Between the Lines: Borders, Territory & Space

Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Between the Lines: Borders, Territory & Space Border Index

Border Index

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Border Index 1

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Introduction

Robo Cafe

Border Index 2

City Hall

Border Index 3

The Distillery District

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Jaya Xue Qiqi Liu Pavani Mande Zaina Abou Seif

Between the Lines: Borders, Territory and Space

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Introduction Borders and territories are not always visible. Besides explicit and harsh physical border conditions, there are many sociopolitical, cultural, technological, and historic influences that implicitly construct and define boundaries. The intricacy of borders can be revealed through the experience of entering or occupying specific spaces who may not have clear physical indications, but rather a sense of transgression and unconscious territorialization.

From small scaled projects such the Robo Cafe, to medium-scaled project such as the Toronto City Hall, to the larger town-within-atown Distillery District, we have explored the design factors and temporal events that contributed to the establishment of both social and built border conditions, and how each space has been historically (re)claimed for different purposes.

For Border Index I, we delved into the concept of man versus machine. Moving to the city hall for Border Index II, our focus shifted to the dynamics between government authority and the public.

The final Border Index represents a synthesis of themes that are relevant in the first two - in the Distillery District, we pondered the interplay of historic tradition and sociotechnological innovation within a semi-privatized community, navigating the contrasts between the old and the new.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Robo Cafe Border Index I explores the territorial claim of “RC” Robo Cafe, a self-serve vending machine-styled coffeeshop that encourages customer interaction with non-human agents.

Being one of many branches located downtown, it establishes a primary border between the automated realm and human actions by serving its customers limited beverages prepared by a robotic arm. For those on the go, interpersonal connections are reduced and the actions of customers are adjusted to the conditions of the mechanical world.1 Limited to the depth of a wall, customers are restricted to one side of the facade and not able to view or access the store’s interior. This physical barrier is reinforced by a distinguishing arch shape that confines the user within its parameters.

The formal occupation effectively produces a sense of privacy and spatial identity.2 Subsequently, invisible border conditions are shaped on the site through territory-claiming actions, such as lining up and loitering in front of the store. Such informal occupation contests on the communal sidewalk, blurring the boundaries between public and private. The implementation of RC Membership and limited payment methods invokes exclusivity, establishing an implicit boundary between general visitors and loyal customers.3 The border conditions of RC are micro-scaled, and are dynamically incorporated into the daily actions of the users.

1

Hannah Arendt, The Human Conditions (Chicago: University of Chicago Press, 1958), 147.

2

Theo Deutinger, Handbook of Tyranny (Lars Müller Publishers, 2018), 112-113.

3

David, Storey, Territories: The Claiming of Space (1st ed.). (Routledge, 2012 ), 20-187.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Church Street Perspective Located within the heart of downtown Toronto, RC Coffee exhibits a variety of physical and intangible borders within its limited spatial profile. A clear visual identity, occupied customers, and passerbys on the busy intersection contribute to the site’s unique quality as an on-the-go 24/7 cafe.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Elevation of RC Representing the two arches under which RC Coffee exists, this facade elevation illustrates both the design and physical occupation of the cafe. It further displays the store’s seamless embedding within its urban context.

This is the sole method of viewing presented to the customer: the cafe’s depth is limited to that of the wall, where the internal components are inaccesible to the public.

While arches typically encourage entry or transparency, RC’s design reinforces a hard, physical border that separates its interior from the sidewalk.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Tangible Methods of Store Ownership

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Intangible Methods of Store Ownership

Logo

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SELECT YOUR DRINK

Materials

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Contrasting the rest of the site’s brick wall and acting as a visual border, the shop’s white cladding visually separates itself using distinct materiality. Black painted designs unique to this store further differntiate it from the other locations around town - no two RCs are the same.

The logo and branding of RC Coffee symbolizes identity as well as exclusivity. The repetitive use of the logo throughout the storefront and on the to-go cups alludes to the superimposition of the brand, demarcating space as belonging to the cafe and its customers.

CHOOSE YOUR OPTIONS

Camera Surveillance

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The camera surveillance makes customers acutely aware that they are being watched, and controls their behaviours within the surveyed area as a means of reducing the possibility of vandalism or theft.

Speakers and Music The speakers above the store play music which can be heard only at a certain distance around the cafe, allowing the owner to implicitly claim the sidewalk in front of the store. Additionally, it helps in attracting customers.

