entirely within the lengthy settings of an enclosed Canadian Winter, the room is aimed to combat Seasonal Affective Disorder (SAD) and other symptoms of depression. Using both the lighting quality and the change in atmosphere as an emotionally and mentally refreshing escape.

181

Course Code IRN 800 Collaborators Linda Zhang Design Type Installation Design

Interior Render : Occassus

Speculative Fiction Unabridged by the materiality and concept of the Speculative World "Abyssus Abyssum". Occasus reforms the definition of displaced nature within a work environment. Roughly translated to "Deep Calls to Deep", or "Like Calls to Like", Abyssus Abyssum disrupts the mundane, transforming a cityscape in Zurich, Switzerland into a narrative of restorative beginnings. Extruded from dichotomous earth, this virtual reality experience expands on the stories of divine origin and philosophy. shifting the meaning of "life source" to a presence that is both tactile and external.

Speculative Fiction : Abyssus Abyssum

Now borrowing the language of colour and form that Abyssus Abyssum presents, Occasus' own "life source" is one of otherworldly scripture; developing a space that is attentive to the healing powers of the unfamiliar. Anyone fancy a trip to Mars?

Speculative Fiction : Abyssus Abyssum

182

Floor Plan

Exploded Axonometric

Section

Textile Closeup

183

be kind, be inclusive jessy trinh I have always aimed to balance form, functionality and aesthetics of interiors. My goal is to transform spaces into experiences that enhance the well-being of occupants, while connecting them with nature and their surroundings. Alongside my education, I was a part of Ryerson's Varsity Figure Skating Team. This experience has not only allowed me to immerse myself within Ryerson Athletics, but I have also learned to manage my time efficiently between an intense course load and a busy practice schedule. Through experiencing the ever-changing environment of Ryerson's School of Interior Design, I have learned to grow and mature as a designer. I am eager to see what lies ahead in the future of my time in the field of design. jessy.trinh@hotmail.com @jessytrinhh linkedin.com/in/jessy-trinh

184

cantilevered retreat The Cantilevered Retreat is a vacation home designed as an object in the landscape and to immerse the user in nature. Located in Funakoshi Bay, Japan, away from the hustle and bustle of Japan's major cities, this home is south-oriented, taking advantage of the serene and tranquil views this site has to offer. The retreat is partially embedded in the slope, allowing part of the home to cantilever over the water. The structure of the retreat is linear to create a focal lens on the landscape, with subtle curvilinear language throughout the interior of the home. This retreat creates a distinction between public vs. private spaces, in which the upper level is designated as the public space, while the lower level is the private living space. The large windows and the openness of the floor plan allows users and guests, wherever they are within the retreat, to enjoy the calming view of the water and the surrounding environment.

185

Course Code IRN 700 Contributers Cindy Rendely Design Type Residential Design

Upper Level Interior Render

Private vs. Public Spaces This retreat has allocated distinct private and public spaces for the users. The upper level is designed as a space to host gatherings and to entertain guests. The open kitchen with full height windows, along with the large terrace, accessible by pivot doors, allows users and guests to appreciate the beautiful views of Funakoshi Bay.

Upper Level Floor Plan

The lower level is a spacious private bedroom. It includes a bathroom, equipped with a soaker tub placed in front of a large window, enabling users to relax and peacefully enjoy the view of the water. The bedroom also includes an all glass sunroom, to fully immerse oneself into nature.

Lower Level Floor Plan

186

Site Plan

Exterior Render

Elevation

Section

Lower Level Interior Render

187

choose to be kind aleXandra yakuBova I draw inspiration for my projects from travels, people and different cultures. As an interior designer, my goal is to create not only beautiful and functional spaces but experiences that bring people together and foster positive interactions between humans and built environments. Areas of my interest include mental and physical health promoting interiors, integration of nature and use of natural materials.

msalexjacobs@gmail.com @msalexjacobs linkedin.com/in/msalexjacobs/ msalexjacobs.wixsite.com/portfolio

