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325 Magazine 2023-2024
Toronto Metropolitan University
Department of Architectural Science
All rights reserved
All photographs and drawings are courtesy of students and contributors unless otherwise noted. Every reasonable attempt has been made to identify owners of copyright. Reproduction without written permission of the publishers is forbidden. Errors or omissions will be corrected in subsequent volumes. The editors have made every effort to see that no inaccurate or misleading data, opinions, or statements appear in this publication, and assume no liability for the accuracy, or completedness of the text, or its fitness for any particular project. The opinions herein are the responsibility of the contributors concerned.
325 Magazine is an annually curated publication that celebrates the spectacular work produced by the Department of Architectural Science (DAS) community at Toronto Metropolitan University. Through a diverse variety of projects and editorials, 325 Magazine exists as a showcase of accomplishments realized at 325 Church Street, over the course of one academic year.
The 2023-2024 edition of 325 Magazine looks at progression in a multifaceted way. Through both its production and its selected works, this edition was curated to reflect the processes that support the manifestation of design projects. The ways in which these processes can provide direction while navigating a project is explored through three project sections.
Section one focuses on the energy that drives student’s working designs. This includes projects that had a strong narrative. Section two features projects that were heavily directed by contextual influences. This includes projects that are shaped by the existing people, culture, or forms. Section three focused on projects that had an innovative element to them. This includes projects that shifted perspectives, adapted spaces, or challenged norms.
These three project sections were respectively supported by three editorials that narrowed in on approach, space, and ideology. They help to provide unique perspectives, and lend a glimpse into how both the community of DAS and its department are continually growing.
It has been a great joy working closely with the editorial team to bring to you this year’s edition of 325 Magazine. We invite you to celebrate the amazing work produced over the last year.
Happy reading!
Sarah Tang Editor-in-Chief
Editor-in-Chief
Sarah Tang
Creative Directors
Giuliana Fonseca-Velazquez
Nava Mahouri Monfared
Tony Le
Copy
Amitis Saffari
Dana Kim
Mahzabin Fairuz
Ne’jean Ramsahai
Tapenga Peart
Vivian Nguyan
Sponsorship
Duha Ismail
Fatima Adnan
Grace Lee Zhi Yin
Jillian Pretti
Rahaf Alashqar
Sarah Ghattas
Graphics
Alaviyah Rajani
Aldona Kilikowski
Alex Tran
Bryana Jagdipsingh
Dejana Nesovic
Emmett (Mehmet) Abdelhadi
Lincoln Uy
Lorena Alou
Nina Zabojnikova
Preetul Pasha
Rand Aloraibi
Roksolana Korol
Sheena Ye
Layout
Aldona Kilikowski
Emmett (Mehmet) Abdelhadi
Preetul Pasha
Tapenga Peart
Marketing
Anshrah Shaikh
Binta Bah
Chloe Tsang
Druti Sood
Hajer Dawood
Energy! Context! Innovation!
This edition of 325 Magazine celebrates the dynamism, relevance and originality of student work at DAS. Exuberance and nuance grace every page.
As I preview the diverse projects of this thoughtful edition, I sense the passion, skills and intelligence honed over long hours of enterprising work. All oriented by a shared ambition to build a better world.
The Department of Architectural Science (DAS) at TMU has a long history of making impactful change for a changing world. This past year, we celebrated 75+ years of impactful transformation with our DAS Bash! Twenty years of 325 Magazine publications were part of the exhibition - together with prior student-led propositions and provocations - attesting to sustained excellence and future potential.
Students are the pulse and purpose of any school. Every day I feel so fortunate to be part of this creative DAS collectiveworking, learning and striving together – drawing energy, ideas and support from one another.
One of the beautiful privileges as Chair is to meet former and prospective students of the Department. Many tell stories of how the skills and inspiration kindled by the people and place at 325 Church Street have helped open opportunities, launch careers, and drive life-long trajectories of meaningful contributions.
To the 325 editorial team, I extend my massive congratulations and deep gratitude for your investment in this labour of love. On behalf of all DAS faculty, students and staff, thank you! Your vision and effort have made our school shine.
Lisa Landrum Professor and Chair
Chair, Department of Architectural Science
Dr. Lisa Landrum
Dean, Faculty of Engineering and Architectural Science
Dr. Thomas A. Duever
Events and Engagement Officer, Office of the President
Gabriel Ciufo
Director, Projects and Operations, Office of the Provost
Rose Sandino
Faculty Supervisor
Vincent Hui
Yew-Thong Leong
Print Coordinator
Alexandra Berceanu
Financial Coordinator
Allyne Sareno
Francisco Bianchi
Design Lead
Jake Levy
Design Team
Emily Lensin
Luca Castellan
Nathaniel Berry
Sabeeh Mobashar
Workshop Contributors
Jordan So
Jason Ramelson
Filip Tisler
Project Supervisor
Vincent Hui
Fabrication Team
Mikayla Burmania
Dean Roumanis
Finn Ferall
Nicholas Kasil
Marko Sikic
Gabriel Boscal
Massimo Montanari
Cici Huang
Cali Cavarzan
Andrew De Lorenzi
Marko Jovanovic
Rachel Kim
Luke Jin
Christine Ho
Henry Chong-Bedrossian
Audrey Babazadeh
Rafaela Sposito
Kiana Bermudez
Photography
Dean Roumanis
Gabriel Bocsa
Jake Levy
Ariel Weiss
PROJECT NO. 01
SECTION NO. 01
Samanta Sohail
Beneath the night sky, stars shine and create geometric patterns. Nova is a star that has crashed on top of a lifeguard station and illuminates Woodbine Beach throughout the night. Nova highlights TMU’s past decade of Winter Stations, inspired by the origami, materiality, and form of Snowcone, Lithoform, and S’Winter Station. Nova introduces 3D printing, a textile canopy, and an elegant steel pipe connection to create a pavilion with “Resonance.” The star pavilion shields users and encourages them to engage with their surroundings, and the lifeguard station makes a beacon for users to access panoramic views of the beach. The project aimed to test the capabilities of plastic 3D printing in Canada’s cold winter climate. The pavilion features plastic 3D printing, a white Cordura canopy, and a red EMT pipe connection, giving it a unique look.
NOVA was recognized as one of the six finalists in the 2024 Winter Stations International Design Competition, and it was constructed using five prefabricated modules. The modules are designed using eight unique red conduit sizes connected with seven different 6mm plastic 3D printed nodes.
DESIGN BUILD, WINTER STATION FINALIST
DRONE PHOTOGRAPH
3D PRINTED CONNECTIONS SCALE MODEL
PROJECT NO. 02
SECTION NO. 01
ASPEN RESIDENCES
MARKO JOVANOVIC
The Aspen Residences aims to seamlessly integrate into the surrounding Victorian brick architecture, creating a harmonious streetscape. The brick podium serves as a solid foundation for the tower above, which delicately moves away from the podium, and features a stepped terrace design at its rear that creates unique outdoor gathering spaces. The Aspen Residences challenges the status quo of residential architecture in Toronto by treating the public right-of-way as a vital programmatic space, which the elevations thoughtfully and respectfully respond to.
YEAR 2, STUDIO PROJECT
UNDERGRAD,
The project draws inspiration from Kim Oddantije’s minimalist painting, leveraging its pops of colour to strengthen awareness within the environment. It serves as a vibrant community hub, pulsating with creativity and engagement. Each corner of the space is carefully curated to reflect the painting’s essence, offering interactive installations, community art workshops, and outdoor murals that breathe life into the surroundings. The forms of the factories are “fascinating,” which ultimately have a critical arrangement that influences the forms of a building as a series of fragments that are interconnected.
The model delves deeper into the interaction between the key program, namely performance space. It illustrates how circulation within the building influences the overall experience of the performance space. Also, the model underscores the incorporation of diverse layer of the structure frames highlighting the adaptability and versatility of the design.
In the fusion of history and the contemporary, our architectural manifesto envisions a dynamic community center, a living testament to the harmonious coexistence of tradition and innovation. This unique Motif weaves together diverse typologies and arts, forging an inclusive hub where the community converges as a vibrant Village. Through shared experiences in arts, sports, and gardening, our visionary space evolving as a hub for creativity and communal activities. Interconnected stairs and hallways symbolize the unity of programs, bathed in abundant natural light. Inspired by the East Village’s spirit, our proposal breathes life into a diverse and dynamic community, celebrating the ever-evolving vitality of human
PROJECT NO. 04
SECTION NO. 01
JEFFREY TAO
Given The Task Of Designing A Bird Observatory In High Park, Toronto, I Found Inspiration In The Japanese Concept Of Chaniwa, A Space For Quiet Reflection And Living In Harmony With Nature. This Philosophy Became The Foundation Of My Design, Emphasizing Balance, Hierarchy, And A Deep Connection To The Surrounding Environment. The First Layer Introduces Visitors To The Observatory Through A Quiet, Secluded Zone. Defined By Its Division And Carefully Placed Wall Openings, This Space Provides A Private Escape, Distinct Yet Integrated With The Park. The Second Layer Introduces Optional Pathways Leading To A Classroom On The Left And A Gallery On The Right, With An Open Entryway At The Center Connecting Directly To The Garden. These Entry Points Gently Guide Visitors Toward The Heart Of The Observatory. At The Core Lies The Third Layer, The Garden. Anchored By Two Existing Trees, This Space Fosters An Intimate Connection With Nature And Serves As The Focal Point Around Which The Observatory Is Organized. The Flanking Classroom And Gallery Frame Views Into The Garden, Enhancing The Sense Of Harmony. The Fourth And Final Layer Is The Bird-Viewing Wall, Inviting Visitors To Pause And Engage With Local Wildlife. Together, These Layered Spaces Create A Seamless Fusion Of Architecture And Nature, Offering A Reflective, Immersive Experience.
