Devin Tepleski - Master of Landscape Architecture Portfolio - University of Toronto - MLA 2019

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Landscape Architecture Rockcliffe Floodway Park

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Temple of Mud

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Bottomfeeder 36 Superstudio: Rail Deck District

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Site Technologies: Remix

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Selected Graphics 64 Photography Sena 80 My Magic Mountain

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Site: Giant Mine

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Abridged CV 98

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L A N D S C A P E

A R C H I T E C T U R E

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ROC KC L I FFE FLOO D WAY PA R K An analysis of budgeted infrastructure spending across the City of Toronto was used to find clusters of projects involving multiple municipal departments that were indicative of a common problem: flooding. Large tracts of publicly owned land in proximity to the infrastructure spending clusters were catalogued in order to determine possible sites for parks that could be developed to contain and manage stormwater. A site, across from the soon to be closed Rockcliffe Middle School was selected for its size, its situation at the fork of two channelized creeks, and nearby spending related to endemic flooding. The ensuing project, which involved hydrological analysis and flood simulation, led to a long term relationship with Black Creek Alliance, a community activist group fighting the sale of the site to a meatpacking company that wishes to build in the middle of this largely residential neighbourhood. I continue to assist BCA and community on design, technical review and communications strategy.

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SITE LEGEND SITE LEGEND

Black Creek Lavender Creek Channel

Black Creek

Open Space

Lavender Creek Channel

Natural Heritage System

Open Space

Water Infrastrucure Spending Within 10yrs

Natural Heritage System

Electrical and Civil Infrastructure Spending

Water Infrastrucure Spending Within 10yrs

Parks, Forestry and Recreation Spending

Electrical and Civil Infrastructure Spending

Bridge and Culvert Replacement or Rehab

Parks, Forestry and Recreation Spending

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Bridge and Culvert Replacement or Rehab 1 km

Hydroelectric Cooridor 0

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BLACK CREEK WATERSHED Flood Reporting

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BLACK CREEK WATERSHED

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Neighbourhood Improvement Areas

Infrastructure Spending Within 10 Years

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SITE ANALYSIS Historical

Sewage treatment plant located on corner of Rockcliffe Blvd. and Terry Dr.

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Lavender Creek running through landfill.

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Black Creek unchannelized, but redirected to fill a reservoir near industrial site.

Sand and gravel extraction reduced.

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Rockcliffe Middle School is built.

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All of Black Creek is channelized.

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Alliance Ave. under construction.

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Parts of Black Creek towards Wilson Rd. contained by concrete channel.

Introduction of large warehouses and industrial buildings to north.

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Sewage treatment plant no longer in existence.

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Hydro corridor installed at south end of site.

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Construction of apartments to the west of site.

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Redirection of Lavender Creek is present, likely done to clear land for agriculture.

Extensive extraction of sand and gravel, indicating areas potential for groundwater recharge.

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Former agricultural use still visible.

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Ongoing industrial use of site for storage and as a landscape supply lot.

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Some material to the west side of the site appears to be capped.

Ongoing industrial use of site for storage and as a landscape supply lot.

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After nearly 15 years on market, city has found a buyer for 301 Rockcliffe Blvd who wishes to pave over a significant portion of this floodplain.

SITE ANALYSIS Select Spatial Analyses

All of these buildings were reported to have flooding within the study area.

Four strategies were deployed as part of a stormwater management solution. Berming, capping of a toxified portion of the site, relocation of an existing landscaping business to the soon to be abandoned school site, and cutting to create an intermittent wetland area and pond.

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Through the relocation of services in zone C to Zone A...

... the lowest part of the floodplain could be reclaimed for stormwater management and utilized to connect an array of multi-use trail termini in the surrounding area.

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DESIGN Flood Simulations

Flood simulations of the proposed park design were developed utilizing both GIS and 3D modelling tools to ensure the park could maintain an increased quantity of stormwater before inundating the surrounding properties. This is accomplished with dock-like weir structures that redirects high water on the smaller Lavender Creek as it flows along its renaturalized diagonal meander across the site. As water levels rise the excess flow is redirected to the pond and away from Black Creek. The lower reaches of the site are also cut to provide additional capacity for Black Creek to breach.