188

the emotionarium We get affected and shaped by situations, events or people, we react and respond to them on an emotional level. The Emotionarium is designed to cause us to look at things differently, get a new perspective on things in life and the way we perceive not only the outside world but ourselves, our emotions and our inner world. External circumstances and our natural responses to them in the shape of different emotions are represented by the flying vaults hovering above the island. Vaults that bring storms alternate with the ones that bring sunshine. They switch just like theatre sets and decorations. The Emotionarium offers a variety of emotions - happiness, sadness, surprise, fear, anger.. There are good days and bad days that evoke different feelings and cause us to believe certain things, believe what can happen and what cannot. This place gives us an opportunity to look at life in a time-lapse manner reminding us that nothing is set in stone. Everything flows and changes and while life's sets change we should aim to stay true to ourselves and keep returning to our internal emotive space - the heart space. A short film created for this project can be viewed here:

189

Course Code IRN 800 Contributers Adam Kolodziej Design Type Emotive Space

Approaching Madonna del Monte, Venice Lagoon, Italy

The Intent and Design The intent for the space was to create an imaginary, somewhat whimsical space. As we approach the island, we pass through a magnificent colonnade of glass. We pass through the ruined arch as if we entered the portal between reality and imagination. This space is a representation of what we all have within us. It invites us to discover and look inside. We tend to look for answers on the outside, while if we just look inside we can connect to our higher selves and see and feel all we are looking for. Entering The Emotionarium

The Emotionarium is situated on Madonna del Monte island in Venice Lagoon, Italy. The design is inspired by the Roman ruins and columns that sit at various sites and now seem out of place. Yet we can imagine how they once were a part of a beautiful structure. They are the traces and proof of history. Glass as material represents the fluidity of water and time, these columns are a continuation of the body of water they extend from. This material is also a tribute to a special glassware known as Murano Glass, which is made by hand on Murano island in Venice according to very specific ancient techniques and recipes that have been passed down from generation to generation.

Approaching the island

190

The change of life's "sets"

Vaults that bring storms

3D model development

Vaults that bring sunshine

191

seek understanding amy yan Amy Yan is a designer interested in exploring the intersections between design and storytelling. During her time at RSID, she has worked on multiple cross-disciplinary research projects that have been showcased at the Interior Design Show and Come Up to My Room exhibitions in Toronto. Amy’s design approach has grown from her passion for handson making and illustration, and she is always looking for new ways to convey narratives through her work that can be experienced visually, emotionally and at all scales.

amy.yan@ryerson.ca @aypproductions linkedin.com/in/amy-j-yan/ amyyan.com

192

the lookout house. . The Lookout House is located on Gambier Island in British Columbia, an island surrounded by views of the Rocky Mountains. The house sits overlooking a steep drop on the island to the waters of Howe Sound below and is designed to respond to the specificities of the site that it occupies. The design of the house achieves two goals: to capture the views and maximize the natural landscape visible from the interior, all while standing as a distinctive object in the landscape. This first goal was achieved through the perpendicular stacking of the floor volumes in relation to each other and the placement of large feature windows at the end of each volume, opening onto panoramic views of the surrounding nature. Playing with solid/void in the building massing, as well as the specific selection of limestone as an exterior cladding material highlight the strong silhouette of the house in its tree-dotted surroundings. The limestone cladding is continuous into parts of the interior, thus blurring the lines between inside and outside, and furthering the notion of drawing the site's natural vistas into the interior.

193

Course Code IRN 700 Contributers Cindy Rendely Design Type Residential Design

Exterior

First Floor Dining/Kitchen/Living

Drawing in the Views Throughout the house, the interior planning and layout is informed by the natural vistas that each floor opens to. The thickening of certain wall planes, and then the act of carving into these walls to fit programming elements and windows (as seen in the plan drawings) continue the play of solid and void. Massing Development

194

First Floor Plan

Site Plan

Second Floor Plan

Second Floor Studio

195

YES 2021 COMMITTEE

Take Action, Demand Justice.

A movement, not a moment.

Not a melting pot, but a beautiful mosaic.

Learn, speak-up, do better.

Change it by your hands.

We are the future.

You control who you become.

We only lose if we stop fighting.

Our voice is our power.

Speak up.

Revolution starts with you.

Listen, learn, lead.

Adversity cannot hold me back.

Conscious, not Compulsive.

Build movements not moments.

Silence is violence.

Choose kindness.