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2023-09-2

RC COFFEE

RC COFFEE

Hot Drinks

Decaf Drinks

RC COFFEE

RC COFFEE

Select Espresso or Decaf Espresso (Required)

RC COFFEE

Espresso

Decaf Espresso

Iced Americano 12oz Select Add-Ons

Cold Drinks

RC COFFEE

Other

Milk

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Sugar

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Oat Milk

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RC COFFEE

Total: $3.31 (Sub-Total: $3.15, HST 5%: $0.16)

BACK

CONFIRM

RC COFFEE

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Screen Interface Customers interact with a screen instead of a human barista, depersonalizing the experience - though, this may be ideal for those on-the-go, those who prefer not to communicate with others, or those uncomfortable in operating new technology. Furthermore, the limited items offered on the menu do not allow the customization of drinks due to its preprogrammed nature.

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Payment Area The payment area is a traditional credit card machine with a tapping function, which establishes a small area for customers to complete contactless transactions. Rather than being handed the machine by a barista, this one is attached directly onto the kiosk wall for convenience and efficiency.

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Lighting At night, the lights above the kiosk cast a boundary on the sidewalk in front of the cafe’s property. This demarcates it from the neighbouring stores and allows potential customers to identify the cafe.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Order and Pick-up Kiosk This up-close elevation displays the space in which customers are limited to interact with: they browse the menu, place their order on the righthand screen, and shift over to the left to grab their cup from the left-hand side pick-up station.

Types of Fare

Behind the Facade Human-Robot Interaction The robot is a non-human agent that functions as a barista. As illustrated in the section, the moment when a beverage is made by the artificial body and then transferred to a human customer through the pick-up zone is the sole interaction between the two parties. The robotic arm is visually and physically inaccessible to the customer, further establishing a depersonalizing boundary.

Credit Card

RC Coffee Mobile App

Its automatic quality additionally highlights that the standardized, non-customizable drinks are expected to always be accurate - they cannot be remade, or even questioned like in the case of a real barista. This streamlined process featuring automated human-free services is increasingly seen today, perhaps coming with a societal learning curve. While it may be an unconventional one-time visit for some, it might be ideal for those on-the-go, or those comfortable with operating the interface.

RC Coffee only accepts contactless card payments. This restricts access to cash-only customers.

The mobile app implements RC Membership that invokes exclusivity, establishing an implicit boundary between general visitors and loyal customers. Orders can be placed and paid for in advance.

The sense of mystery involved in the process makes RC a fascinating novelty cafe, emphasized by the (lack of) interaction between human and machine.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Formal Methods of Customers’ Claim on Territory

Customers have to line up to purchase coffee due to limited storefront space and one “barista”. This implicit and exclusive private area is established through the physical action of lining up and formally occupying space with bodies - a long lineup results in the intrusion of spaces outside the storefront boundary.

Informal Methods of Customers’ Claim on Territory

Passersbys can be found loitering in front of the store due to its location near the busy Church-Wellington-Front street intersection. This can occur in the form of people running, skateboarding, biking, or protesting. These are ways in which the public unconsciously stake claims on the store-front meant to be occupied by RC customers.

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Customers often walk up to the front of the line to check out the menu. Since the screen interfaces are shared within one space, this can be a gesture of invasion as the customer walks into the private territory of the person purchasing a beverage.

The public may challenge RC’s visual ownership and brand identity by graffiting on the walls of the cafe.

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Accessibility

Non-availability of assistive systems

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The height of the interactive screen is too high for wheelchair access. Additionally, the store’s design does not take into consideration the range of reach of a wheelchair user.

The machine lacks accessibility features for people with audio and visual impairment such as braille signages, operable keyboards and voice aid.

The 24/7 access welcomes customers to purchase coffee anytime, creating an inclusive shop environment that is different from typical cafes.

Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Ironic Dynamics: Toronto City Hall Border Index II explores the socio-territorial claim of the Toronto City Hall as the seat of the municipal government and one of the city’s most distinctive landmarks, working in unison with the adjacent Nathan Phillips Square.

