teron submissions 2013 book 2

C A N D I D A T E S

B O O K 2 O F 42nd Year

Book 2 of 4

Semester OneAndrew Bako ................................... 4Sam Badach ................................... 12Ben Hayward ................................. 24Jake Murray ................................... 36Elaine Welsher ............................... 50

Semester TwoAndrew Bako ................................. 64Alexandra Fiori .............................. 72Andrej Iwanski ............................... 80Jeniffer Milburn ............................. 90Natalia Ospina ............................. 102Gillian Walczak ............................ 112Elaine Welsher ............................. 120

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ABSTRACT

CANDIDATE

PROJECT TITLE

Andrew Bako2nd Year 100848025 - ARCS 2105

InFlux: House Analysis + Addition

2013 Teron Scholars Student Submission Form STUDENT NUMBER (s): 100848025 STUDIO NUMBER: ARCS 2105 PROJECT TITLE: InFlux: House Analysis and Addition DEADLINE: THURSDAY, 23 MAY, 2013 Students Nominated to compete for a Teron Scholarship are asked to complete the following submission form to assist the judging panel in understanding how their project meets the criteria of the Teron Prizes, namely imagineering, physical form and materiality, social impact, environmental concern and attention to economic concerns. 1) Please submit 10 images in PDF format (on a CD) that fully documents the project being nominated. Minimal text may also be used on each image. No image may be larger than 2MB for a total of 20MB per disk. 2) Project Description (100 -200 words): Please provide a concise abstract of the project being presented.

(write abstract here on this form) The house analysis project explored the key conceptual themes present in the ‘Floating Home on Lake Huron’, designed by MOS Architects. The house is constantly in flux as it rises and falls with the water levels of Lake Huron, and therefore has a constantly changing grade. The fluctuating nature of the house modifies the experience of its inhabitants. For example, interior to exterior relationships are altered in numerous ways as a result of the dynamic nature of the home. These relationships are also impacted by the skin of the house as well. Modulated exterior cladding impacts the filtration of light into the house. Due to varying spacing patterns, the cedar slats drape the interior with bands of light of varying dimensions. The addition to the house focused on the relationships between the home and its natural environment, and the role of the user in this interactive process. The bridge addition serves as a celebrated space rather than a threshold between two ideas. The bridge breathes along with the house- the volumetric dimensions are impacted by the dynamic relationship between land and water. This kinetic structure defines how we view our surroundings and how we move through a space in constant motion.

3) Text to accompany submission: Each student must submit a 1000 word (total length) description of their project as it applies to the following categories:

a) Imagineering (Imaginative Engineering) b) Physical form and materiality c) Social Impact d) Environmental Concerns e) Economic impact.

Please save this text, as well as this form as a PDF file and submit it on the CD with the images.

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The Floating Home on Lake Huron designed by MOS Architects fluctuates in order to respond to the environmental conditions of its surroundings. Constructed in 2004, the house encountered a number of complexities as a result of its unusual location. One of the main concerns was transportation costs of building materials to the site, which is a private island roughly 10km from the shore of Pointe au Baril, Ontarithis issue was to produce a prefabricated, transportable house that utilized the lake as a waterway. The house was fabricated along the shore of Lake Huron on the frozen lake during the winter months. When the ice melted, the steel pontoons that support the building submerged into the water, and the house was towed by boat and anchored to the island where it now rests.

The House Analysis project served as an investigation of the concepts of this unique building. Annual changes due to seasonal norms and global environmental trends are

he house is continually in flux as it rises and falls with the water levels of the lake, and therefore has a constantly changing grade. The fluctuating nature of the house modifies the experience of its inhabitants. Interior to exterior relationships are altered in numerous ways usual exterior certainties such as a constant horizon line are made impermanent by the dynamic nature of the house. The play on the frame of reference experienced inside the house is amplified by the modulated cedar slats that compose the building envelope. The slats are spaced in varying dimensions to drape the interior space with diverse intensities of natural light, as well as framing our visible relationship with the exterior environment. In addition, the cedar slats blur the distinction between interior and exterior space. In some instances they provide complete interior privacy, and in other situations the slats open and act only as a screen for harsh weather conditions. However, this allows the penetration of the environment into the home as well as encourages an engagement with the lake.

The addition to the house focused on the relationships between the home and its natural environment. In this case, it implied the union of the home with the water and land. The development of an addition to the house began with a physical manifestation of these themes in a non-‐representational, handheld cube. By doing so, I attempted to physically manifest themes to apply later to my own addition design. From the exterior, the cube appears as a simple 5x5 grid of wooden squares on two of the six faces of the cube. When one interacts with the face of the cube, it responds with characteristics similar to a body of water. The displacement of one square affects the displacement of all surrounding squares, utilizing an internal network of dowels and rubber bands. In addition, the displacement on one face of the cube is mirrored on the other side of the cube. The fluctuating motion of the wooden squares also allows for the filtration of an internal light source. As one presses farther into the cube, more light escapes. Instead of the architecture dictating our relationship with the exterior environment, the cube illustrates how human intervention can impact the architecture itself, and ultimately define how we interact with our surroundings.

The addition to the house focuses on the primary concept of fluctuation and its application to the filtration of light as well as the integral relationship between the house, land and water. The house has both fixed and a dynamic condition; it is constantly in motion and yet is still anchored to the land. The notion of rigidity versus continuous mobility was manifested in the re-‐design of the bridge connection to the surrounding landscape as a celebrated space. The intent was to produce a space that utilizes the fixed nature of the landscape and the fluctuating water level as facilitators to change the physical

ability to contract and expand lengthwise

As the bridge extends horizontally, the bridge simultaneously compresses vertically.

the space as well as our interior/exterior visibility. As the bridge extends, the system of overlapping wall panels converge to decrease exterior visibility. Conversely, the floor and ceiling panels diverge. This closing off of the surroundings emphasizes the transportable nature of the prefabricated home. The farther it is displaced from the landscape, the more the visible connection between sky and water is enhanced. In contrast, your disconnection from the landscape is realized as your view of the land becomes limited. The magnitude of expansion and contraction is solely dependent on present environmental conditions and its impact on the displacement of the household from the origin point. The origin point of the house, (i.e. when the bridge is most compressed), was determined through an analysis of the mean water level of the region from a monthly and annual basis.

The last conceptual feature of the bridge focused on its ability to follow a circular

track and based on daily water levels, the bridge can transform into a ramp from the landscape to the roof of the household. This serves as an invitation from this designed intervention to access the rooftop when the tide is at its peak, which is at sunrise. The main conceptual focus of the bridge was to respond to the fluctuating conditions of the environment by emphasizing the dynamics of this unique, prefabricated home. It defines how we perceive our surroundings, how we move throughout the space and invites us to view and appreciate the natural beauty of an isolated northern habitat.

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ABSTRACT

CANDIDATE

PROJECT TITLE

The Wall House in Santiago Chile is composed of a series of concentric layers that decrease in transparency as they radiate from a central concrete core. One experiences a sense of progression moving from the outer most layer to the inner layer. My design is a glorified reinterpretation of the bathroom in response to my critical stance challenging the primacy of its original location within the central concrete core. Inverting the order of the layers of the Wall House I introduced a subterranean bath. The bath is accessed by a long gash that descends into the earth.

Sam Badach2nd Year 100866242 - ARCS 2105

Concrete slabs forming the rear patio gradually fracture and rotate providing an increasing sense of enclosure as one descends. The fractures are softly illuminated to emphasize this dramatic transformation. A stone wall defines the opposing wall and acts as a means to measure ones decent . Underfoot, wood planks float on a bed of pebbles in which water runs through creating sounds of flowing water that foreshadow the bath. After the climax, in which one experiences the greatest sense of confinement, the gash opens up into the room containing the pool that is naturally lit by a stairwell opened to the sky above.

Learning Centre

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SUBMITTED TEXT A Glorified Toilet

Situated in a rural community on the outskirts of Santiago Chile The Wall House and its unusual construction was inspired by the tall hedges encasing the large residential lot that, according to the architects, behaved as an outer wall. In response to these hedges the architects designed a house composed of a series of layers or wall types that decrease in density and transparency as they radiate from a central concrete core. The layering of various materials affect the passage of light and the extent of visual depth while blurring the distinction between inside and outside. There is a sense of progression as one moves through the various concentric layers. Upon entry one passes through a semi transparent fabric membrane resembling a giant tent, followed by polycarbonate panels similar to those found cladding green houses. The interior space is arranged around a continuous structural shelving unit in the form of a figure eight. At the heart of the shelving band is a concrete shaft which contains the bathroom.

My design is a glorified reinterpretation of the bathroom in response to my critical stance challenging the primacy of its original location within the central concrete core. Inverting the order of the layers of the Wall House I introduced a subterranean bath with the earth representing the concrete core. The bath is accessed by a long gash that descends into the earth. The gash is aligned with an axis that defines the driveway and point of entry for the home. Exploring the properties and relationship of materials, form, water and light the design emphasizes the journey of the decent rather than the destination. The act of descending into the earth is intended to be part of a spiritual journey of enlightenment in an attempt to reconnect with the earth, explore ones inner self and re-evaluate current states of the modern world. Concrete slabs forming the rear patio gradually fracture, rotate and thicken providing an increasing sense of enclosure as one descends. The fractures are softly illuminated to emphasize this dramatic transformation and to enhance the sensory experience. Vertically placed, a rusticated stone wall defines the opposing wall and acts as a means to measure ones decent. Underfoot, wood planks float on a bed of gravel in which water runs through to heighten the experience with sounds of flowing water that foreshadow the bath. The gravel also acts as a means to naturally filter and cleanse the water that is pumped and circulates from the bath below. The use of natural and locally harvested materials, such as the stone and wood, satisfies aesthetic intents while ensuring the project addresses economic and environmental concerns. Utilizing the insulating properties of the earth, the bath also shields its users from the heat of the Chilean sun while maximizing energy efficiency.