PROJECT NO. 05
SECTION NO. 01
BINTA BAH
MAGGIE HOU
The core idea of the Danforth Community Hub is to function as a supplementary hub to the notable GO Station Landmark, challenging the swift and work centric culture prevalent in the area. Operating as a cell within cells the structure thoroughly delineates programs between public and private spaces to enhance physical well being through movement and relaxation through the concentration of three subhubs, body, mind and soul, while fostering circulation and supporting spaces through vein-like supporting channels that change in form and accomodate to the needs of the adjacent programs. Just as the body is an extension of the mind, the north and south sides of the building work in conjunction with the interplay of loud and quiet. Both the interior and exterior spaces employ natural, earthy materials, integrating design elements that emphasize health and wellness. Perforation techniques are used to reduce solar heat gain, while slanted skylights address the lack of light on the northern side, creating pleasant, well-curated spaces, particularly for mind programs. The material choices reflect adaptability and evolution: the copper facade, symbolizing change, will naturally patina to a green hue over time, representing the building’s graceful aging process just as the neighborhood has gone through historical transformations and changes. Fiber cement as a base material provides rigidity on the exposed facade, while copper adds lightness and fluidity, harmonizing with the building’s diverse programs and holistic wellness focus.
PROJECT NO. 06
SECTION NO. 01
OSKENONTON
Located in the heart of the Garden District, the Oskenonton Laneway Duplex delves into the profound relationship between physical spaces and the feelings they evoke in their users. This project expresses the potential of manipulating sunlight and employing strategic lighting to highlight important or special programs. In characterizing clean lines, geometric precision, and a blend of classic materials with modern sensibilities, the design is meant to feel nostalgic while still embracing a contemporary quality. Materials like Glass blocks and Concrete form the foundation of the space where light and ambiance intertwine seamlessly with nature. Despite the size constraints of the laneway house, this project aims to create spaces that are unique and experiential without sacrificing any architectural creativity. Each unit features a special moment that sets it apart from the other, such as a dramatic double-height living space adorned by an intimate mezzanine, or a sunken courtyard that permits natural light into floor-to-ceiling basement windows. The duplex ultimately comes together in a shared terrace space on the top floor, inviting residents to engage with the outdoors as well as with each other, ultimately forging a deeper connection with their surroundings.
PROJECT NO. 07
SECTION NO. 01
OLIVIA NUNN JILLIAN SPROUL
Located in Old Orchard Beach, Maine, a tourist beach town, the project proposes an extension of the current pier providing opportunities for vendor expansion. The new pier proposal is achieved through the implementation of subtractive and additive heritage strategies. It provides locals with the agency to expand their business onto the structural modules that will aggregate as needed based on future growth, extending the existing vendor and architectural patchwork. The existing main pavilion has been opened up as a midpoint for resting to eat. The newly designed end pavilion embraces the past entertainment values of the site showcasing live performances and expansive views out to the water. The form of the performance structure is shifted to align with the main street of the town, inviting visitors to adventure through the entirety of the pier especially during sunset, when sun rays reflect off of the metallic panels. The two storey performance pavilion is accessible with the feature ramp leading tourists on a journey separated from the busy vendor stalls. The total pier addition allows the current architectural and vendor patchwork to be valued as a key component to the pier’s long standing success since 1899.
PROJECT NO. 08
SECTION NO. 01
BETWEEN THE TREES
TIFFANY CHUI
Located in Greenwood Park in Leslieville, Between the Trees is a pavilion designed to serve park visitors throughout the day. It hosts the community during popular gatherings like the weekly Leslieville Farmer’s Market, where locals enjoy fresh produce, handmade crafts, and treats. The pavilion is also near sports fields, providing a place for spectators and players of all ages to rest and recharge. Inspired by the Maru, a transitional space in traditional Korean Hanoks that bridges indoors and outdoors, the pavilion creates a natural gathering spot under the canopy of trees. Using Glulam, it blends modern Canadian construction with organic design, forming a space that connects the park’s programs while bringing the community together under the protection of the trees. Between the Trees stands as a symbol of harmony between built environments and natural landscapes, encouraging people to gather, interact, and feel at home in their park.
PROJECT NO. 09
SECTION NO. 01
LORENA ALOU DEJANA NESOVIC
The design intention for the elide community hub revolves around the concept of overlapping and connecting programs and spaces to foster a sense of unity and interaction among users. We aim to encourage social engagement and collaboration within the community through strategic placement and design of multi-functional areas.
The desire to elide comes from breaking away from physical barriers or boundaries in a structure to create a sense of visual continuity and fluidity. There is a desire to blur the interior with the exterior. This has been done with the use of clt which offers efficient construction and flexible design. The exposed timber beams and steel joints further portrays the harmonious blend of functionality, sustainability, and architectural expression, fostering a vibrant and interconnected community.
UNDERGRAD, YEAR 3, STUDIO PROJECT
PROJECT NO. 10
SECTION NO. 01
MIKAYLA BURMA GOLARA POURVAKIL
The Archway envisions a transformative approach to connecting the neighborhoods of Kensington, Chinatown, and Trinity Bellwoods to Alexandra Park through a protective, covered walkway that fosters interaction and social exchanges within Toronto’s urban core. This modern reinterpretation of the arcade integrates sustainable materials along with passive design strategies,in turn creating an inviting and functional space that vibrantly stands out within its location due to its bold walkway and vibrant façade. The façade features polychromatic terracotta tiles, chosen for their durability, vibrancy, and ability to create visual interest, while a PTFE membrane covers the walkway, diffusing sunlight to enhance natural illumination and provide a comfortable environment year-round. By following the natural angle of Dundas Street, the building’s form harmonizes with the existing urban fabric, creating an organic flow that unifies the landscape. The design strategically links contrasting programs of wellness and arts, cultivating inclusivity and collaboration while addressing the diverse needs of the community. By encouraging social interaction, enhancing accessibility, and adding character to the neighborhood, The Archway activates its surroundings, transforming the site into a vibrant hub for cultural and communal engagement.
UNDERGRAD, YEAR 3, STUDIO PROJECT
Now having the ability to choose a specialized studio, in what way do you feel this has not only affected your creative process but your project timelines?
Khushi Gandhi: I decided not to choose a concentration because I’ll be going on exchange to the Netherlands, but I was still curious to see what the Project Management Studio would be like. Now that I’ve had the chance to experience it, I feel a lot more confident and less pressured about my career path.
“Having the freedom to explore has been eye-opening, and I wouldn’t have realized my interest in project management if I hadn’t tried it.”
APPROACH
Led by Vivian Nguyen
Tapenga Peart
Interviewees
Aidan Chui
Evelyn Foster
Khushi Gandhi
Luke Jin
Chizi Okorie
Jade Yu Tung Wong
01
I’ve also learned that while I enjoy the design aspect, I think I connect more with the project management side of architecture. This semester has been pretty manageable, with fewer project deadlines and a lot of group work, which has made it easier to stay on track and get support from others.
Aidan Chui: I believe that being able to choose a specialized studio has definitely impacted my creative process and project timelines in a positive way. With the ability to focus on adaptive reuse, I’m able to delve into topics that genuinely interest me and align with my long-term goals.
The fluidity in approach, site, program, and design gives me the freedom with every aspect of the project, making it feel uniquely mine. This freedom allows me to experiment and adapt without strict boundaries, which also keeps my project timeline more dynamic and responsive to my ideas, and also creates a wide variety of different projects and ideas within the studio itself.
Where do you go for inspiration when you’re feeling stuck and/or unmotivated?
Khushi Gandhi: Our school offers a lot of networking events, especially with alumni from our program who share valuable experience and insights from facing similar challenges. Recently, there was an AIAS-hosted event called Ignite Innovation that really helped me clarify my career interests. I try to ask alumni for advice and support whenever I can, and connecting with them is reassuring, it reminds me that they were once in my position too. I’m also involved in a few student groups, including AIAS, and I do peer mentoring for ACU. It’s comforting to see that many other students share similar experiences;
“most of us are figuring things out as we go. I keep reminding myself that it’s okay to be learning and even feeling a bit lost along the way. “
Jade Yu Tung Wong: I often seek advice from seniors, peers, professors, or the woodshop staff. Their comments could provide me with another perspective or insight, allowing me to see things I overlooked. When I’m unmotivated, I take a break to recharge. I walk around the city or quickly produce and compose music. Additionally, I look online or books for precedents and create sketch models to explore different forms.
Aidan Chui: When I feel unmotivated or uninspired for work, I usually like to take a step back and put my time into something else. Whether that be going for a walk outside, going to the gym or doing other physical activities, and just relaxing as is. Taking breaks and not spending 100% of your time into school is very important, as by allowing yourself to recharge clears your mind. I also go to my family, friends, and professors when I’m feeling uninspired to try and generate new ideas and ways to solve problems.
Luke Jin: I like to revisit the studio site and try to re-experience it with a fresh perspective rather than focusing directly on the design itself. I also find it helpful to browse websites like Pinterest and ArchDaily to look for precedents that can provide inspiration.
