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In Moksha yoga, your practice begins in savasana. Lying on your mat with eyes closed in savasana, a corporeal stagnation, encourages muscle relaxation while engaging your breath in pranayama or heavy conscious breathing. It is here on your mat, any prior muscular spasms are released, and your body begins to relax. Seemingly contradictory to this blissful experience, a few minutes into savasana, Moksha practice dictates that you must rise from your mat and begin a series of movements which contort your body into a myriad of challenging poses. These moments of contraction and expansion, defined by both the development and dissolution of tension, are where the yogi may achieve a harmonious balance. For it is here, grounded in your practice, detached from everything except the physical exertion, a transcendental consciousness may be achieved. As yoga manifests both the conscious and subconscious, transcendental consciousness ultimately serves to amalgamate information previously collected neurological processes, and distill into an articulated lucidity. My yoga practice and my design sensibilities, though seemingly disparate, are very much the same. It is often in the middle of everything; in the sifting and curation of information, where my design sensibilities take shape. Fascinated by the age of hyperinformation, my work continually strives to encapsulate a combination of formulas, concepts and data, defying boundaries and embracing a multidisciplinary approach as architecture for me is the sum of all things. With the role of digital technology restructuring institutional hierarchies, the architectural profession has arrived at a moment of critical self-reflection. Our continual and ever expanding access to the acquisition of information has perpetuated a major shift in the design process. Capitalizing on our culture of information, architecture has become increasingly cosmopolitan, offering a multivalent design approach. The architecture of it all. Today, we recognize architecture as the product of a globalized culture , informed by highly specialized studies and theoretical discourse spanning geographic boundaries and disciplines. It is this design agenda which promises so much, which also renders the future of architecture unpredictable, and positions the institutions of higher learning as essential. The graduate study of architecture is much more than the path within which one may acquire skills which ultimately lead to licensure. It is a study based on the ability to engage in the ever timely discussion of the architect’s role and question the composition within which the profession exists. It is in this study of architecture, that we may formalize the continually evolving relation between conceptual modes of thought and cultural production.Like most facets of my life, I believe architecture to be a product of synchronistic moments where the amalgamation of site conditions, social parameters, and scientific data coalesce to form a complete proposal; culturally and historically informed. I believe the future of architecture lies in predictive analytics, social engagement and applying a holistic approach which transcends geographies. This perspective and study of information is not a novel process for it has always been an architectural solution. We see it in the futuristic megastructures by the Metabolists, and the neo-futuristic utopian explorations by Archigram, and Superstudio. Existing within a myriad of forms, weaving together aspects ranging from anthropology to materiality while continually striving towards the production of meaningful design, architecture is the ultimate intellectual endeavour. Completing an architectural studies undergraduate degree at the University of Toronto and subsequently working in the architectural industry for the last few years, first at a not for profit design/build organization and now a privately owned design incubator, I have learnt that it requires an incredible amount of tenacity to provide intelligent solutions to design problems. A rigorous design approach based on statistical rather than conjectural research must be applied. A solution where the didactic importance of research practices can be corroborated by the shifting variables of architectural discourse. Daniels’ position as a laboratory for architectural research and particularly it’s design programs, align with my interests in the further study of architecture. The program’s analysis of architecture as a complex and pluralistic endeavour fosters a multidisciplinary field of study grounded in both history and research rather than prosaic convention. I believe Daniels’ values as a center for contemporary cultural re search within the architectural discipline will engender a further informed approach in my architectural studies and future professional practice. I hope that you will consider me for placement within your Master of Architecture program. In Moksha yoga, your practice begins in savasana. Lying on your mat with eyes closed in savasana, a corporeal stagnation, encourages muscle relaxation while engaging your breath in pranayama or heavy conscious breathing. It is here on your mat, any prior muscular spasms are released, and your body begins to relax. Seemingly contradictory to this blissful experience, a few minutes into savasana, Moksha practice dictates that you must rise from your mat and begin a series of movements which contort your body into a myriad of challenging poses. These moments of contraction and expansion, defined by both the development and dissolution of tension, are where the yogi may achieve a harmonious balance. For it is here, grounded in your practice, detached from everything except the physical exertion, a transcendental consciousness may be achieved. As yoga manifests both the conscious and subconscious, transcendental consciousness ultimately serves to amalgamate information previously collected