ELEVATION RAMPING OF CURRENT CONDITIONS

The city approved of the sale to the meat packing company. Less than two months later two individuals nearly drowned trapped in an elevator at the basement of 501 Alliance, one of the regularly flooded buildings, directly across Black Creek from the site. It remains the position of Black Creek Alliance that this site should not be developed for an industrial use that could further increase flooding.

ELEVATION RAMPING OF PROPOSED CONDITIONS

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T EMP L E OF MU D Situated between the Sunol Water Temple and Calaveras Intake Tower, two neoclassical Bay Area architectural icons celebrating water purity and their associated water infrastructures, the Temple of Mud oozes new ideas about what our relationship water can and should be. Through the twin programs of a sculpture gallery and mud baths, the Temple of Mud provides a novel strategy to justify the Sisyphean task of moving sediment captured behind the Calaveras Dam and reintroducing it downstream where it is needed to feed the San Francisco Baylands, which have been starved of nutrient rich sediment due to obstructing infrastructure like Calaveras Dam. Its form and context, atop the precarious Calaveras Faultline, also serve to question our control over natural systems and the longevity of the data we collect in our efforts to further that control.

A slurry is pumped up to the Temple atop Observation Hill and passed through an axial water feature. Then it drops into the underworld cistern at the entrance to ‘the archive’, where it is passed through a series of settlement ponds which operate as mud baths, allowing San Francisco’s citizens to immerse themselves in mud, overcoming deep-seated aversions to sediment. The thickened slurry is collected and returned to the Temple where two daily data documents, generated in real time from weather and stream monitoring station data, are 3D printed by colossal robots in the Temple of Mud. The first, a sacrifice, is placed out into the landscape downstream from the Temple where it slowly decays and is reintroduced to the rivers. A second copy is fired and stored in the archive as an analog document of the data.

Team members: Devin Tepleski (landscape, sculpting, Grasshopper) & John Nyguyen (architecture)

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2017: A RECORD OF SEDIMENT A Grasshopper script took local weather, reservoir and sediment data, creating unique, decipherable 3d printed obelisks documenting each day of the year. Patterns and sequences emerge, highlighting invisible relationships between the data points.

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Time

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Data Elevations

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THE MUD BASINS Render of the mud basins, which serve dual roles as public mud baths and settling ponds used in the processing of material for 3D printed data obelisks.

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THE ARCHIVE Render of the underground archive, containing fired data obelisks.

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THE SACRIFICE Render of the sacrificial data obelisks. Exposed to the elements, they transform, releasing sediment slowly as the binder breaks down. Render completed using Autodesk Mudbox, Maya, Rhino, VRay and Photoshop.

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B OT T OMFEEDER [W IP] Developed for a studio entitled “Longitudinal Landscapes: Mud, Monitoring, and Mobilization” while I was a Designer-in-Residence at Autodesk, Bottomfeeder is a custom sensor technology that monitors bed load in fluvial systems and has potential for public interaction through the amplification and visualization of underwater sound. The device uses the force of the river to hug the bottom of the river, reading the vibrations of sediment particles as they pass over it. As a proof of concept, it is a fully functional hydrophone with an optional Arduino-controlled depth sensor component. The prototype was displayed in an interactive display at Autodesk Toronto where visitors were able to release particles atop an abstracted landscape model (designed with classmate, Aaron Hernandez). The released ‘sediment’ would trigger visualizations programmed in Max/MSP/Jitter in real-time as it passed over the device.

Next steps are to calibrate a Max/MSP/Jitter FFT script that gates the frequencies of real-time audio based on the premise that the audio profiles can be used to identify particle sizes. Similar studies by Mathieu Marineau of the USGS show promise and may have implications on the way we manage riverine landscapes.