Evelyn Foster: The best thing for me is to immerse myself in the world around me, stepping away from the screen and into the city. In a place as diverse as Toronto, inspiration is everywhere. Exploring existing buildings allows me to engage directly with different atmospheres, materials, and designs. It’s not just about observing but truly experiencing how these spaces feel and function. The city offers countless opportunities to see how people interact within these environments. This helps me draw inspiration from the context in which form and function come to life, helping me see how design is applied in reality.
Chizi Okorie: Despite being new to the Toronto environment, I’ve found that walking the streets is a great way to form up ideas and motivation for my work. I usually found myself walking towards University avenue, but sometimes I’ve gone as far as College street. Seeing the different people, places and activities functioning around me can make my thoughts and in turn my imagination spiral, being able to form activities that could take place in the structures I create. And the buildings I see set a basis for the design I eventually settle on for my work.
If you could change one aspect of the architecture building to better support the evolving needs of students, what would it be and why?
Khushi Gandhi: One thing I’d change about our program is to place more emphasis on design-build projects and competitions.
Although these activities are often encouraged in theory, there’s sometimes a negative view of them in practice, as they can take time away from regular schoolwork. I think competitions like TimberFever offer great opportunities to gain hands-on experience. Overall, I think adding more motivating elements like these would help students see each other’s work, set higher goals, and develop their skills further.
Luke Jin: I think it’s important to promote the workshop experience and make it a more prominent part of the building. Right now, the workshop is hidden underground, which makes it feel disconnected. Spaces like the laser cutting room and scrap shop outside the workshop should be accessible to students after hours so they can have more opportunities to experiment with the equipment and gain a better understanding of what the workshop can offer, which I feel is something that’s currently missing.
Jade Yu Tung Wong: I believe connecting the second-year studios would greatly enhance communication and collaboration, as they are currently divided into two separate rooms. Regular cleaning of shared appliances like the fridge and microwave is also essential to maintain a healthy environment, as mold has developed over the summer. Lastly, having an entertainment room, such as a ping pong or drawing room, would make the campus more energetic and fun. It would also be an option for students to recharge after work.
Evelyn Foster: One aspect our architecture building lacks is a “third space, “ a lounge-type area where students can take a mental break without leaving the physical boundaries of the building.
“Having such a space is essential because it provides an opportunity to temporarily step away from work, decompress, and mentally recharge.”
Exterior Render
01 Solace Care Center
Giuliana Fonseca-Velazquez, Maggie Hou, Roksolana Korol, Nava Mahouri Monfared
What role do domestic
shaping our ideas about
Aldona Kilikowski
Sheena Ye
LEARN LEARN
PROJECT NO. 01
SECTION NO. 02
Private programs occupy the second level under a gable roof; reminiscent of a house and feelings of solace. Whereas, public spaces occupy the ground floor with large glazed openings that populate the facade creating views to the landscape.
SOLACE CARE CENTRE
GIULIANA FONSECA-VELAZQUEZ MAGGIE HOU
ROKSOLANA KOROL NAVA MAHOURI MONFARED
Situated in squamish, british columbia, canada, right on the edge of the built environment and the town’s protected areas, this hospice acts as a sanctuary where nature and architecture converge to foster holistic healing. The design integrates the landscape, inspiring the use of organic materials native to b.C. Such as terracotta, limestone and cedar wood.
We focus on providing a space where patrons, their families, staff and the public may find solace and connection to the natural world. Some spaces like the on-site farmer’s market and greenhouse not only provide a variety of seasonal, homegrown produce but allow for healing and therapeutic activities such as greenkeeping. Other programs including the chapel; aligned to the north-south axis, have an open connection to the exterior, prioritizing daylight and diffusion. The dock serves as an extension of squamish’s protected areas, enabling a bridge between the hospice, mountains, and shore of the howe sound.
UNDERGRAD, YEAR 3, COMPETITION
PROJECT NO. 02
SECTION NO. 02
PROCESS/PARTI/ DIAGRAM
HIRA FAYYAZ
The Marot Farmhouse, located in Marot, Pakistan, showcases the Dhajji Dewari construction technique, blending tradition with modern utility. This method, originating in the northern regions of the country is renowned for its resilience. It involves a framework of vertical timber posts, horizontal beams, and diagonal bracings filled with masonry and clay. This traditional design not only enhances the farmhouse’s structural integrity but also reflects its cultural heritage. Initially serving agricultural needs and residential purposes, the farmhouse’s Dhajji Dewari extension elevates it beyond the standard concrete structure. The addition intr duces timber accents that contrast with the existing design, emphasizing the uniqueness of this technique. This upgrade expands the farmhouse’s functionality, adding new living features while preserving its rustic charm.
The term “Dhajji” comes from Farsi, meaning “patchwork quilt,” symbolizing the intricate assembly of the structure. The walls are crafted from timber frames filled with lightweight panels of tightly packed mud mortar, stone, and ballast. This patchwork design ensures durability and flexibility, making it ideal for rural se tings. By integrating these traditional methods, the Marot Farmhouse becomes a testament to the sustainable and aesthetic potential of regional building practices.
PROJECT NO. 03
SECTION NO. 02
BRIDGE THE BRIDGE
JAKE KROFT
Accessible green space is something that a city like Toronto cannot have enough of. It enhances the lives of pedestrians typically enveloped in hot, dense, city centres with abundant hardscaping. The Don Valley ravine system represents an intrinsic natural setting in the city that is underutilized and difficult to access. The Prince Edward Viaduct opened in 1919 and provided vehicular and pedestrian access between the east of Toronto and the city centre. It bridged the Don Valley and connected two parts of the city that were otherwise separated by the deep valley and industrial facilities along the Don River. Although the bridge was an extremely important addition to the city’s infrastructure, there is untapped potential to use the structure to connect pedestrians from street level down into the ravine and the extensive trail network that lacks access points.
Bridge the Bridge intends to bridge the gap between the public realm of the urban setting and the natural setting of the ravine. It provides access to the ravine floor while initiating unseen views of the ravine, tree canopy, and city skyline. It celebrates the history and design of the 105-year-old bridge and later interventions while enhancing its function and connectivity. Bridge the Bridge seeks to provide greater access to the fundamental green space in the city and a unique landmark for visitors to experience new perspectives of the surrounding context, including the complex detailing of the Prince Edward Viaduct.
PROJECT NO. 04 SECTION NO. 02
CUARTEL RUINS: AN EXPANSION OF MUSEO OSLOB
FLORENCIO IV GAMBOA TAMETA
This Project Is Situated In Oslob, Cebu, Philippines, A 4th-Tier Municipality. Despite Its Small-Town Presence, Oslob Has Significant Value Because Of 5 Historical Markers Recognizing Relics In Its Downtown Area, Including A Baluarte (Spanish Watchtower), The Oslob Church Fortress, An Unfinished Cuartel (Unfinished Spanish Barrack), The Church Fortress Walls And Calle Aragones, The Town’s First Street Meant To Be A Processional Path From The Highway To The Colonial Settlement. This Project Developed As A Critique Of The Contemporary Architecture Being Developed In Tension With The Pre-Colonial And Colonial Influences On The Townscape, Seen Between The New Municipal Hall Versus The Church Fortress. The Expansion Of The Small Museo Oslob And Completion Of The Unfinished Cuartel Aims To Give A Home For Oslob’s Past And Future History To Grow Into. As A Counterpoint, The Proposal Does Not Try To Compete In Stature With The Other Complexes, Instead, It Competes By Offering A Different Experience As An Endpoint, One That Extends A Procession From The Street To The Water’s Edge.
Nestled in the expansive landscape of High Park, the Black Oak Observatory and Education Center serves as a unique space where nature and knowledge converge. This facility is dedicated to the conservation and study of native bird species through the restoration of natural habitats and public education. At its core, the Observatory distinguishes itself by connecting the man-made green spaces with a newly naturalised area through building, creating a sanctuary that not only supports biodiversity but also educates the community about local wildlife.
The garden is curated with native Toronto plants from the Black Oak Savannah habitat, specifically chosen to attract an array of bird species indigenous to the region. This purposeful selection fosters a vibrant ecosystem where visitors can observe the natural behaviours and interactions of birds in a setting that mirrors their native environments. Educational programs designed for all ages complement the physical layout, creating opportunities for workshops on native flora and fauna, and conservation strategies. The Black Oak Observatory and Education Center is not just a haven for birds but a hub for community engagement and environmental stewardship, providing invaluable insights into the natural world that surrounds us.
UNDERGRAD, YEAR 2, STUDIO PROJECT
PROJECT NO. 06
SECTION NO. 02
ANNA GONCH CHLOE YUEN
This project’s focus was on designing a train station for more than just part of the journey, but rather as a destination point. Exhibition Station was redesigned for its use in the GO Transit line as well as its future use in the Ontario Line. Our intent is to create a space not only for major events in the city, but for the local community to use and engage with.
The train station is designed to bridge across the Gardiner Expressway and create a consistent stream of activity between the north and south sides of the station. The major elements of the masterplan are two slopes that meet across the Gardiner, with the train station situated under the peak of the slopes and a commercial mall running throughout the entire area. One main street runs across the slopes with a connecting bridge to emphasize the form from the perspective of one walking throughout the site.
Upon examining the site, we propose the mixture of monthly events and day-to-day event based spaces moving across the station, to blur the lines and barriers imposed by each side of the Gardiner. With this in mind, we lead with the intention to implement community spaces to welcome more people to the area through the vessel of a train station.