Together within the same block, their juxtaposing public-government interaction produces a series of hierarchical relationships relating to the themes of spatial contestation, alienation, surveillance, and physical control. Through physical barriers that implicitly determine boundaries, like intentional barricades that guide the visitor or pillars that separate the Hall from the Square, the site establishes a disparity between the administrative center and the public realm. Furthermore, the site exhibits temporal borders by undergoing transformation and/or transgression as a consequence of spatial 1

occupations, seasonal changes, festivals and protests.

Historically, this site has demonstrated active territorialization: the block was formerly the location of Toronto’s ƼVWX 'LMREXS[R [LMGL [EW I\TVSTVMEXIH ERH FYPPHS^IH during the mid-1950s in preparation for the new civic 2

building. This developed a space for a government institution at the expense of alienating a minority community.

Subsequently, the City Hall is symbolic of a temporal and social border that highlights the power dynamics at play in a city that ironically prides itself on its culturally diverse population.

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1 Hart, Matthew, “,Threshold to the Kingdom: The Airport is a Border and the Border is a Volume” Criticism 57, no. 2 (Spring, 2015): 181.

2 Shubert, Howard, “Shaping Canadian Modernity: Toronto’s City Hall and Square Competition and Its Legacy,” Journal of the Society of Architectural Historians 75, no. 2 (2016): 243.

3 Deutinger, Theo, Handbook of Tyranny (Lars Müller Publishers, 2018), 112.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Perspective onto City Hall As a political body situated within the core of a public realm, City Hall imposes its authority through spatial and physical means while establishing a clear buffer between the government and its citizens. The two panopticon-shaped buildings, who hug their central rotunda, tower over the adjacent square - a distinct hierarchy is displayed between their heights, symbolically enforcing an administrative watching eye.

The modernist 1960s building stands in contrast to the Romanesque Revival style of the old City Hall directly across the street, signifying a transition towards a new era for the city characterized by a progressive appearance. Demarcated by the iconic Toronto sign, City Hall and Nathan Phillips Square stand out as a hub for visitors and tourists of all lifestyles.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

The Ward: A Blank Space Now known as the Discovery District for its pioneering doctors, the original residents of the site (The Ward) have been displaced, consumed by office towers, hotels, and most relevantly, City Hall and Nathan Phillips Square.

The history behind City Hall reveals ironies in relation to its development and modern day purpose: what was once one of Toronto’s economically disadvantaged neighbourhoods, lacking sanitation and health services is now a center of bureaucracy undertaken through acts of expropriation and territorialization.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

East-West Section This drawing illustrates a clear spatial hierarchy between government institutions, with City Hall appearing elevated above ground level, in contrast to the public Square at ground level.

The highlighted portion, including the lobby and first two floors, indicates spaces inside City Hall that are accessible to the public, but remain under strict government monitoring. Only those with pre-determined appointments are permitted to enter the rooms beyond these borders.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Spatial and Structural Delineation Control and Monitoring

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Plan of City Hall and Nathan Phillips Square The location of the building on a rectangular lot at the intersection of two main streets, Bay and Queen Street West, offers an ease of access to this important landmark. The circular, organic shape of City Hall juxtaposes the straight-edged lot it is situated in, making it stand out from the rest of Toronto. Furthermore, the site’s proximity to the Old City Hall across the street underscores its political significance, symbolizing a shift in the city’s power dynamics and casting a transformative shadow over the former epicenter of authority.

Walkway Barricade

This walkway envelopes the entire block, hugging the Hall and Square into one entity while physically barricading them from the surrounding city. It also signifies a transition from the public sphere to the governmental realm by ironically wrapping around the front entrance of City Hall and demarcating the two areas using pillars and an elevated path. Moreover, the walkway controls access to the square, regulating the flow of people and activities within the space. This regulated access delineates the boundaries of the block.

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Panopticonic Structure

The architectural form of the building influences how it interacts with the neighboring context. The building itself represents a tangible border demarcating the governmental building from the rest of Toronto. Moreover, the curved organic shape of the building contrasts the conventional orthogonality surrounding it. The panopticon shape and inward-facing windows toward the square serve as a gesture of control and surveillance over the city, indicating City Hall’s authority as a governing body.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Lines of Sight

View from City Hall overlooking Nathan Phillips Square

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The raised walkway and green roof of City Hall overlook the square in front of it. This view from an elevated vantage point establishes a visual and spatial disconnect between the two spaces and their respective groups, symbolizing the government entity’s dominating control over the square, and subsequently, the city’s residents and visitors. Producing a problematic condition, this section of the walkway is only accessible from the interior and a hidden side staircase that can be gated off during certain hours, further limiting unwarranted visitors from entering this essentially exclusive space.