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3D PRINTED MOCK-UP SEATED IN CNC CRADLE JIG The compound curvature of the resonator body requires stabilization during the milling process as there are no flat surfaces once the resonator has been milled on one side. This jig, the negative of the resonator form, was fabricated in Markforged Onyx.

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MACHINED STOCK, 3D PRINTED CRADLE JIG AND A BLOCK OF PREPPED ALUMINUM STOCK All design and CAM programming was done in AutoDesk Fusion 360, a turnkey parametric solid modelling and fabrication software.

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ELECTRICAL SCHEMATIC Amplification & Processing

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OBSTRUCTION INDEX A Catalogue of Potential Installation Sites

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POTENTIAL INSTALLATION Reservoir Saddle

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POTENTIAL INSTALLATION Hydroelectric Dam

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S U P ERS T U DI O: R A IL D E CK D IST R ICT Four constituencies were chosen by each person in this group project. A set of values and priorities were set to represent the interests of each constituent. From there, we were asked to create a neighbourhood and park with the challenge, not only of accommodating for constituent interests, but a F.A.R. of over 5.5 and the technical complexity of spanning a massive railyard that currently separates downtown Toronto from its waterfront.

In our effort to maximize the ecosystem services of the parkland and vegetated streetscape areas, we proposed to locate our buildings across the deck, leaving space with more suitable growing conditions for parkland and intensive planting. This would also allow the construction and maintenance costs of the deck to be carried by the developer. Green space and public access was incorporated throughout the buildings thorough a courtyard typology. Each building’s undulating form matches with the next to create an aesthetic cohesion throughout the new district.

Team members: Rosa Newman, William Quan, Kiefer Savage, Devin Tepleski

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SAMPLE CONSTITUENCY CONCERNS AND CONTEXT

SITE

Historical Context of Mississaugas of the New Credit First Nation

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CONTEMPORARY SHORELINE MISSISSAUGAS NEW CREDIT FIRST NATION MISSISSAUGAS OF THEOF NEW CREDIT FIRST NATION Changing Shoreline changing shoreline

Changes to the shoreline may lead to conflict over ownership.

A number of title has claims to the of The changing shoreline ledsubmitted to a number Department of Indian Affairs and Northern Development conflicts already. A number of title claims between 1956 and 1999 claimed the islands were not submitted to theinDepartment of Indian Affairs and part of the treaties, part due to morphological changes Northern between 1986 andprocess 1999 over time. InDevelopment 1999, as part of the specific claims that eventually led to a were $145 million dollar settlement, thein claimed the islands not part of the treaties, MNCFN accepted the Toronto Islands as part of a valid, part due to their morphological change over time. reratified 1805 Treaty, but questions remain over other lands In 1999, as part over of the specific claims process that built up artificially time.

The vast majority of the land eventually led to their $145 million dollar past Front Street, including the site, has been built atop fill added to the harbour since 1805. settlement, the MNCFN accepted the Toronto

Islands as part of a valid 1805 treaty, but questions exist over other lands built up artificially over time.

The vast majority of land past Front Street is built on fill.

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DESIGN Distribution of Program

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SAMPLE CONSTITUENCY CONCERNS AND CONTEXT City of Toronto Parks & Environment Committee’s Goal of Utilizing Rail Infrastructure to Connect Pollinator Patch Habitats Through Pollinator Corridors

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DESIGN Landscape & Floor Plan

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METROLINX

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ELDERLY & YOUNG FAMILIES MISSISSAUGAS OF NEW CREDIT FIRST NATION

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percentage of desired outcomes possible through scheme

CITY OF TORONTO PARKS & ENVIRONMENT COMMMITTEE

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percentage of desired outcomes met

Green exemplar located in between key tourist zones projects image of the city as leader.

Increased density, activated streetscape and integrated park network for social and cultural activities.

Developer driven, lower upfront cost and greater area of public space than the city’s current proposal.