UNDERGRAD, YEAR 4, STUDIO ABROAD PROJECT
ATLANTIC AVE
HANNA AVE
JEFFERSON AVE
PARDEE AVE
RESIDENTIAL OFFICE
COMMUNITY
SECTION A-A - 1:800
SHOPPING
PROJECT NO. 07
SECTION NO. 02
MAIN SQUARE COMMUNITY CENTRE
MOUSA DAHI
KARLIE NGUYEN
The Main Square Community Center is designed to be a vibrant hub where the community can connect with each other and their surroundings. Embracing the dynamic energy of its location - the flow of traffic, the steady rhythm of the GO train, and the constant movement of passersby - the center invites exploration and participation in its diverse programs.
Spanning four stories, the center features a unique architectural layout. The first two levels house a vibrant West Art Complex and an East Athletic Wing, seamlessly linked by a central atrium that serves as both a unifying space and an outdoor performance venue. The cafe, art gallery, and dance studio on the west side create a lively street-level atmosphere, drawing in passerby and fostering a vibrant community hub in the heart of Main Street. The cafe, outdoor and indoor atrium are designed to be multi-purpose spaces, accommodating both small gatherings and large events.
The upper two levels are dedicated to fostering personal and societal growth, with dedicated spaces for art, music, workshops, and community programs. Recognizing that people often feel disconnected when engaged in different activities, the center incorporates a thoughtful system of bridges, openings, atriums, and opento-below spaces, encouraging interaction and fostering a sense of community across all levels.
UNDERGRAD, YEAR 3, STUDIO PROJECT
PROJECT NO. 08
SECTION NO. 02
CICI HUANG
PROJECT NO. 09
SECTION NO. 02
VIVIAN NGUYEN
Verdure-all Library is nestled at the corner of busy Church Street and calm McGill Street. The form of the roof is perched upwards on McGill to invite and welcome visitors, and the glass facade showcasing the grand stairs on Church entices and intrigues them. The angle of the roof allows for users to utilize the rooftop via an interior bridge branching off the mezzanine level of the library to enjoy the scenery while also experiencing privacy by being hidden from pedestrians at grade level.
The library incorporates steel columns arranged in a circular formation, housing plants to pay homage to being located in the Garden District. Bringing the outdoor into the indoor spaces through the materiality of wood and the vegetation to create a calm and welcoming environment to help in the soothing of users of the library. “Verdure” is a word meaning lush green vegetation, so the name of the library comes from how there is green vegetation all over, including the accessible green roof equipped with outdoor seating and spaces to gather.
PROJECT NO. 10
SECTION NO. 02
JAKE KROFT
The museum is named after George Wallace Gouinlock (1861-1932), the architect of the existing designated heritage house at 39 Queen’s Park Crescent E. Gouinlock was a leading architect in Toronto who established a private practice in the city circa 1888 after studying in Winnipeg with architects Barber, Bowes and Barber. His range of work includes a variety of architectural styles from Beaux Arts to Tudor Revival - as seen in the house designed for Sir W.T. White - that is integrated into this project. Gouinlock paid particular attention to the detail and craft that went into his designs, creating compositions that responded to the context he was working in.
The museum aims to extend Gouinlock’s legacy by highlighting the craft and detail of architecture and design, with opportunities to explore hands-on fabrication and production in the prominent workshop that extends into a plaza along Queen’s Park Crescent E. The proposal intends to integrate a landscaped public space, interwoven between new and old architecture, that serves the University of Toronto and the community surrounding the site. Visitors have access to an archive and workspace alongside numerous exhibition galleries. The display spaces form a continuous path within the building, providing a journey through the new and existing buildings with important views of the surrounding context. The experience inside the museum is one that changes throughout, and gives visitors differing sensations of light, materiality, and spatial interaction.
UNDERGRAD, YEAR 4, STUDIO PROJECT
CICI HUANG
This midrise project at 294 Sherbourne St. brings the street into the courtyard, creating a space where community and sustainability come together. The design features a six-story building along Sherbourne and smaller-scale townhouses that fit naturally into the laneway zoning. A glass structure leads to a rooftop garden, blending indoor and outdoor spaces while creating a connection to nature.
At ground level, the layout mimics the energy of a street, with spaces like a bike entrance, community kitchen, social services, computer lab, exercise area, and seed library. These shared spaces are designed to balance public access with the privacy of a residential neighbourhood, offering opportunities for people to connect, learn, and grow together.
The rooftop garden plays a vital role, providing fresh produce for the community kitchen and offering a green sanctuary for residents. Balconies, green spaces, and thoughtful materials ensure the building feels welcoming and connected to the surrounding environment.
This project is more than just a place to live—it’s a vision for sustainable, community-driven urban living. Blending functional spaces with thoughtful design creates a home where neighbours can build relationships, support one another, and share a more sustainable way of life.
DIAGRAM/PHOTO
GLENHOLME LN.
SHERBOURNE
PEMBROKE ST.
Design Lead
Rachel Kim
Workshop Contributors
Jordan So
Jason Ramelson
Filip Tisler
Project Supervisor
Vincent Hui
Design and Fabrication Team
Mehakpreet Bhutta
Richmond Dakay
Andrew Di Lorenzi
Giuliana Fonseca-Velazquez
Nava Mahouri Monfared
Catarina Godinho Nascimento
Camila Ramirez Vargas
Mei Li
Parinaz Nabavi
Ka Lee Jian
Irene Kim
Roksolana Korol
Marko Jovanovic
PROJECT NO. 12
SECTION NO. 02
THE GARDEN TAPESTRY
2m x 0.12 m wood supports Hinges
1m x 1.80 m Tricoya Panels
Installation Proposal at the Toronto Botanical Gardens
From the student design team at Toronto Metropolitan University’s Department of Architectural Science
The concept for our multicoloured perforated panels is derived from the architectural principles of points and planes, allowing for a dynamic interplay of elements that can be added, subtracted, and reoriented in a multitude of configurations. This versatility enables the panels to enclose spaces, create intimate areas, or be positioned along circulation paths, guiding visitors through the garden in an engaging and visually stimulating manner. By integrating these panels, we aim to make the public space of the Toronto Botanical Gardens not only more visually appealing but also more enjoyable and navigable.
The strategic placement and design of the panels help to delineate pathways and create focal points, creating a more intuitive experience for visitors. Through this thoughtful design approach, we contribute to a more immersive and informative journey through the botanical landscape.
DESIGN BUILD
PROJECT NO. 13
SECTION NO. 02
ECHOES
OF HEIMFRIED
MATTHEW CHETCUTI
Echoes of Heimfried explores the transformation of a historic family home into a multi-generational living space while preserving its architectural and emotional legacy. Located in Mosta, Malta, the house is a symbolic and practical response to the evolving needs of a growing family. Originally designed in 1952 with a focus on utility, the home has expanded over the decades, reflecting changes in family dynamics and urban context.
This project introduces a thoughtful addition to the existing structure, seamlessly integrating new geometries with the preserved architecture. The proposal includes a multi-level arrangement that offers independent yet connected living spaces, accommodating up to ten family members. Each level caters to different generations, creating private sanctuaries and shared communal areas, reinforcing familial bonds while respecting individuality.
The design draws inspiration from the intimate memories of childhood spaces, reimagining them to foster a sense of belonging and continuity. It employs sustainable principles, maintaining the historical fabric of the home while adapting to future needs. By weaving past and present, the Heimfried project embodies the concept of “experimental preservation,” ensuring that the home remains a vibrant and functional space for future generations.
MArch, YEAR 1, STUDIO PROJECT
PHYSICAL MODEL
PHYSICAL MODEL
PHYSICAL MODEL
Led by Mahzabin Fairuz
Amitis Saffari
Interviewees
Odel Linetska
Daniel Wolinksi
To read more, visit:
02 SPACE
[Michael Wong’s From Harvest to House - Thesis Work Thrives with Community Engagement]
What sparked your interest in assisting in research for Saskatchewan First Nations housing? What was integral in designing the framework for the research?
Daniel Wolinski: I initially approached Dr. Russell Richman wanting to contribute to any research projects as I wanted to expand my personal research done for my own projects in a more professional manner. The Indigenous housing research project allowed me to get into the building science side of architecture, showing me it’s implications and ability to create solutions to real-world issues. The project sparked my interest as it deals with the complex historical, social, political, and financial issues of providing Indigenous communities with housing, where architecture has the potential to be a catalyst for communities to heal.
The thesis you were assisting had a variety of collaborators including the First Nations communities and a team of researchers. How has your approach to this research been influenced due to collaborating with many groups?
Daniel Wolinski: Collaborating with diverse researchers and community members allowed for diverse perspectives and expertise.
“The project collaborated with social scientists from U of T, which brought a mindset that I would never consider, and the communities brought lived experiences of Indigenous peoples.”
The framework of our project was that we researchers have the expertise in building science, architecture, and policies but don’t have the lived experience, which is more crucial, meaning that we have to listen to the needs of the communities. The research project ensured that all of our research was given back to the communities as a tool to advocate to the government for better housing.
What are some examples of community feedback you received that significantly affected your research and ideology?
Daniel Wolinski: A frequent comment we received from community members is that they were often never taught how to maintain their homes or use the mechanical equipment in their homes. Before our field visit, we were in the process of creating maintenance manuals specific to Indigenous communities, consulting them about their contents to make them more effective in meeting the realities of their lives.
Harvest to House
“When we were in community members’ homes, they gave us detailed histories of their homes, often telling us that their homes had been in their families for multiple generations.”