As one continues their decent the gash narrows and deepens while the concrete slabs increase in thickness and begin to tilt, enclosing the view to the sky above. With this increasing sense of enclosure ones senses become heightened, their relationship with the materials and the increasingly defined space become more apparent. The experience is humbling reminding the occupant of their role as part of a vast and complex natural system . All the while one is conscious of the material world being left behind as the Wall house remains in constant view while fading as one descends. The narrowing passage is abruptly terminated with a stone wall marking the maximum point of enclosure. With heightened anxiety a small opening to the left offers a choice; to conquer the unknown and turn the corner or

return to the world that is familiar, a world of corruption and consumption , a world that has become disengaged from nature. Turning the corner the space opens up to a simple rectangular room containing the pool lit by a central stairwell that is open to the sky above.

The space is simple. The stone wall that defined the left hand side of the descent wraps around the three sides of the room returning to the thick concrete slab that separates the pool space from the narrow entry point. Parallel to the concrete slab and together framing the stair well, a stacked glass wall defines one edge of the centrally placed pool. Seemingly from an unknown source, water dances down the irregular face of the glass wall to a secondary pool at the walls base before spilling into the primary pool below. Sunken into the earth, the pool's three remaining edges step down into the water providing a space in which one may sit and reflect. The pool provides a secluded personal oasis from the chaotic world above. In its simplicity, material selection, lighting and use of water the space stimulates a spiritual experience in which one may pursue meditation and personal enlightenment. In the stillness, the complexities and anxiety of modern life dissolve while promoting focused thought and self awareness. The relationship between the occupant and the elements of earth, water and light is emphasized by the rooms austerity allowing a deeper appreciation and connection to the natural world.

The stairwell marks the end of the experience, as it not only represents the journey of the initial descent, but also marks a new beginning as one ascends with a refreshed and enlightened soul. Additionally the central stairwell acts as a metaphor to the concrete shaft that defined the centre of the Wall House and became the source of criticism and consequentially the inspiration as well. With its wooden treads set into the concrete and stacked glass wall, the stairwell also captured the innovative layering effect the Wall House is famous for. Ascending the U-‐shaped stairs to the intermediate landing one discovers a third and final pool with its surface aligning with the viewers perspective and its water spilling over the adjacent glass wall. As one ascends the final few steps emerging out of the earth the Wall House begins to appear in the distance marking a return to the conventional world, but with an enlightened perspective.

Sam Badach

100866242

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WALL HOUSE ANALYSIS: Hand drawings demonstrating the various layers of the Wall House. Top left to right: 1. Concrete core 2. Shelving band 3. Polycarbonate Panels 4. Fabric Membrane

WALL HOUSE ANALYSIS: Right - Hand drawings of various sections illustrating the relationship of the various layers Bottom Multiple hand drawings layered on plotting film

Wall House Addition (Concept) Plaster carving of the site illustrating the foundation and driveway of the Wall House as it relates to the introduced gash in the earth and subterranean bath

Wall House Addition Hand drawn plan and axonometric Axonometric overlay compares the footprint and arrangement of the bath as it relates to the Wall House

Wall House Addition Transverse sections: Demonstrates the increasing sense of enclosure as one descends Longitudinal Section: Illustrates the relationship between the addition and the Wall House

Wall House Addition Card stock model illustrating the central stairwell in the bath

Wall House Addition Card stock model illustrating the upper pool and view towards the Wall House after ascending the stairs

Wall House Addition Card stock model of the entire addition. Model is subdivided into six parts to demonstrate various sections. The back is opened to allow viewing of the interior pool.

Wall House Addition Longitudinal section of card stock model

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ABSTRACT

CANDIDATE

PROJECT TITLE

The Learning Centre is an example of what can be understood as a new approach to “living architecture”. Unlike bio-mimicry where natural forms are emulated with inanimate materials, living architecture aims to culture or grow self-sustaining ecosystems which are also habitable structures, serving the specific needs of their human inhabitants. Living architecture marries biological and structural engineering to create living spaces that are both wondrous and efficient. The Learning Centre began with the planning of a plaza that would integrate into a specific urban block within downtown Ottawa. Through further research on the surrounding community, it became apparent that the district was zoned

Ben Hayward2nd Year ARCS 2105

for almost complete redevelopment. In this new light, it was less important to integrate into the surrounding architecture than to be a vision statement for what the community could become. In its first incarnation, the Learning Centre was conceived as a natural history bookstore within the surrounding plaza . From there, it evolved into an enrichment centre for children and young adults. In its current form, it includes a single occupant residence for its caretaker. The Centre focuses it’s teaching on literature, art, and environmental science. A stage with a main floor and mezzanine view area allows the building to serve in evenings for small concerts, open mics, and public speaking events.

Learning Centre The Centre is constructed through a process of controlled growth and deposition of genetically modified calcium carbonate depositing bacteria. Environmental conditions for the ecosystem are modified as necessary so that certain populations of microorganisms with certain desirable properties dominate through natural selection as needed. Different micro-organism populations are engineered and selected for their exothermic, endothermic, and bioluminescent properties as well as for their structurally reinforcing secretions. The building is designed to invite people to form new relationships within their community and with the larger bio-sphere.

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Ben Hayward Teron Prize Submission

May 23, 2013 Learning Centre Abstract: The Learning Centre is an example of what can be understood as a new approach to “living architecture”. Unlike bio-mimicry where natural forms are emulated with inanimate materials, living architecture aims to culture or grow self-sustaining ecosystems which are also habitable structures, serving the specific needs of their human inhabitants. Living architecture marries biological and structural engineering to create living spaces that are both wondrous and efficient. The Learning Centre began with the planning of a plaza that would integrate into a specific urban block within downtown Ottawa. Through further research on the surrounding community, it became apparent that the district was zoned for almost complete redevelopment. In this new light, it was less important to integrate into the surrounding architecture than to be a vision statement for what the community could become. In its first incarnation, the Learning Centre was conceived as a natural history bookstore within the surrounding plaza . From there, it evolved into an enrichment centre for children and young adults. In its current form, it includes a single occupant residence for its caretaker. The Centre focuses it’s teaching on literature, art, and environmental science. A stage with a main floor and mezzanine view area allows the building to serve in evenings for small concerts, open mics, and public speaking events. The Centre is constructed through a process of controlled growth and deposition of genetically modified calcium carbonate depositing bacteria. Environmental conditions for the ecosystem are modified as necessary so that certain populations of micro-organisms with certain desirable properties dominate through natural selection as needed. Different micro-organism populations are engineered and selected for their exothermic, endothermic, and bioluminescent properties as well as for their structurally reinforcing secretions. The building is designed to invite people to form new relationships within their community and with the larger bio-sphere.

A. Imagineering: Bio-mimicry vs. bio-governance

A part of our social psyche craves a return to nature. We long to belong within an on-going process of greater creation. This theme runs through the history of architectural theory. Psychologist Erich Fromm and others theorize that “biophilia”, an instinctive need to live among other forms of life, is endemic to our species. And yet, as real and as pressing as this instinct may be, we must also acknowledge other social needs—notably for security, convenience, and comfort—that make our decision to isolate ourselves from the bio-sphere seemingly irreversible. This project exploits a cluster of newly emerging technologies to resolve the tension inherent in our relationship to our domiciles. The goal is to not to just mimic natural forms. Nor is it to grow “the tree house of the future”. The idea is to leverage the latest developments in biological and mechanical engineering to culture a domicile from both animate and in-animate materials that, through its status as a living organism, actively generates properties needed by its human inhabitants. The Learning Centre should be viewed as a self-sustaining ecosystem which includes its human inhabitants as one of its component life forms. For years architects, scientists and engineers have drawn inspiration from designs already present in nature. By shifting design from bio-mimicry to bio-governance, the beauty and efficiency found in nature can be exploited directly. The opportunity is to embrace a new paradigm of living within life trained to create the structures and spaces we desire. B. Physical Form and Materiality: Ribbing and Nutrient Distribution Calcium carbonate “ribbing” provides structural integrity for the learning center. This ribbing is formed through cultured growth of genetically modified micro-organisms that excrete the material in a fashion similar to corals as they form a reef. During the construction phase, the goal is select a “constraint set” to restrict growth of the ribs much as gardener uses a trellis to train the growth of a vine. Constraint sets may include prescriptions for open space and structural separation, distribution of light, acoustic properties, and heat flow through the structure. An array of 3-D printers is programmed to “grow” the ribs subject to the constraint set. Rib growth works through a process of iterative bio-feedback. A given printer begins by depositing a patch of amalgam consisting of genetically modified micro-organisms (selected for their ability to excrete calcium carbonate), nutrients to stimulate accelerated growth of the micro-organisms, and additional inorganic substrate materials. After waiting a few hours for the micro-organisms within the patch to grow and reproduce, the printer evaluates relative population densities and, subject to the constraint set, preferentially deposits the next patch of amalgam where the population

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densities are greatest. In this fashion, ribs grow through a constrained process of natural selection. Once rib growth is complete, populations of the calcium carbonate excreting organisms are allowed to wane. Now nutrient-rich water flows down through the ribs from a reservoir in the roof. These nutrients support cultured populations of micro-organisms selected for their exothermic and/or bioluminescent properties. In this fashion, microbial ecosystems within the Learning Centre can be controlled to provide structural growth, structural repair, heating, and supplementary light. Joints in the flooring, similar to those that form naturally in columnar basalt, channel water flow that regulates temperature. Populations of exothermic bacteria are stimulated within the flooring during cooler months to provide additional heating. The courtyard fountain features a cluster of copper lily leaves elevated on long pipe pedestals. As nutrient rich water courses both through and between the pipes, they resonate at harmonics modulated subtly by the mosses that coat the pipe interiors. C. Social Impact: A Trellis for Human Behavior

The Learning Centre aspires to alter the world views of its human inhabitants without forcing immediate changes in their day-to-day behaviour. While some change to procedures for building maintenance (or, more correctly, ecosystem sustenance) is inevitable, the Centre will fail if it significantly disrupts the daily habits.

Rather, the hope is that, human inhabitants will gradually come to appreciate the benefits they receive through symbiosis with other organisms in their dwelling. By shifting the human-dwelling paradigm from one of “occupier and occupied territory” to one of “co-existence within a greater bio-sphere”, the urban social paradigm will also inevitably change.