Zoning Regulations

The neighbouring urban context is heavily regulated by architectural zoning rules to safeguard the City Hall and its historic block, which manifests as a border with the rest of the city - these restrictions dictate the type of buildings, their heights, and their use in the vicinity. In order to preserve the building’s architectural prominence and the City Hall as the logo of Toronto, there are rules concerning the protection of its silhouette, such as Policy 3.1.5.45: when looking upwards from the north side of Queen Street West while standing within the square, tall buildings cannot breach the view between the two towers, leaving it empty to maintain the political symbolism. Subsequently, the zoning restrictions act as an invisible border, ensuring its distinct aesthetic character stands out from the rest of the city.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Cultural and Political Exertions of Power

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Canadian Flag

The Canadian flag showcases the strong political, territorial claim of the government - it is a reminder of the cultural and political context within which the city operates. Moreover, the flag helps in fostering a sense of belonging and identity. It functions as an intangible border that separates and connects the city and the government.

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Toronto Sign

By serving as a popular landmark, especially for tourists, this iconic sign fosters a sense of place and identity within the larger context of Toronto.

The sign is often lit up and/or re-designed to reflect a particular social movement or event, representing a reflection of the city’s spirit. Ironically, while Nathan Phillips Square is a public space meant for all, the huge Toronto sign consistently serves as a powerful reminder of our governance by the city.

Commemorative Lighting

Hierarchical Flags

During special occasions, the City Hall is lit up with the event’s respective colors. Notably, certain committees can request for custom lighting and design to address their purpose through a rigorous application process. This measure requires a direct interaction between citizens and their local government, contrasting with the general theme of disparity within this exploration.

Representing Canada’s allegiance to the Commonwealth while displaying the local Ontarian and Torontonian communities, flags at various political scales are placed strategically outside the mayor’s office. This territorial signifer consolidates the City Hall as a governmental space embedded within a broader cultural fabric.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Implicit Physical Boundaries Buffer Zones and Crowd Control

Security and Surveillance 6

Double Doors

When entering City Hall, the visitor is met with two sets of doors with a corridor in between, which serve as a semi-public buffer zone between the interior administrative zone and exterior public realm. This introduces a layered sense of security.

Visitor Screening

Metal detector screening required to enter beyond this point.

Please place items, including cell phones, cameras, keys and sunglass cases into the trays provided.

Visitors do not have to remove shoes, belts, coins, watches, wallets or jackets.

Firearms and ammunition of any type Blades, edged or sharp objects and striking devices Weapons, including mace or pepper spray Explosives and flammable substances Noisemaking devices

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Fences and Pillars

Fences are moveable physical borders that control and restrict the movement of the visitor. As visitors approach the city hall, fences direct them to follow a certain direction and enter from specific entrances. They are also utilized to control crowds.

Despite being able to walk between them, the barricading pillars beneath the walkway denote an implicit physical separation of the space belonging to the City Hall versus the the public square.

Visitors must undergo a mandatory security screening to enter the City Hall. It involves walking through a metal detector and placing personal items through a scanner, as the key items listed above are prohibited inside the premises. Alongside various guards, the securitization of access produces conditions of inclusion and exclusion, emphasizing even more layers that seek to protect the space and those within it.

Cameras

Signages The signages are visible both outside and inside of the City Hall, monitoring the entrance and dictating behaviours of people in and around the site. Despite this, certain rules, such as no smoking, are ignored even while under a watchful eye due to the site’s scale.

Citizens are always monitored. Cameras survey both the interior and exterior, despite the latter seeming like a space where the public could act freely.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Transformative Borders The temporal changes based on seasons and functions produces a set of dynamic borders around the City Hall, illustrating the site’s adaptability as a public space for a diverse community. The flexibility to undergo transformation displays Toronto’s intention to offer inclusive, interactive, and engaging recreational and entertainment experiences to its residents and visitors.

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Protest

Events & Festivals

Recreation

The City Hall functions as an administrative center that houses authorities with governing power - this institution works in tandem with the adjacent Nathan Phillips square, which is often times the final destination for protests and demonstrations that begin elsewhere in the city. Displayed in the plan, this relationship establishes the square as a symbolic space where people can voice their opinions through the contestation of space, manifesting a blurred boundary between the “governed”, and the governing body.