DESIGN Analyzing Outcomes for Each Constituent

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CITY OF TORONTO PARKS & ENVIRONMENT COMMITTEE

CONGRUENCE LEVEL Average Weighted Value: 10.47

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create an exemplar of green urban development

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50% of development permeable sufaces

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40% covered by tree canopy

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native species

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rail deck as pollinator corridor

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rail deck 100% public park space

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no parking for private vehicles

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green roofs for all midrise development

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solar panels on all highrise towers

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reduce shadowing on rail deck

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increased density for housing

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no cars on the site

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storm water management and treatment

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resiliance to climate change

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bike and walking paths

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LOCATIONS OF CONSTITUENT GAINS

nt proposal.

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S I T E T EC H NOLOG IE S: R E M IX Each student was assigned a park at which they were to choose a feature to research and create a technical drawing set of the feature as constructed.

Afterwards, each student had to redevelop the feature using an entirely new set of materials, requiring an understanding of materials, their joints and assemblies beyond the original. Finally, a drawing set for a sectional model was completed and a classmate was assigned to construct the model.

For my piece I chose Light Showers, a sculptural fountain element at the PFSdesigned park, Sherbourne Common, in Toronto, ON. Originally composed of concrete and steel, my remixed version of the project utilized cedar slats, drawing inspiration from classic canoe and wood boat construction.

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REFERENCE: Anholt, Jill. â&#x20AC;&#x153;Preliminary Engineering Drawings Provided by Artist.â&#x20AC;? Waterfront Toronto / Quinn Dressel Associates, Nov. 2008.

CNC Bent Glulam Frame 32x6mm Clear Cedar Strips w/ Routed Bead and Cove Edge

38x89s of white spruce or equivalent. Overall length varies.

Typical, underside of lap joint at lower spans

Bolt Fastener and Washer 25mm Steel Standoff Tread-tipped Embed Plate

Rivet

Internal Concrete Support Glass Panel

SS Sheet Face Plate

76 x 76 x 3 Steel L Bracket Lag Bolt 6mm Thick Cold Rolled Steel Sheet Rivet

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13mm Steel Standoff 76 x 76 x 10mm Cold Rolled Cold Rolled Square Tube 3 x 152.4mm - Cold Rolled Steel C1018 Flat Bar

Element: 120

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Sherbo Light Sho Student Name:

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Co-opted Element - Section Plan Detail

Drawing Number:

ASSEMBLY 4

ASSEMBLY 4

ASSEMBLIES 3L AND 3R Finish wood strip membrane with cedar coloured stain and topcoat of Minwax Wipe-On Poly Clear Gloss.

Finish form station boards on Assembly 3R with Minwax Wipe-On Poly Clear Satin.

Finish frame with Minwax Wipe-On Poly Clear Satin.

ASSEMBLIES 3L AND 3R

Finish wood strip membrane with cedar coloured Finish form station boards on Assembly 3R with M Finish frame with Minwax Wipe-On Poly Clear Sa

ASSEMBLIES 2L AND 2R

ASSEMBLIES 2L AND

ASSEMBLY 1

ASSEMBLY 1

3mm DEEP DADO THROUGH CUTS SHOWN

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ISOCURVE MARKER INDICATES JOINT WHERE DIAGONAL WOOD STRIPS MEET. CUT WOOD STRIPS TO JOIN AT THIS LINE.

6mm x 3mm BASSWOOD OR EQUIVALANT WOOD STRIPS CUT TO LENGTH. PLACE FROM OUTSIDE IN AND TRIM AT ISOCURVE MARKER. HOLD TO FORM STATIONS USING ELASTIC BANDS DURING GLUE-UP. REMOVE STATIONS FROM ASSEMBLY 3L AFTER 6mm x 3mm BASSWOOD OR EQUIVALANT WOOD

GLUE CURES (SHOWN REMOVED) ISOCURVE MARKER INDICATES JOINT WHERE DIAGONAL WOOD STRIPS MEET. CUT WOOD STRIPS TO JOIN AT THIS LINE. 3mm THICK BASSWOOD OR EQUIVALANT INTO 3mm DEEP THROUGH DADO CUTS.