How has practicing community consultation influenced your approach to how architecture should be addressed when discussing social and cultural problems?
Daniel Wolinski: Community consultation has shown me that you have to listen to the community’s needs first and set aside personal desires. Architects have the expertise but, we do not have the lived experience of the communities we are trying to help. To help with social and cultural issues, it is crucial to listen and give all of the work back to the community so that they are the advocates for change in their own lives.
[Odel Linetksa’s Thesis - Indigenous Housing with an Architectural Focus]
Odel Linetska: Housing is one of Canada’s most pressing social issues, with Arctic communities, particularly First Nations and Inuit populations, facing acute challenges. Inadequate housing, overcrowding, unaffordable prices, and poor indoor environmental conditions contribute to severe physical and mental health risks, including respiratory illnesses from mould exposure and psychological stress from overcrowding. These housing issues also exacerbate socio-economic challenges such as low graduation rates, job insecurity, and social isolation. This multidisciplinary research, in partnership with Housing Northwest Territories, Gwich’in Tribal Council, and Délı̨nę Got’ı̨nę Government, aims to address housing inadequacies in Northern Canada. Current housing systems in the region are predominantly shaped by non-Indigenous frameworks that often fail to accommodate Indigenous perspectives, cultural values, and traditional practices. For instance, on-reserve housing is typically designed for nuclear families, neglecting the multigenerational living arrangements common in many Indigenous communities.
“Through participatory design workshops and narrative research, utilizing the TwoEyed Seeing approach, this project integrates Indigenous and Western knowledge systems to co-develop a culturally inclusive housing assessment tool.”
This tool will enable community-driven evaluations of current housing quality, inform new design practices, and support culturally attuned housing policies.
By prioritizing community voices, this research fosters equal partnerships, builds local skills, and ensures housing solutions align with Indigenous lifestyles and preferences.
What
sparked your interest in Indigenous housing?
Odel Linetska: My initial interest was in Northern housing and understanding how design must adapt to extreme climates. Through extensive readings on the conditions of on-reserve housing, I became deeply committed to contributing to meaningful change. I recognized the importance of advocating for better housing solutions that reflect Indigenous lived experiences and cultural values.
What was integral in designing the framework for your thesis?
Odel Linetska: I would like to preface this with the framework is still in the early stages of development. The guiding principles of designing the framework are Two-Eyed Seeing, which emphasizes the integration of both Indigenous and Western knowledge systems, to ensure inclusivity. Additionally, engaging directly with residents and housing professionals through narrative inquiry and participatory design workshops (these have not taken place yet for this framework, but have been done by TMU in the past).
Extensive background research on unique challenges posed by the remote nature of Northern housing and on-reserve housing, as well as existing housing frameworks that are implemented in this region, this is the current stage.
What methods and ideologies did you learn that influenced your approach to how architecture should be addressed when discussing social and cultural problems?
Odel Linetska: Employing participatory design processes that actively involve the community. These processes foster a sense of ownership and ensure that solutions address the lived experiences and specific needs of on-reserve communities. I’ve learned that designs must not only adapt to environmental challenges but also deeply reflect the cultural practices of the communities they serve. This approach ensures durability, relevance, and harmony with extreme climates and unique social contexts.
“However, architecture must also confront the broader systemic inequities that shape housing conditions. This requires engaging with policies, resource allocation, and historical injustices, which is a deeply challenging yet essential aspect of creating equitable and sustainable built environments.”
Interior Render
01 Vertebrae
Diba Khosravi, Parinaz Nabavi
PROJECT NO. 01
SECTION NO. 03
VERTEBRAE
DIBA KHOSRAVI PARINAZ NABAVI
Located at the dynamic intersection of Dundas and Bathurst, the Vertebrae community hub is thoughtfully designed to embrace its surroundings, fostering a seamless relationship between its structure and the urban environment. The site’s unique exposure on all four sides creates both challenges and opportunities, bordered by a new residential development to the north, a public elementary school to the east, a large green space to the south, and low-rise residences to the west.
Inspired by the neighborhood’s Victorian architectural heritage, Vertebrae aims to preserve its character amidst rapid urban transformation. The design prioritizes enhancing quality of life for nearby high-rise residents while seamlessly integrating with its context. Addressing the detachment of high-density living from nature, the building centers around a linear circulation axis extending from north to south, creating a direct connection to green spaces and Alexandra Park.
The program is anchored in urban farming, with spaces dedicated to growing, selling, and enjoying food, fostering social interaction and engagement with nature. A strategic organization of programs ensures connectivity, with integrated gallery spaces and outdoor terraces offering opportunities for community bonding and contemplation.
Through its thoughtful materiality, grid system, and sustainable strategies, including rainwater harvesting and timber construction, Vertebrae serves as an inviting beacon for connection—between people, nature, and the urban fabric.
UNDERGRAD, YEAR 3, STUDIO PROJECT
DIAGRAM/PHOTO
The Gray Coach Terminal conceptualizes a new life for a disused bus station in downtown Toronto. It envisions a lively market place that embraces the original art deco building and bus bays, converting it into an open air, all-season hub of activity. The original circulation paths of buses through the terminal are reflected in the new forms above which house community programming and retail areas, creating a palimpsest of the building’s past. The material palette of the addition responds to the site’s automotive history and expresses raw aluminum and metal formed into forms which borrow from classic bus designs. The terracing of the rooftop community spaces gently gestures towards the original art-deco terminal building, emphasizing its importance and respecting its conservative scale. The new marketplace utilizes the original bus entries for vendors to unload, and the garage-style doors allow for the market to spill onto the sidewalk in warmer weather. The original stained glass window with ‘Gray Coach’ branding becomes a centerpiece between the old and the new, residing in a lightwell which gives it visibility from the basement up to the roof terrace and spotlights the historical character of the building.
Architectural Qualities of Award Winning, Global, Multi-Unit Residential Buildings and Analysis of Barriers in the Canadian Context
PROJECT NO. 03
SECTION NO. 03
Introduction:
As Canadian cities continue to densify, there is an urgent need to build and renovate Multi-Unit Residential Buildings (MURB) for meet more holistic definitions of performance in buildings. MURB should be designed to optimize indoor environmental quality (IEQ), to achieve high building performance and to ensure occupant wellbeing. In architectural design practice, the use of precedent studies and documentation and analysis of best practice projects is a method where design strategies can be evaluated to inspire and influence future projects. Barriers and disincentives exist in the Canadian architecture, engineering and construction industry that have led to the majority of Canadian MURB not meeting sustainability targets or design excellence. This paper reports on results of a global scan of award winning MURB where the goal was to identify and analyze best practice architectural design strategies at multiple scales.
STUDY
AUTHOERS
TONY LE
DR. TERRI PETERS
DR. MARIANNE TOUCHIE
DR. LIAM O’BRIEN
Methods:
Sixty five projects were identified as meeting inclusion criteria (built MURB housing, completed since 2000, more than 2 stories high, awarded an architectural design award, information about IEQ available including building and unit floorplans, information available in English) within the time frame of this study in Summer 2023. The study documented and compared details and stratgies about architectural design, using building floor plans, unit floor plans, architectural award information and published information about building performance focused on IEQ.
Results:
At building scale, many of the awarded examples had narrow building forms, were low and medium rise height, had single loaded corridors, and utilized stepped building forms. These decisions then impacted the unit scale, improving access to daylight, and providing the potential for natural ventilation. For each of these strategies, the study identified exemplary global MURB projects and described the context in which they were built.
Discussion:
Then the paper explored barriers to achieving these strategies with references to Canadian design standards and policy. The paper discusses the specific barriers or disincentives to building these in the Canadian context. This study is a starting point for future work to improve the quality of MURB in Canada.
PROJECT NO. 04
SECTION NO. 03
DWELL-BEING
KATHLYNN HOANG
This temporary, amphibious one-bedroom shelter comes in highly mobilized components. It works to provide comfort and safety to occupants in three areas of focus for each. [The comfort of] having a space to take shelter, sleep, eat, bathe, and clean in; housing up to six people depending on living and emergency situations; and living in a controlled temperature with adequate air circulation using solar energy, a heat pump, and operable windows. [The safety of] having a resilient structure that adapts to sudden changes such as mobilizing to move from areas of social unrest and floating during floods; securing occupants inside and keeping unknowns locked outside, and blending into the surrounding environment through the conscious use of wood to remain unprovocative. Two curved glulam frames are offset and at different heights to create distinctive voids for the upper multipurpose space, rooftop garden, canopy for the entrance, and defined area to employ the anchor winch system.
The glulam structure along with the wood finishes, furniture, and millwork minimize embodied carbon. The storage bed, folding dining table, and underfloor storage support space efficiency. Solar energy and a heat pump reduce operational carbon intensity and a rainwater harvesting system removes the need to rely on a local water treatment facility. The result is a self-sustaining wooden shelter with its own power and water supply.