The square hosts several events, concerts, and festivals annually by setting up temporary tents, stalls, stages etc. in order to adapt its appearance and function to accommodate different activities for a diverse set of communities. For instance, the Nathan Phillips square hosts events such as the Indian Food Festival or Chinese Dragon Festival, which are attended not only by their respective groups but also by the broader community. This stride towards cultural representation remains ironic due to the site’s problematic origins.

Activities like ice skating attract tourists and Torontonians alike during the winter months - the pond’s physical transformation into ice is harnessed to create a rich and engaging social space. In the remaining seasons, the Square remains a family-friendly area where visitors can grab food and drinks from concession stands, relax on the benches, or take photos by the Toronto sign. The site’s seemingly unrestricted program opens itself up to a variety of transformations, representing the city’s attempt to create a community of co-existence.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

The Distillery District Border Index III examines the Distillery District’s role as a privately-owned historic town-within-a-town in the heart of downtown Toronto. Having undergone centuries of typological evolution and transfers of economic ownership, the area’s multilayered GLEVEGXIV MW VIƽIGXIH FSXL MR MXW TL]WMGEP QEXIVMEPMX] ERH MXW VSPI as a site of social experience where the visitor is expected to become a consumer.1 Its unique visual identity amalgamates three distinct ages of architecture into one space, allowing the visitor to experience both the old and new as they walk through the pedestrian-only streets; traces of the past further reveal the site’s gradual transformation from an industrial alcohol distillery into a buzzing semi-residential hub for the arts and local businesses.2 Consequently, through physical and cultural means that publicize the once entirely private site, the resulting thematic unit becomes its own entity within the modern city.3 With buildings that line the lot’s perimeter and enclose the space, the DistillIV] (MWXVMGXƅW GPIEVP] HIƼRIH IHKI GSRHMXMSRW JSVQEPP] MWSPEXI MX from the remainder of the city to produce a sense of privacy and exclusivity. On the other hand, its historical marketability and reliance on consumerism attracts locals and tourists alike during temporal events and food marketplaces that establish implicit borders through the informal occupation of space, such as lineups, loitering, or crowds. Such methods of territory-claiming contest communal space.

Implementing historic street signs and newly-built apartments within the space is representative of the sense of community established within this nationally preserved site, emerging the Distillery District as a public-private site where the past meets the present.

1 Distillery District Heritage Website. Accessed December 10, 2023. http://distilleryheritage.com/.

2 Margaret Kohn, “Toronto’s Distillery District: Consumption and Nostalgia in a Post-Industrial Landscape,” Globalizations 7, no. 3 (September 1, 2010): 363.

3 Kevin Lynch, The Image of the City (USA: MIT Press, 1960), 68.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

A Multilayered Perspective The perspective seeks to display the various socio-architectural typologies that join together within the District - a school, urban residences, preserved sites, and commercial stores and restaurants. It illustrates the various dichotomies of past vs present, culture vs consumption, residential vs commercial, and local vs franchise. These juxtapositions are produced as a result of the architecture, fluctuating site function and occupation by visitors and vendors.

The “Gooderham and Worts” sign is indicative of the historically privatized space that has undergone transfers of ownership, transitioning the largely private industry to a privatized public space of culture and consumption.

The presence of VIS Arts School on the right reinforces the identity of the historic district as a space for cultural, art, and communal engagement. These conditions contribute to the creation of a multilayered set of boundaries and edge conditions.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

From Industrial Centre to Cultural Hub Founded by James Worts and William Gooderham as a mill for grain grinding during the 19th century, the Distillery District exemplifies a historical journey marked by resilience and adaptation, showcasing how shifts in ownership and industry trends both reshape and preserve the site’s foundational historical significance.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Diagrammatic Site Plan The history behind the Distillery District reveals consistent changes of ownership and function.

These shifts have been reflected in the site’s architecture, and the periods in which certain main buildings were constructed have been highlighted in this diagrammartic site plan to display the amalgamated and developing nature of the district.

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The darkest colour represents the oldest and first building situated on Distillery Lane, while the lightest indicates the newest ones, such as the triangular building, or the structures wedged between older forms on the righthand side.