The Centre aims to guide human growth in much the same way as it guides growth of its non-human life forms. It engrains the benefit of symbiotic relationships and can help grow its owner grasp a bigger sense of what it means to be alive. In effect, the Centre is a trellis for humans to evolve beyond their traditional role as consumers of life, to one as caretakers of life systems.

D. Environmental Impact While the net environmental impact of the Learning Centre and similar living dwellings should be positive, potential for disruption to truly natural ecosystems does exist.

Genetically modified organisms used within living dwellings might have un-intended negative impacts (potentially even catastrophic ones) on naturally occurring micro-organisms and their associated eco-systems. Extreme care must be taken to ensure that environmental impact is both controlled and, if need be, reversible. At the same time, if we are avoid the disastrous global consequences of our unsustainable dependence on fossil fuels (generated by micro-organisms millions of years ago), it behooves us to find new ways of reaping the benefits of micro-organisms living today. E. Economic Impact: Micro-ecosystem The economic impact of living architecture can be immense. Endolithic bacteria that exist within the walls, floors, and ceilings, may generate heat, heal structural damage, and even allow for future modifications to building design. Living dwellings can evolve with changes in their surroundings and need to be demolished less frequently. Inhabitants reduce dependence on fossil fuels because they leverage living fuels. In addition, building maintenance will require a basic understanding of horticulture and bio-relationship engineering. This education lays the foundation for potential homegrown food production and local waste management. Independence in the areas of food, energy and waste can dramatically reduce the financial burden placed on homeowners for living expenses.

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CANDIDATE

PROJECT TITLE

JakeMurray 2nd Year ARCS 2105

Muskoka BoathouseLighthouse andObservation Tower

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Jake Murray, 100859302

Prof. Manuel Baez,

ARCS 2105 (Studio 2), Fall 2012

Shim + Sutcliffe is an architecture firm based in Toronto, which is led by the married team of Brigitte Shim and Howard Sutcliffe. The studio typically produces work on a residential scale, reflecting the small size of the firm, as well as the personal interests Shim and Sutcliffe have in smaller scale architecture.

A well-known project from the firm’s portfolio is The Muskoka Boathouse, completed in 1999. This project is successful in part due to the team’s awareness of the unique challenges presented from the physical and cultural site. The boathouse is located on the border of the waters of Lake Muskoka and the wild, rocky shoreline. Cottages and boathouses have existed on these shores for decades and have a significant place in Canada’s history. These iconic and mystic landscapes, as well as the traditional construction methods of the area were large inspirations for the boat-house. Primarily, the architects took note of traditional boat construction, crib construction and cabin construction.

When choosing interior finishes for the boathouse Shim and Sutcliffe studied the finely crafted motor boats of the area. The architects also drew inspiration for the physical design of the interior from these historic boats. Primar-ily, the ceiling of the second floor bedroom/living room is curved, a reflection of the motor boats which ‘sleep’ below in their covered boat slips.

The materiality and design of the exterior was also informed by local trades and construction traditions. 100 year old heavy timbers were remilled and used to create some of the exterior walls. In comparison with the finely finished mahogany and Douglas fir interior finishes, the rough and imperfect exterior timbers reflect rustic log houses in the area as well as the underwater crib structures used to support docks and the boathouses of the Muskoka area.

There are many dualities present in The Muskoka Boathouse such as the balance between the refined and the rustic finishes. Another one of these opposing pairs is found in the hybridization between the old and new which is central to the boathouse’s design, and many of Shim + Sutcliffe’s other projects. For instance, the exterior columns have steel cores and are encased in wood. By creating this hybrid structure, the architects are embracing change but are ensuring that they respect tradition and create spaces that are familiar. Another example of this hybrid design is the HAB chair that the pair designed specifically for The Muskoka Boathouse. Again, the design utilizes new technol-ogy, in this case light steel frames and molded plywood. However, the form of the chair replicates that of the well-known Muskoka chair.

As Shim and Sutcliffe designed their HAB chair I attempted to capture the essence of the Muskoka Boathouse in a piece of furniture. Like the Muskoka chair, I chose a furniture piece that is common to the Muskoka area - a ham-mock. The design is modernized through its use of synthetic and dynamic rope that will form to each person, creating a ‘boat for the body’. As well, the structural supports are created out of curved members, something that would not have been possible without modern laminating and bending construction techniques. The design also utilizes the tra-ditional patterns used to weave canoe seats. This familiar pattern is applied to a new object.

In collaboration with fabricators, Shim and Sutcliffe worked on other pieces of furniture for The Muskoka Boathouse. Like the HAB chair, some of these pieces were reinterpretations of traditional constructions. Others were mechanical representations of natural phenomena common in the area. Their design of a bug lamp contains phosphorescent sheets of metal suspended in a mason jar. At night the plates glow and mimic the moths and insects that congregate around outdoor lamps in the area. In line with this method of design, I chose to create a curtain that reflects the movement of the Northern Lights. Single weights are hung at the ends of many strings. The weights are connected to one and other by a central core so that any movement in one segment of the curtain is translated to the other weights, and in turn to the other strings as well. This design also speaks to the ribbed structures found in the

Muskoka Boathouse as the bottom row of weights moves as a series of hinges, reminiscent of a snake’s ribcage.

The final design of the Muskoka Boathouse addition is a result of my research and investigations. The addi-tion is an observation tower that elevates people above the boathouse and provides them with unobstructed views of the lake and shoreline. The roof is terraced and accessible from the center of the tower. This opens up the sky while maintaining a level that is more sheltered from the sun and other elements. The primary structure of the tower is cre-ated by twelve curved ribs, each with profiles derived from the sections and elevations of canoes. The size, the curves and the required strength of these structural ribs call for glulam construction. Like many Shim + Sutcliffe architectural and industrial design projects, this addition utilizes modern construction technologies to accomplish its design, while maintaining a familiar materiality. In response to the site, the tower, which sits on a dock adjacent to the boathouse, is accessible by land but is also connected to the lake through the inclusion of boat slips which welcome visitors from the water. The first deck of the tower is enclosed in a curtain that can serve as a railing and possibly as protection from mosquitoes and other insects. However, the curtain will also have fluid elements reminiscent of the ‘Northern Light curtains’ from previous models. Illuminated from the central core of the tower the curtain will play in the wind and light, mimicing the dance of the northern lights. On dark clear nights, the artificial lighting will be dimmed to allow for an uninterrupted view of the real light show. A nearby night sky reserve will provide many opportunities for visitors to experience the real magic of the northern lights.

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Muskoka Boathouse Lighthouse and Observa5on Tower

Jake Murray Studio 2, Fall 2012

Carleton University Prof. Manuel Baez

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Muskoka Boathouse Lighthouse and Observa5on Tower

Jake Murray Studio 2, Fall 2012

Carleton University Prof. Manuel Baez

Shim + Sutcliffe is an architecture firm based in Toronto, which is led by the married team of BrigiLe

Shim and Howard Sutcliffe. A well know project from the firm’s porRolio is The Muskoka Boathouse,

completed in 1999 on a rocky shore of an Ontario fresh water lake. This iconic mythical landscape,

as well as tradi5onal construc5on methods of the area were large inspira5ons for the boathouse.

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Of the vernacular studied, Shim + Sutcliffe drew heavily from tradi5onal boat construc5on, such as the Mahogany boat pictured. These boats informed many of the finishes used in the boathouse; as well as affec5ng the physical design of the interior space. Primarily, the ceiling of the second floor bedroom is curved, a reflec5on of the motor boats which ‘sleep’ below in their covered boat slips. In contrast with the finely finished interiors, the rough and imperfect exterior 5mbers reflect rus5c log houses in the area as well as the underwater crib structures used to support docks and the boathouses of the Muskoka area.

In the following technical and conceptual axonometric drawing, the boathouse is rendered upside down with various layers peeled away. This was done inten5onally to highlight the similari5es between the boathouse and the boats which are housed below. The drawing allows the viewer to decide whether a boat is siYng on the water, or the boathouse is reflected on the water’s surface.

13 Douglas Fir Siding 14 Collar Tie 15 Steel C Beams 16 Stair Cut String 17 Floor Insula5on 18 Mahogany Panels 19 Mahogany Window Mulleins 20 Glass 21 Ceiling Insula5on 22 Beadboard Ceiling 23 Second Floor Ceiling, Timber Framing 24 Raders 25 BaLens

1 Bedrock 2 Granite Ballast 3 Hemlock Timbers, Framing Underwater ‘Cribs’ 4 Deck Joists 5 Cedar Deck Boards 6 Steel Column, Encased in a Cedar Log 7 Steel Beam 8 Douglas Fir Plywood 9 Painted Wood Floor 10 Recycled Heavy Timbers 11 Soil 12 Moss Garden (Na5ve Plant Species)

A X O N O M E T R I C L E G E N D

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Of the vernacular studied, Shim + Sutcliffe drew heavily from tradi5onal boat construc5on, such as the Mahogany boat pictured. These boats informed many of the finishes used in the boathouse; as well as affec5ng the physical design of the interior space. Primarily, the ceiling of the second floor bedroom is curved, a reflec5on of the motor boats which ‘sleep’ below in their covered boat slips. In contrast with the finely finished interiors, the rough and imperfect exterior 5mbers reflect rus5c log houses in the area as well as the underwater crib structures used to support docks and the boathouses of the Muskoka area.

In the following technical and conceptual axonometric drawing, the boathouse is rendered upside down with various layers peeled away. This was done inten5onally to highlight the similari5es between the boathouse and the boats which are housed below. The drawing allows the viewer to decide whether a boat is siYng on the water, or the boathouse is reflected on the water’s surface.