STRIPS CUT TO LENGTH.

PLACE FROM OUTSIDE IN AND TRIM AT ISOCURVE

MARKER. HOLD TO FORM STATIONS USING SLOTTED ELASTIC BANDS DURING GLUE-UP.

REMOVE STATIONS FROM ASSEMBLY 3L AFTER GLUE CURES (SHOWN REMOVED) 3mm THICK BASSWOOD OR EQUIVALANT SLOTTED INTO 3mm DEEP THROUGH DADO CUTS.

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stain and topcoat of Minwax Wipe-On Poly Clear Gloss.

Minwax Wipe-On Poly Clear Satin. atin.

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13mm THICK BASSWOOD OR EQUIVALANT WITH CARVED EDGE. 3mm DEEP DADO THROUGH CUTS SHOWN

Ele 13mm x 13mm THICK BASSWOOD SQUARE DOWEL OR EQUIVALANT WITH OUTSIDE EDGE CARVED OR ROUTED TO 5mm WIDTH13mm THICK BASSWOOD

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CARVED EDGE.

OR EQUIVALANT WITH

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Element: 13mm x 13mm THICK BASSWOOD SQUARE DOWEL OR EQUIVALANT WITH OUTSIDE EDGE CARVED OR ROUTED TO 5mm WIDTH

Sherbourne Comm Light Showers Foun

Axonometric - Assemblies 3L / 3R - 1:10 Scale Representational Sectional Model Student Name:

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Devin Tepl

LEFT FORM STATIONS (PART OF ASSEMBLY 3L)

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Cut from 3mm thick basswood or equivilant slotted into through dado cuts on frame of Assembly 3L. Mark dashed vertical isocurve line to indicate where woodstrips of opposing diagonal orientations join.

Remove forms after wood strip membrane glue-up dries.

No ďŹ nish. Discard after use.

FRO 1:2

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RIGHT FORM STATIONS (PART OF ASSEMBLY 3R) Cut from 3mm thick basswood or equivilant slotted into through dado cuts on frame of Assembly 3R. Mark dashed vertical isocurve line to indicate where woodstrips of opposing diagonal orientations join.

Right form stations remain in ďŹ nal model and no wood strip membrane is created over top.

Finish with Minwax Wipe-On Poly Clear Satin.

Element:

Sherbourne Common Light Showers Fountain Student Name:

Devin Tepleski

ONT Plan - Exploded Horizontally Showing Form Stations - 1:10 Scale Representational Sectional Model

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Drawing Number:

D13.08

S EL EC T WORK S The following images are assembled primarily from course work over the last three years. Most are from Visual Communications, a class in visual representation techniques that I have also acted as a teaching assistant for the last two years of my MLA degree.

The initial images are of a case study of Mt. Hiriya, by Latz and Partners. This collection also includes select work from my work at ISL Engineering in Calgary on the design for the new Waterton National Park Visitor Centre and examples of Grasshopper scripts I developed.

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GRASSHOPPER TERRAIN MODIFICATION & ANALYSES Three examples of Grasshopper applied to modify, populate and analyze terrain.

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CONNECT LOCAL WATERSHEDS IN SETTLING PONDS A custom Grasshopper script for grading landform into staged settling ponds around an axis.

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INTERVENTION B Scenario: Connect local watersheds in weired ponds

POND 1 A = MID ELEV OF POND 2 POND 2

POND 3 B = TOP OF RIDGE

W AT E R S H E D A N A LY S I S

RETENTION POND TOP ELEV = B

BOTTOM ELEV = A

DETENTION PONDS

DETERMINE HIGH AND LOW POINT SEGMENT TERRACES ALONG AXIS

CONNECT

20X VERTICAL ISOMETRIC SECTION T I LT

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INCREASING TIME IN PHYTOREMEDIATION A custom Grasshopper script for increasing hydrological transport time through phytoremediative swales.