Not only does this plan display the varying timeframes and entrances of the Distillery District, but it illustrates the physical conditions of the site and its borders - including ways in which this border is slightly contested, like the Warehouse across Mill Street. The next category focuses on these specific character and border-defining features in detail.

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1859 - 1860

1884 - 1891

1863 - 1864

2003

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

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Buildings as Borders

Envisioned as both physical and metaphorical delineations, the buildings’ strategic placement along the lot’s contours not only defines spatial boundaries but also orchestrates a narrative of transition and encapsulation.

Within these walls, visitors encounter a transformative journey – from a bustling cityscape to a curated realm steeped in historical significance. The buildings, with their inward-facing windows, create an intimate enclosure, evoking a sense of both captivation and immersion.

The play of light and shadow through these windows further emphasizes the dichotomy between external curiosity and internal exploration, amplifying the sensation of traversing distinct thresholds and entering a realm where time and space interlace.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

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Dispersed Identity

Although most of the buildings that belong to the district reside within its borders, there are some exceptions that lie on streets that run parallel to it. Labeled as “Canadian Government Excise Bonding Warehouses”, these buildings present the same visual identity as the remainder of those built in the late seventeenth century, and symbolize the district’s history as a reliable site where alcohol can be stored and sold. While their presence is sparse, they indicate a deviation from the otherwise clearly demarcated boundaries of the site. The identity of the district goes somewhat beyond its edge conditions. .

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

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Temporary Physical Borders

While highlighting the commercial aspect of the district, the storage boxes on the perimeter of the site are physical boundaries that are utilized during specific seasons and events for local vendors. Their arrangement indicates the border of the district in a spot that is usually permeable by pedestrians, denoting a temporary edge condition that constrains the flow of visitor traffic.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Lot Shape and Pathways

Entrances

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In certain areas of the historic site, buildings adapt their form according to the perimeter of the lot. Their arrangement produces clearly visible entrances and pathways by which the visitor can navigate through the pedestrian district, such as the angle of the triangular shop pictured here - it also acts as a separation between the lot’s interior on the right and the exterior adjacent street on the left.

The signs are evidence of the historical ownership and the presentation of the Distillery District’s identity. From the Gooderham and Worts sign that indicates the industrial past of the district, to the “Distillery District” sign placed at both the Trinitiy and Gristmill Ln. entrances, these demarcations are the most outstanding elements that literally mark each border of the site.

The visitors are aware that they are entering another space, and they become cognizant of the site’s character directly through its symbolic logo.

Sign above entrance into Tank House Lane from Cherry St.

THE DIST ILLERY DIST RICT

Main pedestrian entrance kiosk and signage on Trinity Lane, showing both the possibility of gating the community and the only physically guarded entrance.

Sign fronting the Gristmill Lane entrance.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Adaptive Reuse and Preservation 5

Junction between The Ordinary and Historic Cellar at Distillery Lane

The drawing illustrates the moment new and old meet within a renovated space in the historic site: the store of a modern skincare brand residing within a building that was once used as a fermenting cellar. The diagrammatic facade represents two buildings whose age and materiality differ, yet their identities are seamlessly integrated through one wall. While the historic quality is preserved, the furniture and products included in the perspective represent contemporary commercial values and design. Using adaptive reuse strategies, the Distillery District remains an operational and lively space while maintaining its charming industrial character.

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1859 - 1860

1884 - 1891

1863 - 1864

2003

3-in-1 Perspective on Cherry St.

Similarly to the previous drawing, this perspective taken from the opposite side of the site displays three building ages coming together within one space. Dating between the years 1863 to 2003, the different materials and brick types represent the design values of their respective periods, ranging from smooth glass to hand-cut stone bricks. Though the bricks themselves are relatively close in construction date, the modern building on the left came almost two centuries later. As if they intentionally attempt to preserve the features of each era, the intersection of these three walls represents both a boundary between the timeframes and the amalgamated visual identity that is unique to the Distillery District.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Materiality, Identity, and Access “Green” Doors and Cataloguing

Bricks and Navigation Being the most defining visual feature of the district, bricks indicate the period in which a building was constructed.

The older bricks appear unevenly handcut and organic, while some of the modern bricks appear stamped onto stone instead of manually laid. The visitor is enveloped within the site and feels as if they stepped back in time - materiality plays a large role in the historic and nostalgic feeling established between the district’s borders.