13 Douglas Fir Siding 14 Collar Tie 15 Steel C Beams 16 Stair Cut String 17 Floor Insula5on 18 Mahogany Panels 19 Mahogany Window Mulleins 20 Glass 21 Ceiling Insula5on 22 Beadboard Ceiling 23 Second Floor Ceiling, Timber Framing 24 Raders 25 BaLens

1 Bedrock 2 Granite Ballast 3 Hemlock Timbers, Framing Underwater ‘Cribs’ 4 Deck Joists 5 Cedar Deck Boards 6 Steel Column, Encased in a Cedar Log 7 Steel Beam 8 Douglas Fir Plywood 9 Painted Wood Floor 10 Recycled Heavy Timbers 11 Soil 12 Moss Garden (Na5ve Plant Species)

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There are many duali5es present in The Muskoka Boathouse such as the balance of the refined and the rus5c finishes. Another one of these opposing pairs is found in the hybridiza5on between the old and new. This hybridiza5on, or renewal of tradi5on is characteris5c of many Shim + Sutcliffe projects. For instance, the exterior columns suppor5ng the second level are built with steel and cedar logs. By crea5ng this hybrid structure, the architects are embracing change but are ensuring that tradi5ons are respected and spaces are created that are familiar.

Another example of this hybrid design is the HAB chair which Shim + Sutcliffe designed specifically for The Muskoka Boathouse. Again, this design u5lizes new technology, in this case light steel frames and molded plywood to recreate a well know, familiar form in an brand new way. 42

There are many duali5es present in The Muskoka Boathouse such as the balance of the refined and the rus5c finishes. Another one of these opposing pairs is found in the hybridiza5on between the old and new. This hybridiza5on, or renewal of tradi5on is characteris5c of many Shim + Sutcliffe projects. For instance, the exterior columns suppor5ng the second level are built with steel and cedar logs. By crea5ng this hybrid structure, the architects are embracing change but are ensuring that tradi5ons are respected and spaces are created that are familiar.

Another example of this hybrid design is the HAB chair which Shim + Sutcliffe designed specifically for The Muskoka Boathouse. Again, this design u5lizes new technology, in this case light steel frames and molded plywood to recreate a well know, familiar form in an brand new way.

As Shim + Sutcliffe designed their HAB chair I aLempted to capture the essence of The Muskoka Boathouse in a piece of furniture. Like the Muskoka chair, I chose a furniture piece common to the Muskoka area – a hammock. The design is modernized through its use of synthe5c and dynamic rope which will form to each person crea5ng a ‘boat for the body’. As well, structural supports are created out of large curved members, something that would not have been possible without modern lamina5ng and bending construc5on techniques.

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Shim and Sutcliffe worked on other pieces of furniture and custom fiYngs for The Muskoka Boathouse. Like the HAB chair, some of these pieces were reinterpreta5ons of tradi5onal construc5ons. Others were mechanical representa5ons of natural phenomena common in the area. Their design of a bug lamp contains phosphorescent sheets of metal suspended in a jar. At night the plates glow, mimicing moths and other insects that congregate around outdoor lamps.

In a similar aLempt I created a curtain reflec5ng the movement of the Northern Lights. Single weights are hung at the ends of many strings. The weights are connected to one and other through a central core so that any movement in one segment of the curtain is translated through the weights, and is in turn expressed in all of the strings.

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Shim and Sutcliffe worked on other pieces of furniture and custom fiYngs for The Muskoka Boathouse. Like the HAB chair, some of these pieces were reinterpreta5ons of tradi5onal construc5ons. Others were mechanical representa5ons of natural phenomena common in the area. Their design of a bug lamp contains phosphorescent sheets of metal suspended in a jar. At night the plates glow, mimicing moths and other insects that congregate around outdoor lamps.

In a similar aLempt I created a curtain reflec5ng the movement of the Northern Lights. Single weights are hung at the ends of many strings. The weights are connected to one and other through a central core so that any movement in one segment of the curtain is translated through the weights, and is in turn expressed in all of the strings.

The final design of the Muskoka Boathouse addi5on is a result of my research and inves5ga5ons. The addi5on is an observa5on tower that elevates people above the boathouse and provides them with unobstructed views of the lake and shoreline. The primary structure of the tower is created by twelve curved ribs, each with profiles derived from the sec5ons and eleva5ons of canoes. The size, the curves and the required strength of these structural ribs call for glulam construc5on. Like many Shim +Sutcliffe architectural and industrial design projects, this a d d i 5 o n u 5 l i z e s m o d e r n construc5on technologies to accomplish its design, while maintaining a familiar materiality. In response to the site, the tower which sits on a dock adjacent to the boathouse is accessible by land but is also connected to the lake through the inclusion of boat slips which welcome visitors from the water.

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The first deck of the tower is enclosed in a curtain, serving as a railing and possibly as protec5on from insects. However, the curtain will also have fluid elements reminiscent of the ‘Northern Lights curtain’ from previous models. Illuminated from the central core of the tower the curtain will play in the wind and light, mimicing the dance of the northern lights.

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On dark, clear nights ar5ficial ligh5ng will be dimmed to allow for an uninterrupted view of the real light show. A nearby night sky reserve will provide many opportuni5es to view the northern lights frm the Muskoka Lighthouse and Observa5on Tower. 48

On dark, clear nights ar5ficial ligh5ng will be dimmed to allow for an uninterrupted view of the real light show. A nearby night sky reserve will provide many opportuni5es to view the northern lights frm the Muskoka Lighthouse and Observa5on Tower. 49

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CANDIDATE

PROJECT TITLE

Elaine Welsher2nd Year 100854692 - ARCS 2105

Hibernating Home

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100854692 Hibernating Home

The House in the Oderbruch was designed by Heide and Von Beckerath; this humble-sized timber construction sits in a rural area of Germany. The structure's design consists of several apertures which are set into each face of the house, whether it be a skylight, a window or a screen door. Window shutters pivot to shut flush with the façade, and the screen door slides to completely encase the home in its monochromatic grey skin. This holiday home is able to follow the inhabitants' living patterns by switching into a state of hibernation when the residents are not occupying the home. The structure may enclose itself completely; however when it comes to opening up to its surroundings, it can only reach a limited level of consciousness. While the windows and skylights allow light to flood the interior spaces, it is fixed at a two-dimensional level. With the new addition design, the volume itself can awaken.. Following the specific needs of the interior spaces, the house can transform itself in order to become more in tune with its surrounding landscape. On the ground floor, where the two bedrooms are situated, the rooms can expand undetectably. The bedroom walls can be pulled out to enlarge the room, and to allow the guests to be open to the outdoors. Mirroring the simple sliding mechanism of the door and skylight, the walls themselves can move out, and pocket flooring can slide out below one's feet. Furthermore, the kitchen, located on the first floor, has a wall containing no windows. Utilizing the bare landscape neighbouring the home, the kitchen wall can pivot down to become the floor of a deck space. The new space locates itself in the shade of a nearby tree, and is sheltered by the garage, providing privacy for the residents. Hidden within the home is a pulley system powered by human force, which allows for the wall to descend and become the floor of the new outdoor space. Additionally, in the upper gallery areas, which flank the centre double-height living room, concealed balcony spaces can slide out. Following the same technology as the bedrooms that can expand, the upper floor respects the unique double pitched roof shape, and enhances this feature by sliding out to create comfortable outdoor balconies on either side of the home. Further utilizing the new spaces created by the additions, furniture in the house can also undetectably expand. The beds are able to extend themselves so one can lay under the clouds, and the kitchen counter can pivot and slide to extend itself onto the deck. The house, which could only open its surfaces to the sun, can now expand its living space to allow light in, and allow residents to have a connection with surrounding nature. The house then reaches its final level of awakening, where the space inside the house can be expanded. Taking into account the original three-part division of the interior, the lower and upper floor of one segment of the house can move out onto a rail system. It moves out to nestle itself underneath the nearby tree, leaving behind the exterior shell. The house then becomes a part of its surroundings, now sitting outside in the landscape, and with the expanding rooms falling underneath the branches. The interior space has also been changed, with the living space now extended and exposed to a new terrain.

100854692 Hibernating Home

With this new alteration to the existing house, the entire dynamic of the living quarters is impacted. With a segment of the house capable of moving on rails, a central hub is formed within the house. The double height living space is enhanced as a social centre, and can now grow into a courtyard, exposing the new rugged terrain. The concept of a moving segment of the dwelling can be used as a social tool as well, as a means to connect neighbourhoods. The rail system can be expanded across stretches of land, allowing more rural communities to connect. Static homes now have the possibility to rearrange themselves and alter the urban form.

From the outside, the house appears to be a solid structure, but it is actually composed of

mechanical components, which allow it to open up. Not only does the physical form of the house awaken, but the materials do as well. The addition contrasts the existing structure by using mainly transparent or lustrous materials, such as glass sliding doors, that slide out along the walls to provide some shelter from weather. Additionally the rail systems are made of steel, and the pulley system consists of a large metal wheel and cables.

The majority of the energy required for moving the extension is powered by human force, ensuring energy conservation. The pulley system for the kitchen is simply dependent on the cables and pulleys to aid the descent of the wall. The rail system and sliding rooms depend on simple operations at a greater scale. The larger movements require the combination of human force with motorized components. Though moving an entire section of the house may seem overwhelming, the bones of the structure in fact remain rooted; therefore the original shell, which contains the load bearing structure remains static. With the ability to change the building composition, not only are new spaces born, but ventilation is provided throughout the home along with a better utilization of open landscape and sunlight.

The extension reaches out to the site temporarily, until it is time to return to its original

form. The residents can then slide the home to its initial position, allowing it to disappear back into its shell. The rooms can revert back to their existing sizes, and the windows and doors can be concealed with their coverings. The house, once again can become an opaque sheltering structure, as the residents move away seasonally, leaving the house in hibernation.

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House in the Oderbruch Heide & Von Beckerath

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Sliding screen door interior

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Conceptual model moving to 3-dimensional thinking

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Book 2 of 4

Semester OneAndrew Bako ................................... 4Sam Badach ................................... 12Ben Hayward ................................. 24Jake Murray ................................... 36Elaine Welsher ............................... 50

Semester TwoAndrew Bako ................................. 64Alexandra Fiori .............................. 72Andrej Iwanski ............................... 80Jeniffer Milburn ............................. 90Natalia Ospina ............................. 102Gillian Walczak ............................ 112Elaine Welsher ............................. 120

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CANDIDATE

PROJECT TITLE

Andrew Bako2nd Year 100848025 - ARCS 2106

Context + the Macrocosm:Commercial Buildg Project

2013 Teron Scholars Student Submission Form STUDENT NUMBER (s): 100848025 STUDIO NUMBER: ARCS 2106 PROJECT TITLE: Context and the Macrocosm: Commercial Building Project DEADLINE: THURSDAY, 23 MAY, 2013 Students Nominated to compete for a Teron Scholarship are asked to complete the following submission form to assist the judging panel in understanding how their project meets the criteria of the Teron Prizes, namely imagineering, physical form and materiality, social impact, environmental concern and attention to economic concerns. 1) Please submit 10 images in PDF format (on a CD) that fully documents the project being nominated. Minimal text may also be used on each image. No image may be larger than 2MB for a total of 20MB per disk. 2) Project Description (100 -200 words): Please provide a concise abstract of the project being presented.