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INTERVENTION A Scenario: Capping a tailings pond at end of lifecycle

STEEP SLOPES EXPOSED TOXICITY

REDUCE SLOPES CAP TOXIFIED SOIL

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S W A L E S T O S TA B I L I Z E INCREASE TRANSPORT LENGTH

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A B C L E N G T H O F T I M E M O V I N G T H R O U G H P H Y T O R E M E D I AT I N G S W A L E S

F L O W A N A LY S I S - E X I S T I N G

F L O W A N A LY S I S - P R O P O S E D

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WATERTON NATIONAL PARK VISITOR CENTRE, ISL ENGINEERING Entrance inspired by Watertonâ&#x20AC;&#x2122;s famous Red Rock Canyon.

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WATERTON NATIONAL PARK VISITOR CENTRE, ISL ENGINEERING Firepit at rear of Red Rock Canyon mounds.

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A MIXED USE DESIGN FOR THE GALLERIA MALL SITE, TORONTO Illustrating concepts and strategies applied from OMAâ&#x20AC;&#x2122;s Park de la Villette

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ROUNDHOUSE PARK & MOVEMENT STUDY Drawings from first year Visual Communications course.

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S E L E C T

P H O T O G R A P H Y

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S ENA In the Nafaanra language ‘sena’ asks the question ‘where?’

The Nafaanra speaking villagers of Bui, Ghana had been asking this question for a long time before their forced relocation. Since the early days of Ghanaian independence a plan for a large hydroelectric project had been in wavering stages of development. Yet mere months before the water inundated the village, they had no idea where they would be going. They were promised little in terms of compensation.

Bui Dam destroyed the homes of over 2,500 people. Centuries of life, a richly storied environment, and existing livelihoods were washed away. Government officials warned Bui villagers that their new lands would not be near the river, an important economic resource and significant part of their spiritual practice for centuries.

One may ask ‘where’ of the photographs themselves. The subjects stand in between generations shared with the river and the unknown. The space they inhabit exists as both an affirmation of the human on the landscape and a way of erasing them from it.

The series received numerous international awards, including 1st Place in the People and Portraiture categories of the International Photography Awards and the Hearst 8x10 Biennial. Funds raised through the sale of prints and exhibition of the accompanying film, Mango Driftwood, purchased agricultural and food processing equipment for impacted communities.

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MY MAGI C MOU N TA IN When I was growing up I would frequent a small mountain ridge in the Cowichan Valley, BC, Canada. Even though it was never a pristine environment, ripped by clearcuts and blanketed in shotgun shells, it was still my favourite place to climb and explore. Ever since I can remember the mark of humans on this landscape was profound. Below your feet the broom and the bramble fought for ground under new conditions. The commodification of the fruits of this land was obvious, but access to the vistas of the valley below was still ours. The view was magnificent because there were so few trees left.

In recent years the logging has slowed, just one of many forestry sites abandoned by a waning industry. Suburban homes are replacing farms at the base of the mountain and climbing higher. It appears to have the trademark beginnings of the large scale suburban developments that transformed Tzouhalem and other legendary local peaks. The main access points have been blocked off and the land is being parcelled, plotted and cleared.

This small series of photographs is a personal response to changes to the landscape of my youth. Marking tape, a tool shared by recreationalist hikers, surveyors and foresters, is used to create elemental forms of shelter and place â&#x20AC;&#x201D; most frequently, in the form of a triangle (the peaked roof, the cairn, the pyramid, and the mountain). These rudimentary forms, strung from branches, are inverted to point to the earth. The printed photograph is again flipped to give formal priority to the mark of humankind on the landscape. The weight of the intervening triangle finds balance, while the landscape as once experienced is turned upside down.

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S I T E: GI ANT MI NE My previous work, prior to my Master’s of Landscape Architecture, was focused on providing research and mapping services for indigenous communities in the midst of negotiation and litigation related to resource extraction activities in their territories.