UNDERGRAD, YEAR 4, STUDIO PROJECT
PROJECT NO. 05
SECTION NO. 03
JAKE LEVY SABEEH MOBASHAR
Toronto’s growing communities and towering buildings highlight the scarcity of green spaces. Terraform, a community hub, is the threshold that connects the Kensington and Trinity Bellwoods neighborhoods to Alexandra Park. Therefore, rethinking public parks and transforming them into community hubs through topography, nature, and pathways creates innovative community spaces. Terraform is situated in the Kensington Market and Trinity Bellwoods neighborhoods—two distinct socio-economic communities that share Alexandra Park. This park, often described as a patchwork, has developed in segments over time, leading to a fragmented identity where programs and buildings emerged independently. Terraform was driven by the act of gathering, reimagining community spaces as dynamic, self-sufficient, and inclusive environments. In Toronto’s dense urban fabric, Terraform seeks to weave the streetscape and landscape together. The design concept involves a green roof that extends from the surrounding park, serving as an extension of the community. This model poetically envisions a community that raises the land and finds shelter within it. The users of this community hub residents, designers, and neighbors of Toronto, highlighting the importance of catering to a diverse population, with different religions, language cultures or social economics, with varied needs. Terraform is a community hub that acts as a beacon for play, interaction, and creativity.
UNDERGRADUATE, YEAR 3, STUDIO PROJECT
MODEL
Vault
Vault
Vault
NOAH SPIVAK
ARIEL WEISS
CATHEDRAL OF CREATION
An ode to Saint Francis of Assisi, the cathedral of creation aims to fuse the Gothic grandeur of the past with a contemporary vision. Like the design of the great gothic cathedrals, this proposal rekindles a once vibrant legacy of catholic architectural innovation through a highly repeatable and delicately sculpted modular system.
Not only does this system take advantage of contemporary fabrication efficiencies, but it forges a celestial connection to the heavens above - a rare combination in the design of sacred spaces.The result of this exercise is not simply a boutique cathedral - but a prototype for the future home of the SSPX.
UNDERGRAD, YEAR 4, STUDIO PROJECT
MULTI GEN-REGEN
EVAN HILLS MATHIEU HOWARD
The research for this project developed through the exploration of the built environment as communicated via the research of the dna strand, which evolved into a triple helix as an expression of three elements in a continuous loop. This, therefore, created the interconnection of moments at the intersection of the human, social and nature components of the existing built environment. The nine supporting systems encased within the larger strands of the built environment play a major role at the heart of the three overarching ideas of the triple helix.
Using these nine systems, the theme of regenerative design emerges to mend the gap between humans and their social as well as natural environments. This major theme was reinforced by subsequent research into the un’s 17 sustainable development goals, as well as the 9 planetary boundaries, aiming to provide a holistic view of sustainability. The research findings were applied to a site in the mid-northern ontario region of rama, adjacent to lake couchiching, creating a multi-generational, regenerative community which utilized resources based on the nine architectural systems developed and their attached principles, as a representation of a communal environment that is driven off of the nine systems to create what is a regenerative community, for generations.
PHYSICAL MODEL
Nonna’s Home, Nonna’s Agriturismo explores the preservation of my Nonna’s old vacant home prior to her migration into Canada. Situated within northern Italy, in a small populated farm village, Ospedaletto, Istrana, located within the province of Treviso, the project transforms what is currently an abandoned historical farmhouse into a rich location that tells the story of her family’s past, the local culture and the historical architecture that is present within the village expressed through the connection of the farmland to the living and the kitchen. Transformed into an agriturismo, where the site encompasses the relationship of a farm-to-table restaurant and a boutique villa to serve as a landmark within the small village of Ospedaletto, expressing the site’s architectural heritage from the 18th century. The site itself encompasses a programme of an onsite farm-to-table restaurant, connecting the front court to the local street, where the preserved villa creates an attraction to the site, maintaining significance to the historical structure itself, which further integrates the existing farmland to the programme. Further, the central circulation through the site connects the rear crop barn from front to rear, which encloses a cantina and wine bar for tourists and locals to engage with one another and the local culture embedded within Ospedaletto’s historical significance.
IDEOLOGY
Led by Giuliana Fonseca-Velazquez
Dana Kim
Ne’jean Ramsahai
Interviewees
Grace Asselin
Johnathan Barthelmes
Nele Hohmann
Lisa Landrum
Mei Li
Saskia Scarce
Erik Skouris
Emma Trudeau
[Buone Nuove / Good News: Women in Architecture exhibition]
How did you adapt the Buone Nuove / Good News: Women in Architecture exhibition to the Paul H. Cocker?
Mei Li: The Buone Nuove exhibition has been traveling since 2022 so they have a set material that travels to every city so that’s the bulk of the exhibition that you saw: everything on the tables, the videos, and the three panels. One of the biggest issues that we had was that material they sent us were SO big that we didn’t think it would fit in our gallery, and a lot of them couldn’t, which is why we had to take the panels outside of the gallery. We made a model of Paul H. Cocker gallery to play around with and figure out circulation and layout which was really helpful.
The TMU Edition to this exhibition was the Local Empowering Practices on the walls of the gallery, the postcards, and the cafe. So the only thing that we needed to curate were the empowering practices. Jennifer Esposito is an executive member of BEAT and her research this summer was also related to women in architecture in Canada, so she had a pretty good idea of the local architects to feature in that community.
“But these practices were chosen not only based on design excellence, but also their involvement in the community: their advocacy, their leadership, their mentorship.”
How did you decide to adapt what was originally a research paper into a video for the Buone Nuove Exhibition? Were there any struggles with this endeavour?
Saskia Scarce: I was gonna do interviews with some women that Jennifer Esposito is affiliated with, who identify as Black women throughout the profession, and then I was gonna write a paper, with supporting research, before being approached by Lisa about becoming a part of the exhibition. When asked if there was any work that I wanted to put forward, I thought of this paper but a paper is not really digestible. So to enhance my skills, I made a video, including some of the research that I did as well as the interview process, and that was really a rewarding experience. I think some of the challenges was to create a narrative that was a true reflection of these women’s stories, and that wouldn’t be so. It wouldn’t be deserving of their stories if that makes sense.
The unfortunate truth is that we didn’t see any of Black women on the wall. In terms of the amount of change that’s happened within the city of Toronto and architecture we weren’t there to move those like to the scale that we see Sherry Bloomberg or Marianne Mckinnon doing.
03
We weren’t there because we weren’t necessarily in the conversations. And that goes to other societal things that influence why, Black women weren’t able to pursue an education in architecture and complete their degree, and then complete licensure to be on that scale. There’s different things historically that contribute to that. So we just wanted to acknowledge that, but not also diminish.
The other women who are featured on this wall they’ve done amazing things for society, amazing things for architecture, and where we are right now they set the precedent for us to even be in this room right? But then we also didn’t want it to seem like tokenism. We didn’t want it to seem like, “Oh we’re just adding you in the space because you’re Black”, because that’s not what we were envisioning.
“We wanted to say that next time that we do this, we’re gonna see these women on the wall.”
The stories, and also acknowledging that there is a conversation that’s not necessarily being had outside of just gender, there’s a need to think about race. We need to think about sexuality. We need to think about how religion plays a huge role. Think about abilities, right? Socioeconomic factors as well. The Indigenous identity and those different struggles. And that’s what Jenn’s research was hoping to do, how that all intersects with gender especially in the North American context.
Were there any other exhibits you took inspiration from during the curation process of the exhibition?
Mei Li: I think at the beginning when we were still trying to find a direction for this we were looking at past ECA Exhibitions, but the difficulty was they have so much space and so many resources and we have such a limited amount of time. When we eventually found a direction, we really only referred back to past Buone Exhibitions as they have such a strong and bold visual language. So I think we felt we had to stay true to that. We wanted it to feel very immersive and have it spread throughout the school, which I think we achieved.
There was some thought about how this could be used in the future. The exhibition is going next to Montreal, so Lisa and I are doing some coordination with them, sending them some stuff. Like some components that our team did, they want to continue doing, like the local exhibitions, asking for the templates we used, to go from there, the flyers that we did of all the women and TMU faculty. So those were things we 100% designed but I think they want to use it and continue with the initiative.
Saskia Scarce: Mei already had the gallery’s design set in
place with things like templates. Our addition, we were just gonna have the video, but it was like, “Oh, it would be a good addition to have them also featured”. Like the same description, images, project work is as well but we were limited on space, because everything was already sized, and there were 16 women on the wall, so we were going through different ideas on where we could place them. So our way of combating that was having our own dedicated section, and it was mostly about the project Beyond Gender.
We had a giant description, basically explaining what the project was, and then what this installment of it included. We painted that entire wall pink so that it was like it really signified that it was different. But there were a lot of colors happening within the space, and budget, time, and spatial constraints but I think we made it more cohesive with all these steps we took. There were other videos that were a part of the exhibition called Narratives, and those prints were read, and that was done by Sabeeh. He spent time with Lisa, coming up with a design to hold the iPads for the Narratives component of the exhibition. So for our video, we wanted to also read the same length, and have the same language, so we had the iPad against the wall, so that it’s a different narration that’s being told, with similar language.
For the video itself, I find documentaries to be more powerful and clear when you remove color, when it’s in black and white, you’re really looking the emotion you’re listening to what is being said, and presenting this story seems black and white, but it’s not. And that’s why there were subtle implements of the pink, like when their names came up or when there were important facts, using color very intentionally to highlight different things that we want to share. This program has taught me about having a concept and designing in different ways which was helpful in this project.
What sets the TMU exhibition apart from the exhibition’s predecessors?
Mei Li: Well I think this one was really exciting as it was the exhibition’s first time in North America.
“And I think what I really appreciated with TMU is that it really recognized this process of diversity in architecture will always be on-going.”
I know we already talked about the Postcards of Progress, Cheryl’s timeline project, the panels at the end, and the Good News Cafe; these were all initiatives to make sure this exhibition is not just about people being exhibited, or the most well-known architects,
“but the movement and everyone in the field.”