(write abstract here on this form)

The commercial building project focused on the impact of context in the design process, and the resulting impact architecture has on its surroundings. The site for this project was the corner of Preston and Larch Street in Little Italy. In an analysis of the surrounding community, it was noted that several restaurants in the community brilliantly composed their interior spaces with old, repurposed objects to create comfortable interior environments. Although these objects enhanced the identity of these popular lounges, the question arose if small details could serve as generators for larger architectural form. The privately owned bookstore embodied the theme of an individual object serving as a macrocosm for an entire spatial atmosphere. In this instance, the design featured the idea of the ‘book collection’ as a completely immersive spatial construct rather than the books simply serving as objects within a larger design scheme.




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SUBMITTED TEXT

-‐Jane Jacobs, The Death and Life Great American Cities

The commercial building project focused on the importance of context , content and concept as key elements of the creative design process. As architects it is impossible to design the individual building without understanding its potential impact on its urban context. As well as considering context in our design, we must appreciate our design within its context. The goal of the project was to first analyze the site in a larger urban environment before approaching the schematic design of an individual building. The site chosen for the proposed building was the corner of Preston and Larch Street in Little Italy.

In an analysis of the site, one could immediately draw conclusions about the past, present and future development of the community. The flourishing Italian neighborhood is a local hotspot for congregation and entertainment. Community centers, trendy restaurants and quaint cafes compose the street facades. Two of the most popular restaurants in the

f a design investigation. Both restaurants used old, repurposed objects as integral elements in their interior design concepts. Objects such as rusted steel, mason jars and old rope, that might be otherwise considered aesthetically unappealing, were brilliantly utilized to create inviting and comfortable interior environments. Not only did these decorative elements give these spaces a unique identity, they also served as inspiration for the design of a new commercial building.

While these objects enhanced the identity of these fashionable lounges, the question

arose if small details or objects could act as generators for larger architectural forms. The first conceptual investigation in the design of the commercial building was to produce a sculptural exploration of the building façade. The exercise was not developed as a sculptural representation of form, but meant to capture experiential intentions of the proposed design. This investigation of the facade involved composing full scale mechanical objects to demonstrate the potential for interior to exterior relationships such as the differentiation between private and public spaces. Ultimately, these relationships were established by exposing and accentuating the infrastructure of the building. In addition, this exercise investigated the wall as a strong vertical element to be defined by its vertical presence as well as its horizontal stability. This was achieved through the use of strong vertical and horizontal lines to define the wall space through varying degrees of depth receding into and extending from the building.

When the program for the building was announced to be a bookstore, the analysis of Preston Street was driven towards the creation of a full scale object to be placed in the future bookstore, and to develop themes beneficial to its design. The result was the fabrication of a hanging candlelit lamp to be placed in the lecture area of the store. The lamp tells a narrative of the storytelling process itself. For example, the floating candles in the lantern illuminate the text, and light filters through the pages while they are read aloud. The purpose of this exercise was to demonstrate that an individual object could express

conceptual characteristics of a larger architectural design. In this instance, the lamp was intended to represent an entire spatial atmosphere. Although the lamp was not featured in the bookstore itself, it embodied the themes that were crucial in the overall

jects that we are completely immersed in rather than shelves that we move around. The main spatial concept focuses around a series of spiraling split levels to denote the stacking of a collection of books. The spiraling levels encourage guests to move upwa of the book collection, or downwards into a central gathering space. the stacks of literature was to open the interior by pushing the bookshelves to the perimeter of the building. This also provided an interesting relationship between the interior and exterior environments, as removable objects now provide apertures to be looked through and are responsible for the filtration of light into the interior. The final phase of this project was the introduction of a second program as a result of new ownership of the building. The choice of the second program was informed by the demographic shift that was observed in the Analysis of the site. Frequent pedestrian and motor traffic down the popular street are presently increasing and shifting towards a trendy and affluent demographic. This is confirmed by the approved proposal for multiple expensive condo towers in Little Italy. The resulting program choice was the introduction of a high end retail store to promote Preston Street as a trendy commercial hub and to attract the future residents to the independent retailers in the community. In the original bookstore design, the shelves were essential tectonic elements that defined the perimeter of the building. With the introduction of the new retail items, a hierarchy was established in order to define the two programs along the same wall space. This was achieved through dramatic lighting and deeper shelving units to accommodate for larger items. The shelving system also extends into the interior space, and penetrates through the glazing to the exterior environment. Additionally, this feature provides seating along the longitudinal façade of the building. meant to

level. In order to emphasize the concept of being totally immersed in this interior space, choice of materials was essential. Black granite was chosen for flooring and roofing in order to reflect the shelving system and to contribute to the polished aesthetic of the interior. This also contributed to the illusion of a continuous grid in all directions. In addition, the split levels allowed for viewers to see programmatic activity on higher and lower levels due to reflections in the flooring and ceiling tiles.

Continuity of space in this small commercial building was essential in describing its identity as an immersive spatial environment. Context, content and concept drove the design process of the individual building within its adaptive, holistic urban environment. The retail store is meant to reflect on the past conditions of its context as well as to respond to the future condition of the street.

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CANDIDATE

PROJECT TITLE

Alexandra Fiori2nd Year 100826494 - ARCS 2106

Telaio

2013 Teron Scholars Student Submission Form

STUDENT NUMBER (s): 100826494

STUDIO NUMBER: ARCS 2106

PROJECT TITLE: Telaio

DEADLINE: WEDNESDAY, JUNE 12, 2013

Students Nominated to compete for a Teron Scholarship are asked to complete the following submission form to assist the judging panel in understanding how their project meets the criteria of the Teron Prizes, namely imagineering, physical form and materiality, social impact, environmental concern and attention to economic concerns.

1) Please submit 10 images in PDF format (on a CD) that fully documents the project being nominated. Minimal text may also be used on each image. No image may be larger than 2MB for a total of 20MB per disk.

2) Project Description (100 -200 words): Please provide a concise abstract of the project being presented.

The concept for this project was based on the camera. More importantly it stemmed from the physically structure of the Dry Plate Camera; a camera with an accordion like lens. Customers walk through the space at each level with exposed steel columns emphasizing the idea of frames and capturing moments.

As seen in the section, the downward slanted ceiling on the first floor allows for a dramatic double heighted ceiling space; which is duplicated, in the opposite direction, on the second floor creating the impression of a lens opening in a camera before it captures a moment in time.

The open space gives customers freedom to explore the various vintage cameras and photographs on display as well as browse through photography books. This concept is continued outside in the plaza. Closest to the main street [Somerset St] is a slow inclined concrete seating area. Opposite is second seating area derived from two large concrete blocks, where one has a void in the centre for seating, and is roofed with wood beams for shading.




4) Team Projects. Please check the appropriate box if this is a joint submission by a team. ☐ Student #s for all team members should be provided above.

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Telaio

“Photography takes an instant out of time, altering life by holding it still.” – Dorothea Lange

The main breakthrough for this design was through a serious of studies of bookshelves. From the development of sketch models, one bookshelf was achieved with straight lines and 90 degree angles, which became the basis of the design. In section, one is able to see two objects merging towards each other but hover before either collides with the other; which is made more clearly in the parti drawing. By not forcing the collision of the two objects, two large double heighted spaces are created on either end of the building, giving each level its own identity.

The ground floor level is designed to be used as gallery space for both vintage and new cameras, as well as to display photography of visiting artists. A third program is on the this level which includes the sale of the cameras on display, but also the sale of common needs, such as film, tripods, lenses, etc. As a customer enters the building for the south entrance (Somerset St.), they are greeted with a large ceiling height that slopes downward towards the back of the store. Passed the lowest point in the slope, the customer enters the gallery space for photography where they are met with a void that spans twenty feet high into the second level. Circulation on the main floor is meant to be open, allowing for large groups to view the gallery spaces as well as purchase merchandise.

Walking up the staircase that is enclosed be steel beams on either side, customers enter the bookstore portion of the building. This level includes more gallery space, as well as a seating area, where customers can overlook the main gate of Chinatown on Somerset St. At the top of the staircase, customers experience an even larger heighted ceiling; which is done by a roof that is slanted in the opposition direction of the first floor ceiling – made clearer in section. The purpose of both slanted ceilings was to emphasize the importance of capturing moments, and what can be achieved with a camera. Both ceilings slanted in opposite directions capture the idea of a camera that is opening its lens before it produces a photograph. A second feature to the large heighted ceiling is the ability to see the apartment of the store owner.

The third level is an apartment for the store owner. The apartment is an open concept – with only walls for the bed/bathroom – which was made to accommodate a Bernese Mountain Dog. As the store owner or guest in the apartment, one would have the ability to look down into the bookstore, as well as down onto the busy street of Somerset; emphasizing the notion of depths and framing particular instances with a camera.

The interior space of each level was designed with the intention to mimic a dry plate camera; more specially the lens. If one was to recreate a sketch model of the collapsible lens, a series of different scale rectangles would be produced. Once the lens was broken apart to its minimal frame structure, the rectangles were used to design the structural component of the building. In the design, steel columns were placed for structural support along the east and west walls, as well as beside the stairs on the west wall. The notion was to make the viewer perceive the ability to experience capturing a moment in time through the use of frames (steel columns); as they would through a frame of a camera. The moment that enhances this notion is the staircase. The customer walking up or downward experiences a set of close spaced steel beams on either side; this allows for a closer encounter with understanding the physical ability to capture different instances in time.