Questions regarding how to provide design services that incorporate indigenous perspectives have been looming in the back of my mind as I have focused on the foundations of my new profession and I am lucky to now be able to grapple these questions through my thesis, which looks to develop landscape strategies to both communicate risks at the site of one of the country’s most toxic abandoned mines and explore the metaphor of the scar as a form of healing that reveals, rather than conceals the actions of the past. The following photographs document my visits to the site of Giant Mine.

I first heard about Giant when I was visiting N’dilo, the primary settlement of the Yellowknives Dene First Nation (YKDFN), near Yellowknife, Chief Drygeese Territory / Northwest Territories, during a trip to attend a traditional ecological knowledge conference at The Explorer Hotel. Across the bay from N’dilo, sits one of the most toxic of the 10,000 abandoned mines in the care of the Canadian Government.

237,000 tonnes of arsenic trioxide, a deadly inorganic compound released during the mine’s roasting process was buried underground and an additional 20,824 tonnes were released out the stacks, contaminating an area some 20 to 30 km in radius.

What stood out to me most was their Lands and Environment’s office severe lack of distrust, not only of the government—which in my experience working on research projects with indigenous peoples was typical and deserved—but their distrust of remediation more generally. I had seen communities in the oil sands argue against the replacement of one ecosystem type with another, but never came across a community that wanted the post-industrial landscape to remain in such particular ways. After years of seeing communities argue for the pieces be put back together, this one wanted the opposite. As Johanne Black, of the YKDFN Lands and Environment office, put it, “We want this to remain a scar on the landscape and a reminder to future generations”. The scar is perhaps a fitting metaphor for the healing, and redress, that needs to take place: a closure of the wound that doesn’t erase and starts a conversation about its origins.

The design challenge is identifiying the mnemonic potential of altered landscape features and finding ways in which the needs to further alter the landscape in the search for raw materials required in remediation effort can be addressed while augmenting the narrative and communicative markers of the past, rather than erasing them. What ways can the requirement for over 3,000,000 cubic meters of fill be reinvisioned to bolster our understanding of history and what remains below the surface?

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DEVIN JOHN TEPLESKI

253 KEELE ST. TORONTO, ON, M6P 2K1 204.492.0624 DEVIN@MYRIADFRONT.COM

EDUCATION

CLIENTS & EXPERIENCE

University of Toronto

Teaching Assistant (Visual Communication)

Toronto, ON

Master of Landscape Architecture | 2019

University of Victoria

Victoria, BC Bachelor of Arts, Anthropology | 2012

Københavns Universitet

Copenhagen, Denmark Documentary Filmmaking & Anthropological Methodology | 2008 (On Exchange from University of Victoria)

John H. Daniels School of Architecture, Landscape and Design Jan 2018 – present (Employee) Toronto, ON

Research Assistant

Alissa North / North Design Office Sept 2018 – June 2018 (Employee) Toronto, ON

Landscape Architecture Intern

ISL Engineering June 2017 – August 2017 (Employee) Calgary, AB

Research & Digital Initiatives Coordinator e

MEMBERSHIPS

Trailmark Systems Inc. February 2013 - ongoing (Contract / Employee) Victoria, BC

OALA Student Member

Digital Strategist & Web Designer

2016 - present

AALA Student Member 2016 - present

International Society of Arboriculture 2017 - present

Iron & Earth November 2015 – December 2016 (Contract) Victoria, BC

Community Land Use & Impact Assessment Researcher M Fort McKay First Nation Sustainability Department October 2011 – September 2015 (Contract) Fort McKay, AB

International Association for Public Participation

Studio Partner

2015 - present

Mammoth & Company April 2012 – September 2013 (Partnership) Victoria, BC

American Anthropological Association

Filmmaker & Art Reproduction Specialist

2010 - present

PROFESSIONAL ROLES OALA

Ground Magazine Editorial Board (2018 - present)

Autodesk

Designer in Residence (2018)

GALDSU

Secretary (2017-2018)

GALDSU

CSLA Representative (2016-2017)