Be kind.

Change the world by being yourself.

With your hand in my hand we will stand.

To learn, embrace, and challenge.

Spread love not hate.

Together and united, we are unstoppable.

Unearned privilege is society’s pandemic.

Embrace Diversity. Provoke A Change.

Stand up.

Listen, Speak, Act.

Delayed justice is injustice.

Listen without prejudice.

Women’s rights are human rights.

196

CLASS OF 2021

197

SPONSORS SENIOR SPONSORS

INTERMEDIATE SPONSORS

JUNIOR SPONSORS

MEDIA SPONSORS

IN-KIND SPONSORS

Note of Thanks: Thank you to our generous sponsors and supportive funding groups for making all of this possible. We are glad that we were able to bring another motive in running the show this year alongside celebrating the showcase of the school’s remarkable student work.

@yesrsid yesrsid.com issuu chair.yesrsid@gmail.com

BIBLIOGRAPHY Alyn Griffiths I 19 June 2014. Waste House by BBM - "UK's first permanent building made from rubbish". Dezeen. https://www.dezeen.com/2014/06/19/waste-house-by-bbm-architects-isuks-first-permanent-building-made-from-rubbish/. Anti-Racism Statement .It's time to step up to end racism. (2021, April 14). https://www.chrc-ccdp. gc.ca/en/resources/statement-its-time-step-end-racism-0. Brighton Waste House. University of Brighton. (n.d.). https://www.brighton.ac.uk/research-andenterprise/feature/brighton-waste-house.aspx. CBC/Radio Canada. (2018, December 28). Voices from the past: Musician Jeremy Dutcher gives new life to wax cylinder recordings of his ancestors | CBC Radio. CBCnews. https://www.cbc.ca/radio/unreserved/lost-and-foundindigenous-music-culture-language-and-artifacts-1.4563023/voices-from-the-pastmusician-jeremy-dutcher-gives-new-life-to-wax-cylinder-recordings-of-hisancestors-1.4569534. City of Toronto. (2019, July 5). Land Acknowledgement. City of Toronto. https://www.toronto.ca/citygovernment/accessibility-human-rights/ indigenous-affairs-office/land-acknowledgement/. Dan Howarth | 16 February 2013. Open Source Sea Chair by Studio Swine. Dezeen. https://www.dezeen. com/2013/02/16/open-source-sea-chair-by-studio-swine/. Jessica Mairs | 2 June 2016. 90 tonnes of waste form entrance to Venice Biennale. Dezeen. https://www. dezeen.com/2016/06/02/venice-architecture-biennale-2016-recycled-waste-exhibitionentrances-alejandro-aravena/. Monkman, K. (2012). Teaching the Lost Denver Art Museum . https://www.kentmonkman.com/painting; Kent Monkman. Murakami, A., &amp; Groves, A. (n.d.). Sea Chair. Studio Swine. https://studioswine.com/work/seachair/. Mutu, W. (2019). The Seated I & The Seated IIMetropolitan Museum of Art . https://www.metmuseum. org/blogs/now-at-the-met/2019/wangechi-mutu-the-new-ones-will-free-us; The Met . Mutu, W. (2019). The Seated II Metropolitan Museum of Art. https://www.metmuseum.org/blogs/now-atthe-met/2019/wangechi-mutu-the-new-ones-will-free-us; The Met. Romano, K., &amp; Rahman, N. (2021). Re-Vision 2021 Year End Show. yesrsid.com . Rosato, S. L. (2013, November 8). Sustainable systems &amp; material innovation:eco-friendly design. Archilovers. https://www.archilovers.com/stories/4280/sustainable-systems-materialinnovation-eco-friendly-design.html. The Royal Ontario Museum . (n.d.). The Final Sleep. Spring Hurlbut. https://wwwspringhurlbut.com/thefinal-sleep. Team, A. D. E. (2015, July 18). Alejandro Aravena Appointed Director of the 2016 Venice Architecture Biennale. ArchDaily. https://www.archdaily.com/770446/alejandro-aravena-appointed-directorof-the- 2016-venice-architecture-biennale.

Re-Vision 2021 @yesrsid yesrsid.com issuu.com/yesrsid chair.yesrsid@gmail.com