The concept of framing an interior space continues in the apartment overlooking the second level; through the dividing wall in the center of the apartment, which is made clear when looking from the second level to the third. Secondly, the shelving for the vintage camera gallery on the ground floor is a literal translation to the concept. Each individual camera in placed in its own frame to replicate a frozen instance in time, differentiating progress on the development of the camera. As steel has become a new element in architecture within approximately the last century, it was used in the design process to represent the new digital age of cameras and the progression photography has made in the new modern world. To juxtapose the modern digital camera, wood was used as flooring; not only to give the store a less industrial feel, but to emphasize the birth of the camera with a rougher material. As steel is smooth without imperfections, like new digital cameras, the patterns and details in the wood flooring emulate the detail and precision used to craft such beautiful cameras before the 1960s. The walls, both exterior and interior, as well as the roof and ceiling are concrete. Once again, the concrete touches on the idea of a progression in development of the camera; such as in the evolution of construction with wood, to concrete then steel. The concrete continues in the plaza on the west side of the building at the corner of Cambridge St and Somerset St. Closest to the corner where both streets intersect, a slow inclined concrete slab is meant as a seating area for public films and concerts. A portion of the exterior façade of the building, that directly faces the plaza, is designed to be used as a projection screen for both film and photography – during both festivals and community gatherings. Opposite this concrete slope, is a more private area made of two massive concrete rectangular prisms; in which one has a void in the center to create more seating. These two blocks allow for people to have a more intimate space, where they are able to sit under a wooden pergola. The use of no steps or levels in the plaza was dominantly to provide accessibility for the hospital and retirement home located near the site. The main attraction for the plaza is to be an open concept that allows for large group of people to gather in community events or private family events.

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CANDIDATE

PROJECT TITLE

AndrejIwanski2nd Year 100818599 - ARCS 2106

Voronoi Gallery

2013 Teron Scholars Student Submission Form STUDENT NAME: Andrej Iwanski STUDENT NUMBER (s): 100818599 STUDIO NUMBER: ARCS 2106 PROJECT TITLE: Voronoi Gallery & Bookstore DEADLINE: THURSDAY, 23 MAY, 2013 Students Nominated to compete for a Teron Scholarship are asked to complete the following submission form to assist the judging panel in understanding how their project meets the criteria of the Teron Prizes, namely imagineering, physical form and materiality, social impact, environmental concern and attention to economic concerns. 1) Please submit 10 images in PDF format (on a CD) that fully documents the project being nominated. Minimal text may also be used on each image. No image may be larger than 2MB for a total of 20MB per disk. 2) Project Description (100 -200 words): Please provide a concise abstract of the project being presented.

The studio project task was to create a bookstore at a given site in Ottawa. In this proposal a

modern art and design bookstore and art gallery, intend to aid in the social and economic rejuvenation of the Chinatown community. The initial idea behind the project is derived from Chinese modular paper folding. As the studio course was concurrent with the computer modeling course the project became an exploration of how computer modeling and drawing programs would help in the creation of ideas, which otherwise proved to be too complex to create by hand or in a two dimensional space. The program used to create the building is Grasshopper, a parameter based modeling program that allows for the scripting of each piece of the building to be unique and changeable. This was helpful in pursuing the initial idea of paper folding and modules. The building is composed of various cells, some connected by stairs, each with a specific function. The overall form of the building is a box which is decomposed by protrusions which act as windows. The decision to 3D print the final model was in part due to the sheer complexity of the building, but at the same time provided the opportunity to explore further advances in technology that could potentially aid in the construction of the building. 3) Text to accompany submission: Each student must submit a 1000 word (total length) description of their project as it applies to the following categories:



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Abstract

The studio project task was to create a bookstore at a given site in Ottawa. In this proposal a modern art and design bookstore and art gallery, intend to aid in the social and economic rejuvenation of the Chinatown community. The initial idea behind the project is derived from Chinese modular paper folding. As the studio course was concurrent with the computer modeling course the project became an exploration of how computer modeling and drawing programs would help in the creation of ideas, which otherwise proved to be too complex to create by hand or in a two dimensional space. The program used to create the building is Grasshopper, a parameter based modeling program that allows for the scripting of each piece of the building to be unique and changeable. This was helpful in pursuing the initial idea of paper folding and modules. The building is composed of various cells, some connected by stairs, each with a specific function. The overall form of the building is a box which is decomposed by protrusions which act as windows. The decision to 3D print the final model was in part due to the sheer complexity of the building, but at the same time provided the opportunity to explore further advances in technology that could potentially aid in the construction of the building.

Project Description

The project for Studio III was to create a bookstore with a residence and a secondary commercial function. The building is situated in Ottawa’s Chinatown, on an existing parking lot right next to the new Chinatown gate. Since the building is located in a lower income area that is in need of commercial growth I decided to deem it a modern art and design themed bookstore with the secondary function being an art gallery. The idea was to create a modern art and design center that would act as Ottawa’s new cultural and artistic core to attract developers and entrepreneurs so as to rejuvenate the Lebreton Flats region, as it was recently deemed a business improvement area. Ideally this would rejuvenate/impact the community’s business and social economy and draw in locals and visitors to make Chinatown a more desirable place to live, work, and play.

The project began with Chinese paper folding, in which modular triangles are created and then assembled to create elaborate shapes. Due to the complexity of the ideas the building quickly became an exploration of how new technology can aid in design process and construction of architectural schemes. The building was created using the program Grasshopper, a parametric design plug-in for the 3D modeling software Rhinoceros 3D. The program allows you to design components parametrically, which means that the parameters that control the object are constantly alterable. Simply put, the program has two basic commands: parameters, which are usually in the form of number sliders and act as data containing variables controlling the components, which contain action commands. These action commands range from simple, such as a component that generates a rectangle, to complicated ones that let you write equations to create complex three dimensional shapes or patterns. Each component requires input parameters to help it calculate the resulting action it is meant to carry out. So by changing the input parameter, the output of the component changes along with it.

The design process to create the complex cells, protruding windows and structure that compose the physical form of the building began with a box. This box was then populated with thoughtfully positioned points, which are needed for the program to determine where to place the polygonal cells inside the box. This action is called voronoi, a way of dividing space into a number regions or cells controlled by generators (the points). In its simplest form it is two dimensional. In a three dimensional way it works like filling a transparent cube with a finite number of balloons and then inflating them all at the same rate until all the space in the cube is taken up by equally sized balloons. This ties back to the modular aspect of the paper folding as the building is essentially composed of a decided number of differently shaped but equally sized cells that come together to create a simple box.

Each of these cells has a number of edges and faces. The edges can be thought of as a complex space frame acting as the overall structure of the building and the faces as the dividing walls. To create a habitable building, a floor slabs needed to be crated in each cell so that they would act as individual rooms. And since the building was created in a parametric design program, it allowed for play in the positioning of each cell and floor, floor height and thickness and how each floor was to be connected.

The protruding window frames act as a way to break free from the geometric constraints of the original box and showcase the forms which inhabit it. Each window is an extension of a cell with an exterior face. The voronoi cells are oriented in such a way that they parallel the complexity of the Chinatown gate which the building is adjacent too. The closer the building is to the gate the denser the cells become and the more the windows protrude. This defines the interior orientation of the building as well as it creates larger cells for retail, gallery and living space, as well as smaller accessible uninhabited cells that showcase the complexity of how the building was constructed and as spatial explorations.

The entrances are located at the front of the building near the gate and opening towards the center of the plaza, the geometry of which originated from an unfolded voronoi cell. The plaza entrance opens into the bookstore, located on ground level from where one can move up the building via stairs, that also serve as fire stairs, and an elevator. The gate entrance leads into a spiraling main stair case from which three main floors branch off of, the upper most level being the residence. The first and second floors have no dividing wall and are open to each other. This creates an interesting dynamic and allows for more light to enter the first floor. By creating select openings one is able to glimpse at various scenes in the building when moving up through the main staircase. This system of spatial organization allows for weave-‐like movement, which creates a more interesting walking path through the building. Through this process I was able to redefine the creation of habitable space and how one enters, experiences and moves through it.

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PROJECT TITLE

Jeniffer Milburn2nd Year ARCS 2106

Learning Centre

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2013 TERON Scholarship Submission

Jeniffer Milburn- 100851840

ARCS 2106 – Studio 3

_____________________________________________________________________________________

Branching from the esoteric stream, the design of my building flourished into a serene and spiritual forest. Within the ‘forest’ I designed a Yoga Center, and a Tea Leaf Reading Café which is also accompanied by esoteric books. My ideas were driven by light and shadow studies that created another realm of reality. Originally, I created an esoteric/ knowledge bookstore which is where the idea of the ‘Tree of Knowledge’ stemmed from. Continuing, I took the tree of knowledge out of my original plaza design and used it as my inspiration to elegantly place abstract tree designs on a system of panels throughout my new building design. The tree branch apertures also create intricate shadows within the building which heighten the sensation of being in nature. My intent was to create a peaceful forest feel within the city; a place to rejuvenate.

a) Imagineering

Deep beneath the surface of the earth lies its strength and stability, it stretches into the sky, every part perfectly fastened together forming an image of poise and structure. The image that those words paint could be of a building or even a tree. Project Forest is the outcome of those two purely separate entities fused together into a serene Yoga Center and a calming Tea Leaf Reading Café. The project flourished from a soaring imagination and the ability to engineer a creative dream into a practical solution. Originally stemming from the esoteric stream and spiritual healing ideals, the design bloomed with the Tree of Knowledge as the center of the design idea. Trees hold a special significance as practical providers and powerful spiritual manifestations and have witnessed life on earth over large spans of time.