CSLA

RIDSAR / TRC / Port Alberni Friendship Centre March 2013 – September 2014 (Contract) Port Alberni, BC

Filmmaking Instructor

University of Victoria / Youth Health & Street Life October 2013 – December 2013 (Contract) Victoria, BC

Visual Anthropology Researcher

University of Victoria July 2009 – July 2012 (Employee) Victoria, BC

President & Artistic Director Friends of Bui

Watoto

July 2009 –January 2015 (Volunteer) Victoria, BC / Bui, Ghana

Photographer Watoto

June 17 - July 10, 2012 (Volunteer) Kampala & Gulu, Uganda

Climate Change Task Force Member (2016-2018)

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Watoto

MEDIA COVERAGE

AWARDS

ZOOM (Italy)

PFS Studio Award of Excellence

Autumn 2012, Respect Human Rights Special Issue

Scholarship

“Sena: Devin Tepleski” by Paulo Signorelli

Recipient University of Toronto, ON

TIME

AALA MLA BLA Scholarship

April 27, 2011

Scholarship

“Channeling Margaret Mead: Photographs by Devin Tepleski” by Kira Pollock

Recipient Alberta Association of Landscape Architects, AB

The Ring

Peter Prangnell Travel Award

October 25, 2011, Front Page Convocation Profile in University Newspaper “Anthropology Grad Follows Passion for Film, Photography, and Helping Others” by Ann MacLaurin

Grant

Recipient University of Toronto, ON

Ontario Graduate Scholarship Scholarship Recipient University of Toronto, ON

John & Myrna Daniels Scholar

SELECT EXHIBITIONS

Scholarship Recipient University of Toronto, ON

Autodesk Toronto

Longitudinal Landscapes: Mud, Monitoring & Mobilization Group Exhibition | Landscape Archıtecture Toronto, ON | December 2018

Face of Hope and Peace Award Community Service Award Recipient Banda Community Association

Evergreen Brickworks

Toronto Ravine Maps Group Exhibition | Landscape Archıtecture Toronto, ON | May 2018

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Brong Ahafo, Ghana

Dean’s Grant for Undergraduate Research Academic Award Funding Recipient PI: Dr. Ann Stahl |

Narwhal Contemporary Gallery

Forests of Temagami: An Atlas of Old and New Growth Group Exhibition | Landscape Archıtecture Toronto, ON | April 2018

University of Victoria, BC

2011 Hearst 8x10 Biennial

Photography Award Winner Alexey Brodovitch Gallery | New York, USA

Bonni Benrubi Gallery

GROUP Group Exhibtion | Photography New York | August 4 - September 10, 2011 Artists | Joel Meyerowitz, Massimo Vitali, Abelardo Morell, Susannah Ray, Josef Hoflehner, Devin Tepleski, LeRoy Grannis, Ron Van Dongen, Christopher Payne

2010 International Photography Awards Photography Award Nomination, Discovery of the Year Lincoln Center | New York, USA

2010 International Photography Awards

The Armory

Photography Award 1st Place, Portraiture Lincoln Center | New York, USA

Association of International Photography Art Dealers Annual International Art Fair | Photography New York | March 18 - March 21, 2011 Representation | Bonni Benrubi Gallery

Photolucida Critical Mass Photography Award Finalist Portland, Oregon, USA

Alexey Brodovitch Gallery

Hearst 8x10 Biennial Juried Exhibition | Photography New York | January 11 - June 11, 2010

Luz Gallery

Sena Solo Exhibition | Photography Victoria, BC | July, 2010

PUBLICATIONS

McPherson Playhouse Gallery

Winter 2018, Issue 44

Ground Magazine

Attachments Group Exhibition | Photography Victoria, BC | April 2 - May 28, 2012

“Landscape Architecture and Indigenous Territories” : A Conversation Between Mike Hensel and Devin Tepleski

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D E V I N

J O H N

T E P L E S K I

253 Keele St. Suite 1 Toronto, ON M6P 2K1 204.492.0624 devin@myriadfront.com