The rough, bricky ground condition creates obstruction for those who are visually impaired. The lack of accessibility features such as tactile pavings and the resulting inconvenience is an invisible social border that limits the entrances of visually impaired people.

Similarly, although there are ramps in the Distillery District that allow wheelchair access, the terrain of the site is not entirely wheelchair friendly. This reduces the accessibility to the site, establishing exclusionary boundaries for wheelchair users.

The doors and windows of historical buildings in the district are painted green, contrasting with the rest of the modern buildings. Cataloguing these doors reveals that the difference in colour is an important feature that identifies the thematic unit with its own historic identity, which can be traced to doors even outside of the district such as the Warehouse mentioned previously.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Temporal-Transformative Borders and Events Christmas and the Winter Village

Christmas is perhaps the busiest time of year at the District, as it provides a variety of winter activities that draw in tourists and locals alike. With local vendors selling their handmade products at markets and food at themed kiosks, the site encourages visitors to consume and shop. As illustrated in the diagrammatic map, the district garners an increased amount of pedestrian traffic, particularly within the center of the site where the Christmas tree stands and where the visitors line up outside of the main entrance. Clusters of shoppers can be seen in front of stores and walking between pathways, embodying the patterns of movement and physical occupation of space.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Access to Winter Village Lineup and Tickets

Entrance tickets are required for access to the Distillery District during the period in which the Christmas Market is open. This produces a spilling out effect where pedestrians are queued outside of the interior boundaries of the lot, where their physical occupation of space blurs the social edges of the district. Additionally, while the gates are usually open 24/7 during the year, here, they are more heavily monitored.

Visitors have to pay online on the Winter Village website to get access to the Christmas Market after 4 pm. The paid entrance to the event is an invisible border that limits access to the district is a gesture of privatizing the district and encouraging consumption.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Temporal-Transformative Borders and Events Cultural Festivals

Alongside the seasonal events, the site hosts various other events that encourage visitors to return to the District throughout the year. Pictured here, the Film Festival is a culturally valuable social event that gathers people within the tight space of Trinity Street. Circulation is rather limited in an event such as this one, and the addition of furniture and technology further closes off certain sections of the district.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Winter Village

Social Boundaries

As a visitor walks through the district during Christmas preparations, workers can be seen setting up the site for the temporary event. These construction activities render the space as less encouraging or attractive to visitors, as they want to avoid interfering with the setup - they may also have a harder time navigating around the workers and their equipment. On the other hand, seeing locals setting up their kiosks may be beneficial. The in-progress nature of Christmas preparations act as both a physical and social boundary.

Sponsored by Dior and other well-known brands throughout the years, the Christmas event at the Winter Village takes advantage of the visitor’s desire to shop and buy gifts at this time of year. The tree itself attracts a crowd at the centre of the Village, which creates a large physical boundary that pedestrians have to navigate around. As people take photos within the district, it is a clever branding strategy to host attractive brands that reveal the site’s reliance on commerce.

The kiosks inside the Distillery District are main sites of commercial attraction that entice consumerism, especially during Christmas. The lineups in front of these shops are social boundaries indicating spatial occupation, creating implicit and invisible private areas for each customer. The long queues often result in the intrusion of space outside the storefront boundary.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Temporal-Transformative Borders and Events Summer Market

While the Winter Village is the most identifiable and relevant event held at the District, it also holds a Summer Market where visitors can purchase farm goods from local vendors and be entertained by live music. Patio tables belonging to restaurants are seen spilling onto the adjacent pavements and are only slightly The situation is similar to the Winter Village as the vendors encourage consumptions from the visitors. However, the Summer Market is not as well-known as the Winter Village and the pedestrians’ gatherings are not as dense as the activities in winter time, resulting in a weaker sense of boundaries.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

Temporal-Transformative Borders and Events Art Installations

The Distillery District prides itself on its transition from an industrial space into a cultural hub for the arts. Like the 6ix Art Festival illustrated on the left, local artists create pieces and sculptures that are diffused throughout the site as decoration. Though its pattern of movement is less clearly defined, the diagrammatic plan highlights how visitors may be viewing these artworks simply while passing by.

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Border Index Reports Jaya Xue, Qiqi Liu, Pavani Mande, Zaina Abou Seif

ARC465 Between the Lines: Borders, Territory & Space Fall 2023

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