The Forest Building is elegantly designed with staggering, tall, wooden panels with carefully thought out apertures through the abstract tree design. The ingenuity of these ‘tree windows’ creates a space that can poses shadows that will bring the building to life, yet maintain a majestic silence.

b) Physical form and materiality

The Yoga Center is a long and slim building that is made mostly of timber and glass. Combining warm with cool elements created a healthy balance of materiality. Wood is used to tie the whole concept of the tree into the building. Furthermore, the timber panels are complemented with elegant glass panels that lay perpendicular to them, acting as main supports. The overall shape of the building is quite simple and clean. One is greeted by a humble, yet mysterious side street entrance, which is then juxtaposed to the forest façade on the plaza side. The project works very well in the sense that it has many marvelous windows for natural light that are strategically sized to keep the interior temperature naturally cool on a beautiful summer day. The walls inside of the Forest Building are created by offsetting the exterior panels into the building. Therefore, the walls inside also have the tree apertures which creates a circulation through the building to be as if you are walking between the trees of a forest. Moreover, a visual detail to note is wherever the tree windows come in contact with the second floor, third floor and flat roof, there is a glass slit in the floors and a skylight that wraps to the back of the building. This theme is also seen in the plaza; where the tree window openings touch the floor, a stream of water runs. These slits and water streams create the illusion of long and striking shadows created by the forest.

c) Social Impact

In many cultures the tree is the world center, where heaven and earth touch, where all times and places converge. For this reason, trees are considered sacred and provide a peaceful environment for people to re-energize themselves through yoga and meditation. The tea leaf reading cafe is a symposium- gathering of friends- which brings humans together in unity.

its aspects are used as root

metaphors that are found in many branches. Hence forth, the tree is a source of comfort for a lot of people. Simply, trees change the energy from the sun through its leaves to the air we breathe and sustain our lives; it is Mo gift of life. The Forest Building makes the human psyche feels completely at peace and rooted. It is a place where society can go with a purpose to cleanse their souls and re-energize. The notion of trees sustaining life runs hand-in-hand with the healthy living of yoga and the multiple benefits of tea. The goal is to impact society by grounding their busy minds and strengthening their bodies and spirits.

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d) Environmental Concerns

In the effort to turn a concrete jungle to a warm and inviting enchanted forest, environmental concerns took great precedence. The south facing tree façade which spreads from top to bottom, affords the perfect situation drawing in light and heat from the low lying southerly sun in the winter and the shade of the high southerly sun in the summer. In the summer the sun simply goes above the building, therefore, decreasing the need and use of air-conditioning. Using the natural sunlight that pours into the Forest to light the interiors also lowers the electric costs. Furthermore, the ample flat roof space is the ideal location for the placement of today s high efficiency green energy solar panels. As the designer my dream is to design an air filtration system that mimics trees which will really turn the building into a living and breathing forest. The Forest Building represents nature in a creative way and is intended to remind people that nature needs to be sustained, for it is our breath of life.

e) Economic impact

The Yoga Center, Tea Leaf Reading Café and Esoteric Bookstore make the Forest a place where people come because they want to and not because they have to. Its sheer beauty and tranquility draws in many people. The three story building with its three programs creates a highly lucrative financial system. Not only is it a business but, cocooned in the branches of the trees on the third floor is where the owner resides making the whole system a very affordable one for the owner.

With todays every increasing awareness of health and well-being, both physically

and spiritually the high flow of people will be year-round. It is very convenient for the public to reach the Forest Building because it is on multiple bus routes, it is in close proximity to the O-Train, it is easy to reach by foot traffic, and it is close to the University. The success of this project has led to the planting of other seeds in the business world and if properly tended to the forest will spread. As already eluted to, the expansion of the project could end up affecting entire communities for the better. This is a small but significant step towards making the world a better place.

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ABSTRACT

CANDIDATE

PROJECT TITLE

Natalia Ospina2nd Year 100829892 - ARCS 2106

Building to Commemoratethe Past

2013 Teron Scholars Student Submission Form STUDENT NUMBER (s): ___100829892_______________ STUDIO NUMBER: ___ARCS 2106______________ PROJECT TITLE: ____Building to Commemorate the Past______ DEADLINE: THURSDAY, 23 MAY, 2013 Students Nominated to compete for a Teron Scholarship are asked to complete the following submission form to assist the judging panel in understanding how their project meets the criteria of the Teron Prizes, namely imagineering, physical form and materiality, social impact, environmental concern and attention to economic concerns. 1) Please submit 10 images in PDF format (on a CD) that fully documents the project being nominated. Minimal text may also be used on each image. No image may be larger than 2MB for a total of 20MB per disk. 2) Project Description (100 -200 words): Please provide a concise abstract of the project being presented. The scheme of this project was rooted on a study of the change of built and non-built space in Chinatown throughout the last century. The building is a commemoration of the past which includes a combination of programs, a residence, a funeral home and an archeology bookstore. Elevated from the ground, the residence appears to be held by panels of frosted glass behind which lays a ramp that continues to travel underground. The design of the building emphasizes the academic experience of archeology and the emotional experience of grief. The three floors of the west side of the building have specific activities that reflect the field studies of archeology. On the east side of the building, the funeral home has been divided into three spaces with the purpose of making the grieving and burial process more serene. 3) Text to accompany submission: Each student must submit a 1000 word (total length) description of their project as it applies to the following categories:


Please save this text, as well as this form as a PDF file and submit it on the CD with the images. 4) Team Projects. Please check the appropriate box if this is a

• joint submission by a team. � Student #s for all team members should be provided above. • an individual project arising from a larger group project. ☐ If so, please use the back of this form to

describe the role of the team and to clarify which portions of the work were the sole responsibility of the nominee. (100 words or less).

Student Signature: _Natalia Ospina_________Date:___12/06/2013_______

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SUBMITTED TEXT Building to Commemorate the Past Ottawa’s Chinatown South West of the intersection of Somerset and Bronson along Somerset is the Chinatown arch; it marks the beginning of what seems to the visitor a popular shopping area, or to the resident a tight community. Most of the buildings' fronts are grocery stores, restaurants, and cafes with residences behind them. The relation between customer and server is a close one; most people know each other and walk only a couple of streets from their homes to run their errands, very rarely do the residents of Chinatown feel a need to leave it. Chinatown is made up of three different layers. The first one is the arch which serves as a symbol to identify the community, shops, and restaurants; the second layer are the shops where the visitor may be more involved; and the third one is the private, residential. The way in which individuals immerse themselves into this community was a central factor to the development of this project. Becoming More Familiar with the Context What is now known as Chinatown was at first an Italian settlement; afterwards, immigrants from China, Vietnam, and India settled in the area. Influences of these cultures can be seen in the variety of restaurants along Somerset. In an effort to bring together all of these communities, a study of the area during the last century was conducted, it examined changes in built and non-built space and discussed changes in population density and distribution across time. A Bookstore, a Residence and a Funeral Home Considering that the cultures of immigrants that settled in Chinatown are significantly different, the project emphasizes on a common past they can share; therefore, Archeology, the study of human history, was chosen as the theme for the bookstore. A funeral home was then added to the first program of the building, contributing a more personal and emotional perspective to the understanding of past. As well as the site, the joined programs were evaluated through the passage of time and divided into three main spaces. The organization of the Bookstore reflects changes in the field of study of Archeology that shifted from an aesthetic and wealth driven method of excavation to systematic excavation, which seeks a deeper understanding of the dynamics and customs of ancient cultures. Begining with a showroom for artifacts, the bookstore continues to spiral downwards flanked by bookshelves, and finally arrives to the study and investigation room. The Funeral Home is on the opposite side of the building, towards the south of the lot. The spaces for this program were designed to bring more serenity to the grieving and burial processes. The access to the Funeral Home is more private with a narrow staircase that leads to the counseling room intended to help family and friends of the deceased to cope better with their loss. On the next floor, there is an office for legal and administrative matters, and on the lower floor, there is a ceremony hall. The Home also includes a morgue, embalming room, and a showroom for urns and coffins.

In contrast to the main body of the building that lays underground, the Residence, in the shape of a container, is elevated and it appears to be held by panels of frosted glass behind which lays a ramp that continues to travel underground. The Residence is a narrow elevated box, open at both ends to allow light to travel through the living space. Integration through Light Considering the underground nature of the building, the southwest front is mainly frosted glass. During the day, light comes into the building while at night there is a ghostly effect with moving shadows. This material is used throughout the bookstore with three large glass walls located behind bookshelves. The glass walls puncture the building to different lengths. The first glass panel, placed along the bookstore ramp, is the longest glass wall and it hovers over the ceiling of the Funeral Home's showroom in the lower floor. The other two glass panels go only to the first and second floors. These panels attempt to establish a relationship between the Bookstore and the Funeral Home by mirroring the shape of the void above the ceremony hall. The purpose of this void is to allow sunlight to come through the lightwell upstairs and illuminate the wall of the ceremony hall which shows the record of the different concrete pours that would have been done during the construction. This record is also present in all the “exterior” walls of the building. The design focuses on the building's response to the visitors' experience as they travel through the space; their pace is determined by the ramps, halls and stairs making it more paused in the south side of the building -- where the funeral home is located -- than in the north side where smooth ramps make the first descend almost imperceptible. To a certain extent, the light on the north side of the building is constantly changing through the ongoing movement of books as customers take them off the shelves and place them back. In contrast with this very dynamic change, the light in the Funeral Home changes slowly as the day goes by. The Project and the Community The responsiveness of the building is present in all three layers relating to identification, involvement, and privacy which, in my opinion, make Chinatown a successful community. Identification is addressed in the first layer by the specification of the program: a bookstore for archeology and a funeral home; both features relate to the transitory nature of humans with which we all can identify. The second layer addresses involvement which is a crucial factor in the distribution of the building; in these spaces, visitors can explore and study in the case of bookstore or, in the case of the funeral home, visitorst are provided with spaces and rooms to help them cope better with the loss and sadness they are likely experiencing. Lastly, privacy is also a common factor of the programs, more clearly seen in the funeral home due to the function and nature of the rooms. It is also present in the bookstore's study and investigation room, as well as in the private residence.

Natalia Ospina

100829892

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ABSTRACT

CANDIDATE

PROJECT TITLE

Gillian Walczak2nd Year 100854228 - ARCS 2106

A Melody Between theCurvy and the Orthogonal

2013 Teron Scholars Student Submission Form STUDENT NUMBER (s): _____100854228_______________________ STUDIO NUMBER: ARCS ______2106A___________ PROJECT TITLE:____A Melody Between the Curve and the Orthogonal_____________________ DEADLINE: THURSDAY, 23 MAY, 2013 Students Nominated to compete for a Teron Scholarship are asked to complete the following submission form to assist the judging panel in understanding how their project meets the criteria of the Teron Prizes, namely imagineering, physical form and materiality, social impact, environmental concern and attention to economic concerns.