For the Good News Cafe specifically, we had a couple of those chairs and tables that we wanted to program throughout the year, and they would be places we could host mentorship events, focus groups, all related to diversity in architecture. I think we wanted little micro events to happen throughout the year. Also during the opening day it was a place for you and your friends to sit down and speak about the exhibition. If the whole exhibition is about equity and diversity in architecture, on a macro scale these little tables can be conversations about the same thing but on a more intimate scale.
How did the Beyond Gender enhance the driving concepts and user experience of the exhibition?
Saskia Scarce: I think the entire exhibition was about representation and acknowledging those who haven’t necessarily been highlighted before And I think that’s why Beyond Gender: Black Women in Architecture and Design really fit well into that space because it was about the same thing. It was about representation. There’s so much power in seeing someone that looks like you.
“Even if your experiences aren’t the same, just knowing that they were able to get through adversity, to see someone get past and achieve and create beautiful spaces that like to contribute to people to me was the best part of it.”
So I think it fits into the concept of that exhibition because that’s what the exhibition is about. It’s good news. There’s representation, right? We’ve made great advancements in where we are as women, and we want to see that with other cultures as well, I think it’d be really interesting to see how different racial and ethnic backgrounds are outside of what we predominantly see. How they are able to take up space.
I think that Black women and Black people in general have been able to make ways and now there’s space for us to make ways for others. So I would love to see where Beyond Gender goes. Looking beyond gender, the intersection of different cultures and ethnicities and nationalities, and where that means, in a multicultural country, a multicultural city like Toronto so I think it fits in well with representation. I think in a couple of maybe a decade or 2, I would love to be on that wall. I don’t know if I’ll be on the wall in a traditional sense, because I don’t necessarily want to be a traditional architect, whatever that means. but I think it allows me to know that I have the capacity to be there. Being recognized in spaces like that. That is something that I find hope in and It will help me persevere when I’m in 4th year or 5th year when we come back to school, and we are designing and experiencing the beauties of the architectural program.
How did the Beyond Gender and postcard segments enhance the driving concepts and user experience of the exhibition?
Mei Li: For the postcards it was about recognizing that this fight for equity, diversity and inclusion is always ongoing. And this exhibition is a Women in Architecture exhibition, but that doesn’t mean only the women at the top, it’s about you and students and interns, and people who have been doing their practice for 20 years and making their own contributions. Unfortunately we don’t have the space in our little gallery, so we were trying to find a way to get that message more clear and to show a wider range of projects. It worked out really beautifully that Jennifer Espoito and Saskia Scarce’s research lined up with the theme of the exhibition, about Black voices in Architecture and Design.
“By adapting their research and following this same format of the women on the walls it kinda speaks directly of the future: who could be on these walls in the future, celebrating the up-and-coming architects of our future. Giving voices to those who are our future.”
What are some important takeaways you hope people get from this exhibition?
Saskia Scarce: My personal takeaways are that, it’s really good to acknowledge people when they are alive. And I think we do a good job of that in terms of our program. And a lot of programs have lecture series, having people come out and having exhibitions of people’s work, especially alumni like, that’s really amazing, but celebrating the work of people. This event was being hosted in a space of learning and the vessel of future architects. It was very inspiring to see representation of women and representation of Black women. I’m gonna say it, like the whole experience, was very, very guiding for me. It made me realize that I am in the profession I want to be in. It was inspiring to see the resilience and to see their achievements and to hear their stories, and that goes to every woman that was featured. And I got to speak to them afterwards and it was really amazing. I’m very happy with the end product, very happy with all the work that may be put together: Mei put together, Lisa put together, Jen put together, Sabeeh put together, and everyone that helped plan.
To read more about this exhibition, visit:
[Exchange Program: Johnathan Barthelmes and Nele Hohmann]
How did transitioning to a new academic and cultural environment during your exchange program challenge you, and what personal or professional lessons did you learn from it?
Adapting to the academic environment here has been quite a challenge. At my home university, I’m used to working in teams in the studio, where we dedicate most of the semester to a single studio project. Only after the final submission do we focus on preparing for exams. Here, the approach is very different—you’re constantly juggling multiple tasks and projects at the same time. This was a big shift for me, and I’ve had to quickly develop stronger time management skills. The difference in design styles has also been an adjustment. At home, the focus is on minimalism and clean, reduced designs, but here the approach feels much more playful, with a strong emphasis on realistic renderings and tools like Photoshop.
“It’s been interesting to explore this new perspective, even though it was challenging at first to step out of my comfort zone.”
Another major difference I’ve noticed is how students work. At my home university, we spend a lot of time in the university’s studios, which creates a collaborative and social atmosphere. Here, most students seem to prefer working from home. While that has its advantages, I miss the in person interactions, especially during the design process, when exchanging feedback and ideas is so valuable. So far, this experience has taught me a lot about adaptation to new academic and cultural environments. I’ve learned how to manage my time more effectively, work under more pressure, and embrace new design approaches. It’s been a rewarding experience overall!
How has the exchange program aided in your understanding of the universal character of architecture? Have you learned anything new about the relationship between local practices and worldwide architectural trends?
This semester, working in a studio focused on Indigenous architecture gave me new insights into how architecture is tied to land and cultural narratives. I learned how local histories and traditions influence design, particularly in Canada, where there’s a strong connection to nature and community. When comparing this to my experience in Germany, where architecture is more minimalistic and functional, I see how different cultural contexts shape architectural practices. Here in Canada, designs are more expressive and creative.
“Despite these differences, I’ve found that German practicality and Canadian creativity can complement each other, showing how architecture can reflect local culture while still aligning with global trends.”
Did you have any particular projects during your exchange that altered your perception of the role of architecture?
There wasn’t really one specific project that changed my perception, but rather several that reinforced my existing views. Living in a large city like Toronto, especially downtown, with its many high-rise buildings and urban environment, has deepened my understanding of the importance of good architecture. Toronto is a city that heavily favors cars and is less focused on pedestrians, which has highlighted how much urban planning and architecture shape the way we interact with our surroundings.
In this context, buildings, where air conditioning and technology are essential for their functionality, to have shown me just how crucial it is to think about the human experience in architectural design. I’ve come to realize how much potential there is in architecture to transform our cities. Good design has the power to create buildings that connect with their surroundings, let in natural light, allow fresh air to flow, and provide spaces for interaction. Sustainable architecture, which considers not only the aesthetic but also the materials and environmental impact, is something I’ve become increasingly passionate about.
Architecture is not just about facades—it’s about creating spaces that enhance the quality of life and foster a deeper connection between people and their environment. It’s about designing buildings that are thoughtful and responsive to the needs of both the people who inhabit them and the city they shape.
“Through this experience, I’ve also learned how important passion is in architecture. It’s not just about creating buildings; it’s about questioning, challenging, and innovating. We have the opportunity to contribute positively to society, and that’s what makes architecture so powerful. I’ve realized that to truly bring ideas to life, we need to be open to learning from each other, pushing boundaries, and constantly seeking ways to improve the spaces we create.”
How has your approach to design collaboration been influenced as a result of working with professionals and students with a variety of perspectives?
“The emphasis on presentation and visual representation in the studio here has significantly influenced my approach to design.”
I’ve developed stronger skills in presenting my ideas visually and verbally, learning not only how to use tools like Photoshop effectively but also how to articulate my concepts clearly during presentations. This combination of technical and communication skills has been invaluable in conveying my design ideas more confidently and persuasively. In the studio, I’ve also been exposed to new perspectives, particularly through discussions about Indigenous culture in Canada. This has given me a deeper understanding of how cultural narratives can be integrated into architectural design—something that isn’t as prominent in European contexts.
Additionally, the course Theories of Urbanism has provided me with fresh insights into European cities, as we analyzed them from an American perspective. This different viewpoint challenged me to rethink familiar concepts and question assumptions I hadn’t considered before.
“The exploration of how cities function within different cultural and historical contexts has reshaped my thinking about urban spaces.”
For instance, analyzing the urban grid systems in North American cities compared to the more organic street patterns in European cities helped me better appreciate the complexities of urban planning. I also learned to question the role of the car in city design and how it affects not only traffic flow but social interactions, which has made me more conscious of sustainability in urban development.
“One of the most important takeaways from this experience has been the value of looking at architecture from different angles. Every experience, every journey, enriches your understanding and broadens your perspective. It’s essential to step out of your comfort zone to learn something new, and sometimes, this also helps you appreciate what you’ve taken for granted.”
It’s been eye opening to explore how architecture can contribute to society outside of my familiar environment and how I can design in ways that enrich and engage communities in different cultural contexts.
What has been particularly enriching for me are the soft skill experiences—the ability to collaborate, communicate, and adapt in a diverse environment. I would highly recommend an exchange program to anyone, as it not only broadens your academic knowledge but also helps you grow personally. Architecture thrives in exchange with others, and this experience has shown me how much more it can offer when you share ideas and perspectives across cultures.
Johnathan Barthelmes and Nele Hohmann are a few of the many exchange students we had at the Department of Architectural Science.
To learn more about our exchange programs visit:
What started this initiative, and how long has it been in the works?
Lisa Landrum: Soon after arriving to DAS in August 2023 I noticed a call for Curriculum Development Funds from TMU’s Indigenous Education Council. With support of colleagues, I applied in February 2024 and was successful. The modest funds are supporting professional development for DAS faculty and preliminary work to assess gaps and opportunities within the curriculum.