1) CD of Photos - I have submitted my photos electronically, and a CD will arrive in a day or so.

2) Project Description

Tucked away in Little Italy, this small, cozy shop scoops you away from the bustling of Preston

Street with its impressive curved wall. Once inside, you notice that the wall is not simple, but made of a

unique wood composite. As the main source of light in the building, the wall follows through all three

floors, illuminating each of them with natural light. Heavy concrete orthogonals contrast sharply with

each curve, differentiating elements of the building. At the back of the store you can see an open area,

where musical performances take place. Rimming along the outside of this space is a spiral stair, leading

to the comfortable hushed reading alcove on the second floor. There, you can contentedly lounge on the

dome, warmed by the presence of wood. A tenant space is located at the front of the shop for the store

owner. The basement is specifically reserved for any musicians interested in recording in the studio,

placed right underneath the performance area. This comfy, little shop is a safe haven for everyone in the

surrounding community.

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SUBMITTED TEXT

3) A Melody Between the Curve and the O rthogonal : Music store and Studio on Preston Street

I chose to incorporate both the curve and plane in my bookstore. I investigated the concept of

each element, and decided that both can be used to create my bookstore. The walls involve the curve,

while the floors involve the plane. Each contrasting aspect of my bookstore contribute to it as a whole.

Without the distinct design of the curve, and the bold structure of the orthogonal, my bookstore would be

yet another dull, silent store, blending into your mind without making an impact.

There is an old, brick house on the corner of Preston and Larch street, the site in which the store

had to be designed. I wanted to keep a memory of this house, so I re-used the front and side of the

building. The two perpendicular walls of my bookstore echo the shell of the old, brick house. I did not

want my building to impede on the neighborhood; I wanted this building to be a part of the community,

not disrupt it. By using the design of the old, familiar house on the corner, I made my bookstore more

typical, and ordinary. Rather than designing my store as a completely new and strange structure, I left a

bit of the normal, everyday life of the common visitors that walk along Preston street. While I wanted to

keep a reminiscence of days long gone, I also wanted to introduce a new concept to the design, and added

the wooden curves. The curves enhance the feeling of old, yet also remind you of reality, of a brighter and

more exceptional future. The vertical orthogonals are made of concrete, while the dome and curves are

made of wood, contrasting the two shapes even more. Concrete- heavy, structural; curves flowing and

usually aesthetical.

This is a small haven for the community, a place where people can gather to listen to local

musicians, quietly sit and read a book, and make or record music themselves. Music is a way of

communication, and Ottawa has many different cultures that contribute to the city's diverse taste in music.

Through music these cultures come together, collaborate and unite. My bookstore is a way that can help

unite many cultures using its unique design. The bold, curved wall facing the plaza (and Larch Street)

beckons people from the bustling sidewalk, and invites them warmly into the building. It also acts as a

beacon for new and upcoming musicians who want to come and show their talent to the world. The

curved wall is made of a unique wood composite, which allows light to travel through it, illuminating all

levels of the bookstore. Guitars are displayed along this wall, which allows the public to see their

recognizable and prominent shadows, attracting customers more easily. There is a circular performance

area at the rear of the building, which can also be accessed by the plaza entrance where the two curves of

the building meet. This is where musicians can gather for music sessions, or where the store owner can

host shows. The bottom half of the wooden dome, at the rear of the building, not only separates the

ground floor from the second floor, it also enhances the acoustics in the performance area, while the top

half is used as a comfy reading area, to sit on and enjoy your book in peace and quiet.

At the front end of the building is the residential space for the potential bookstore owner. One

hallway traces along the edge of this space, connecting all the rooms, and ending in the bedroom located

at the front of the building. In the basement is a recording studio. The main recording area is located

beneath the performance area, inheriting its circular shape, the curved wall is slightly slanted, allowing no

music to bounce off the walls back and forth; walls which are not parallel is the most suitable when

recording music. Booths and technical rooms branch off of this central room, and to get to each room one

has to walk through all the rooms (there is no hallway). This not only saves space, but also forces

sociality among musicians who are using the facilities.

I am re-using the old brick house design and renovating bits of the building to suit my slightly

more modern plan. The wood composite used for the curved wall is a new and innovative material that

has not been further investigated in architecture. Its discovery has brought to light different ideas of more

eco-friendly and creative uses of normal materials. This creation, despite being unfamiliar and newly

discovered, already presents itself as a better path for our environment. Even though this wood composite

is only the very beginning of a new age and development in architecture, its creation will certainly lead to

greater ideas and inventions.

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SUBMITTED TEXT

This building is located at a perfect spot, where its multi-uses can attract the residents around

neighboring streets and also people who walk and shop along Preston Street. Bakeries, bridal dress stores,

and many other small or independent shops surround my bookstore, which encourages customers to not

only drop by my store, but also stores along the street. The boldness of my building attracts many

customers to Preston Street, giving opportunities for every store to sell more products and gain more

customers.

4) Team Projects. Please check the appropriate box if this is a joint submission by a team. ☐ Student #s for all team members should be provided above. an individual project arising from a larger group project. If so, please use the back of this form

to describe the role of the team and to clarify which portions of the work were the sole responsibility of the nominee. (100 words or less).

Student Signature: _______Gillian A. Walczak_______ Date: Wednesday, June 12, 2013.

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ABSTRACT

CANDIDATE

PROJECT TITLE

Elaine Welsher2nd Year 100854692 - ARCS 2106

Ride + Read

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SUBMITTED TEXT 100854692

Ride & Read

This commercial space is situated within the busy commercial fronts of Chinatown, Ottawa. Sitting near the main intersection of Bronson Ave and Somerset St W, this building flanks a public plaza on one side and a commercial building on the other. The space inside occupies two uses: a bookstore and a bike shop, that includes a residence for the owner of the store who inhabits the top floor. The site where the building stands is one of high traffic. Cars and busses flow through the area constantly. Though many enjoy walking down the streets of Chinatown to enjoy its unique restaurants and shops, cars still seem to take over the bustling area. Not only do they fill the dividing roads, but numerous parking lots are found along the street as well. More space seems to be allocated for vehicles than for people; however this store provides a much needed space for pedestrians and bikers. The multi-purpose building merges people and bikers into one space. It becomes a social hub for the city; a place bikers can stop by to get their bikes tuned up, or to meet other cyclists from the city. Furthermore, it becomes a centre for knowledge and learning where people can visit to find a book, or sift through merchandise while waiting for their bike's repair. The design of this building stems from the contrasting qualities of books and bicycles. The building combines the static quality of a good read, and the mechanical fast paced movement of cycling. The speed of the spaces is defined by the walls that envelop the structure. The lines of the building, which define the inner spaces stem from the design of the neighbouring plaza- it consists of a series of pathways following the natural courses of people through the space. The pathways continue up the facade of the book and bike shop, becoming apertures which carve into the building. They become vertical voids which connect the three floors of the structure. These large vertical apertures also become thresholds, allowing customers to flow directly from the public plaza into the store. These entrances consist of sliding doors, which can move up the structure, opening up the store immensely to the public. Customers have the option of entering directly with their bikes or on foot. These apertures become a visual framework for those inside just as for those looking from the outside in. They provide a display case for the merchandise and help the public understand the functions on each level by giving them a glimpse of the interior's spatial organization. Sunlight floods in through these large windows, offering natural lighting for those stopping by the display. The windows are framed with mullions that allow segments to open in order to provide ventilation throughout the building. Furthermore, the glass windows create a connection from the ground to the sky. Commencing from the ground, the openings are not capped by a roofline, but are instead continued through the roof as a skylight. The interior layout of the space serves as a relationship between the books and bikes, each level blends the two together allowing movement and speed to harmonize the two. As people enter the store from the ground level, they are welcomed into a high traffic space, which consists of a tune-up station, and magazines for a quick read. Large aisles permit fluid movement throughout the floor. The centre of the space consists of a double height void, which allows for the main staircase to sit, and for books to be displayed up a bookshelf reaching the ceiling of the second storey. This void continues through the third floor and breaks through the roof with a skylight allowing sunlight to flood the interior space. As visitors make their way to the top floor of the shop, taking their bikes up the bike gutter attached to the stairs, the pace slows down. Walls wrap the second floor to create nooks that hold the literature. The glass apertures wrap

100854692 Ride & Read

around raised flooring to create spaces for people to sit and read or for merchandise to be displayed. Undefined space takes up a large area, acting as a gathering or lecture area for the store. The basement floor is the final commercial level, which is used for merchandise storage, this being the slower archival space of the building. The top floor holds the residence, where the owner of the store resides along with his or her Bernese Mountain Dog. This space mimics the same floor plan, where the walls fold to further define key spaces within the apartment. The rest of the space is open- private spaces are defined by a raised floor, where as the public spaces are central and closer to the entrance. Utilizing the large spans of glazing, seating is created by raising the floor to provide a comfortable sleeping arrangement for the dog. The three commercial levels of the store are united through a vertical void, which travels through each floor. The void found at the back of the store carries a display system for bicycles. Following the industrial qualities of the bicycle, this display system utilizes gears to move bikes from the lower storage areas to the upper display areas. Bikes rotate constantly on the display track, bringing a theatrical aspect to the mechanical movement of the bikes. The display draws attention and interest to the store's purpose and product, while also assisting the circulation of bicycles. The display has a wheel to control the gears at each level, allowing the store owner to stop the bike at the desired destination. The guard rail surrounding the void is then pivoted down and used as a ramp to remove and roll out the bicycle onto the floor. Utilizing these simple mechanical operations, the bike display becomes a simple yet powerful feature of the shop, just as the bicycle itself.

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Book & Bike shopFacade facing public plaza Sliding door opening to plaza

Interior SpaceBike tune up space co-existing with bookshelf Interior Space

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Facade facing plazaGlazing panels with sliding doors

Facade facing street frontNarrow vertical glazing for book displayLarger scale glazing for bike scale

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Street front with neighbouring plaza

Chinatown site modelPublic plaza with commercial building

Moving bike display connecting all oors

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teron submissions 2013 book 2

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