“This initiative is the beginning of a gradual process to enhance curriculum and respond to recommendation #9 of TMU’s Next Chapter Action plan, which calls on all units to ensure programs contain mandatory learning opportunities about Indigenous history and Indigenous and colonial relations.”
So far, we have devoted two faculty meetings to this topic with Indigenous guests, including Jake Chakasim, a Cree designer and educator from the Mushkegowuk Territory and DAS alumnus (BArchSc 2006; MArch 2010); and Amy Desjarlais, who leads the Rebirthed Teachings and Indigenous Initiatives in TMU’s Office of the Vice-President, Equity and Community Inclusion (OVPECI). Additionally, over the summer of 2024, undergraduate students Emma Trudeau and Grace Asselin helped assemble resources which faculty may integrate into course outlines and assignments. This year, we also engaged Erik Skouris, an Anishnaabe Ojibwe design lead at Two Row Architects, who is teaching studio, and Ange Loft (Kanien’kehá:ka, from Kahnawà:ke, QC), an interdisciplinary artist and co-author of A Treaty Guide for Torontonians, who led a workshop with first year students.
What was interesting to you about this initiative as students?
Emma Trudeau: I thought it would be interesting to sort of seeing the behind the scenes of how they put the curriculum together. And it was interesting cause one of the first meetings we had was with the faculty and they had, like in the pit, little papers of the entire course and by year they colour coded so it was interesting to see the breakdown and from that they were sort of trying to see in what possible ways they could implement it. Seeing it sort of in front of you that was cool.
What do you think your perspective as students brought to the development?
Emma Trudeau: I think one of the things that was most helpful was seeing how we have navigated the curriculum cause I think one of the main things we were talking about is first year communications studio and how its hard to recognize like obviously all these profs are very educated and come from all these backgrounds and they’ve been studying architecture for so many years but, like as new students coming in and also international students coming in, if they want to sort of Indegenize the curriculum, not everyone is going to be starting with the same foundational building block. We grew up in school learning about Residential Schools and the history of Indigenous communities but people coming from elsewhere aren’t going to realize that.
Grace Asselin: It’s important to have a foundation for everyone just because there are people who aren’t super familiar with Indigenous history in canada and so I think we talked about wanting to have a foundational course to make sure everyone is on the same page.
At the Native Canadian Centre of Toronto (NCCT) on August 19th, Amy Desjarlais said: “Every other living being knows how to live in harmony with earth, excluding us.
“You can read more about what we’re doing in this recent DAS news story.”
This is a very important statement, especially for the architectural industry. Do you see this statement reflected in this program?
Lisa Landrum: Harmonious living is a struggle for many. Architecture typically imposes itself on nature, instead of working with it. Yet, architecture can also help achieve a sense of symbiosis and harmony with the world. Our Department of Architectural Science has always valued sustainable practices and a holistic approach to design, yet there is more to do on many levels. I am grateful for Amy’s teaching, which reminds us that
“human life is interwoven with many species, and that we should care more for the well-being of all life forms and the planet as a whole.
Her teaching calls on us to rethink the scope and purpose of every architectural project.”
Emma Trudeau: Tying back to what we were talking about learning and having a base knowledge about Indigenous practices, when we consider how buildings interact with landscape it’s not a very conscientious thing, we’re not being conscious of how we’re treating the landscape.
Grace Asselin: A professor from Carleton University talked about land positioning and how important that is.
Emma Trudeau: I think it would be interesting to
“shift our focus from the building to the natural landscape.”
Erik Skouris: There seems to be a big focus on this program on the technicals, like how to put together a building, but I find alot of my students are struggling with process so this studio is about community consultation its about forming.
These are the Indigenous design guidelines that we wrote for the University, they’re framed around ways of knowing being and seeing, being knowing and doing and this was done in conjunction with Joanne Dallaire here on campus. But it’s about establishing a set of values and driving those values home. So instead of worrying so much on the technicals of the building - don’t get me wrong they’re very important, think about why we’re designing and who we’re designing for and how to make safe spaces, accessible spaces, and spaces that bring nature in and make you feel comfortable and happy and thats what I’ve been driving home in studio.
“How do we design spaces with values, spaces for people first, spaces that question the land and the weather and really make you think about place, place keeping.”
How do you feel the current curriculum reflects the integration of Indigenous perspectives, maybe, in particular, the fourth-year studios that become more specialized and you’re directly involved with?
Erik Skouris: I think there are strides in the right direction. I think there needs to be more Indigenous staff and students, I feel quite isolated, and I appreciate the freedom of doing this studio and conducting it the way I want to.
I think the school needs to develop more community outreach and partnerships, not just with the Mississauga of the Credit or Six Nations but with other urban Indigenous providers. I’m happy to help make those introductions.
And I think that’s another area this school can build an Indigenous curriculum thats meaningful and important. I’m not sure about the cross-pollination and collaboration at TMU Department of Architectural Science with other departments on campus so I think about Indigenous initiatives its different at every school.
Its Indigenous student services, I believe Lisa Landrum is starting to build those connections and foster those connections. But I think theres a lot to be learned between Joanne Okimawininew Dallaire (Elder and Senior Advisor, Indigenous Relations and Reconciliation) and her department and how the school operates. I think there’s a lot to be shared that both can build on that relationship. Lisa Landrum has been a great support as well for me and she brings good experience and perspective from the University of Manitoba where their program is really integrated in Indigenous knowledge. I think we need more diversity in the faculty too. I see a lot of older white faculty and not a lot of Indigenous, Black or youthful faculty, to be honest, so I think that’s a fresh perspective that should be welcome.
Last but not least, I think we need a tenure-track position. I’m an instructor that’s not tenure track. I teach one studio and I’m not able to make much change. I can make changes for the eleven students in my studio, but across faculty, there’s a lot more to do.
Previously we have had very well-received speakers and exhibitions covering vernacular architecture from all around the world, like The Longhouse exhibition done by the architectural studio Dogma.
Are there any projects that you’ve come across, possibly by Indigenous Canadian architects, that would help offer an unseen perspective to DAS students?
Erik Skouris: I think the studio that we’re developing together here, we do field trips every week and oftentimes theres projects here in Toronto that we can walk to. I think the native child family services over College and Yonge is a great precedent. Anishnabe health that’s not too far away that’s another great project we’ve worked on, spirit garden - so the Indigenous landscape, these are all great projects that are all in the vicinity and I’d be happy to lead tours and speak, you know not just about interiors or landscapes,
“but also this notion of what Toronto was prior to colonization.”
So like walking the land and getting a feel for Tallow Creek which was an urban creek and oasis that really went right through U of T, pre-glacial shoreline of Lake Iroquois and Gete-Onigaming, which is the big hill in Davenport Road which was a pre-glacial shoreline.
High park is another great influence you know, took the students there and investigated the controlled burning of the black oak savannah. We looked at burial mounds like bear mound and snake mound.
“So learning about the lands and the past present and future are really interesting conversations.”
Lisa Landrum: There are many. I suggest exploring the Indigenous art collections at the ROM and the McMichael Canadian Art Collection, and visiting the newly opened Spirit Garden at Nathan Phillips Square, designed by Gow Hastings Architects and Two Row Architect. There are several Indigenous placemaking installations to see right on TMU’s own campus, including the land acknowledgement Ring designed by Two Row Architect. It is also important to learn the Indigenous history of our city. Good resources include the Lost Rivers maps of Tkaronto, the talking treaties day trip guides, and the collection of essays called Indigenous Toronto. Last year, our DAS lecture series included talks by Matthew Hickey of Two Row Architect, and Eladia Smoke of Smoke Architecture. This year, we have Chris T. Cornelius of Studio: Indigenous on March 27, 2025.
“The most important perspective-changing project to undertake may be to simply open your mind and heart to a more relational partnership with the land and with Indigenous peoples.”
Have you noticed any specific instances within our current curriculum that may have contributed to a sort of complacency? Has your experience with different university curriculums helped develop this new perspective?
Lisa Landrum:
“Our curriculum is a living work in progress.”
It has unique strengths and potential. Many assignments relate to urban buildings and our exciting downtown location. Our city is so built up and commodified that it can be a challenge to appreciate its precarious ecologies (including the waterfront and ravine systems), and how these ecologies relate to stories of the people and animals who have cared for this place long before colonization.
From 2008-2023 I was a professor at the University of Manitoba, which is located on Treaty One Territory and home to the National Centre for Truth and Reconciliation. During those years, I benefited from several workshops on Indigenous knowledge and curriculum development.
I was also fortunate to learn from and support the Indigenous Design and Planning Student Association (IDPSA), created in 2020 by Reanna Merasty and Naomi Ratte, who are now accomplished graduates. One of the first events they hosted was a Nation-to-Nation conversation, as part of the Canadian Architecture Forums on Education (CAFÉ), which I initiated in 2019. IDPSA has organized many events since then and published two editions of Voices of the Land.
When I arrived to DAS in summer of 2023, I did not see a similar student group in the Department, though I found other TMU groups and resources, like the Indigenous Student Services (Gdoo-maawnjidimi Mompii).
“I know how transformative a discipline-specific initiative can be in empowering students and faculty. So, I’m hoping the DAS Indigenous Curriculum Development initiative opens possibilities for others to speak up and take action, and for everyone to work together toward meaningful change.”
Embleton Community Centre, Brampton, Ontario
Georgina Multi-use Recreation Centre, Georgina, Ontario
Western University, Schmeichel Building for Entrepreneurship and Innovation (SEIB), London, Ontario