neurological processes, and distill into an articulated lucidity. My yoga practice and my design sensibilities, though seemingly disparate, are very much the same. It is often in the middle of everything; in the sifting and curation of information, where my design sensibilities take shape. Fascinated by the age of hyperinformation, my work continually strives to encapsulate a combination of formulas, concepts and data, defying boundaries and embracing a multidisciplinary approach as architecture for me is the sum of all things. With the role of digital technology restructuring institutional hierarchies, the architectural profession has arrived at a moment of critical self-reflection. Our continual and ever expanding access to the acquisition of information has perpetuated a major shift in the design process. Capitalizing on our culture of information, architecture has become increasingly cosmopolitan, offering a multivalent design approach. The architecture of it all. Today, we recognize architecture as the product of a globalized culture , informed by highly specialized studies and theoretical discourse spanning geographic boundaries and disciplines. It is this design agenda which promises so much, which also renders the future of architecture unpredictable, and positions the institutions of higher learning as essential. The graduate study of architecture is much more than the path within which one may acquire skills which ultimately lead to licensure. It is a study based on the ability to engage in the ever timely discussion of the architect’s role and question the composition within which the profession exists. It is in this study of architecture, that we may formalize the continually evolving relation between conceptual modes of thought and cultural production.Like most facets of my life, I believe architecture to be a product of synchronistic moments where the amalgamation of site conditions, social parameters, and scientific data coalesce to form a complete proposal; culturally and historically informed. I believe the future of architecture lies in predictive analytics, social engagement and applying a holistic approach which transcends geographies. This perspective and study of information is not a novel process for it has always been an architectural solution. We see it in the futuristic megastructures by the Metabolists, and the neo-futuristic utopian explorations by Archigram, and Superstudio. Existing within a myriad of forms, weaving together aspects ranging from anthropology to materiality while continually striving towards the production of meaningful design, architecture is the ultimate intellectual endeavour. Completing an architectural studies undergraduate degree at the University of Toronto and subsequently working in the architectural industry for the last few years, first at a not for profit design/build organization and now a privately owned design incubator, I have learnt that it requires an incredible amount of tenacity to provide intelligent solutions to design problems. A rigorous design approach based on statistical rather than conjectural research must be applied. A solution where the didactic importance of research practices can be corroborated by the shifting variables of architectural discourse. Daniels’ position as a laboratory for architectural research and particularly it’s dual M. Arch and MBA program, align with my interests in the further study of architecture. The program’s analysis of architecture as a complex a globally expansive perspective endeavour fosters a multidisciplinary field of study grounded in both history and research rather than prosaic convention. I believe the GSAPP’s a center Daniels’ values as a as center for c ’ values for contemporary cultural research within the architectural discipline will engender a further informed approach in my architectural studies and future professional practice. I hope that you will consider me for placement within your Master of Architecture program. In Moksha yoga, your practice begins in savasana. Lying on your mat with eyes closed in savasana, a corporeal stagnation, encourages muscle relaxation while engaging your breath in pranayama or heavy conscious breathing. It is here on your mat, any prior muscular spasms are released, and your body begins to relax. Seemingly contradictory to this blissful experience, a few minutes into savasana, Moksha practice dictates that you must rise from your mat and begin a series of movements which contort your body into a myriad of challenging poses. These moments of contraction and expansion, defined by both the development and dissolution of tension, are where the yogi may achieve a harmonious balance. For it is here, grounded in your practice, detached from everything except the physical exertion, a transcendental consciousness may be achieved. As yoga manifests both the conscious and subconscious, transcendental consciousness ultimately serves to amalgamate information previously collected neurological processes, and distill into an articulated lucidity. My yoga practice and my design sensibilities, though seemingly disparate, are very much the same. It is often in the middle of everything; in the sifting and curation of information, where my design sensibilities take shape. Fascinated by the age of hyperinformation, my work continually strives to encapsulate a combination of formulas, concepts and data, defying boundaries and embracing a multidisciplinary approach as architecture for me is the sum of all things. With the role of digital technology restructuring institutional hierarchies, the architectural profession has arrived at a moment of critical self-reflection. Our continual and ever expanding access to the acquisition of information has perpetuated a major shift in the design process. Capitalizing on our culture of information, architecture has become increasingly cosmopolitan, offering a multivalent design approach. The architecture of it all. Today, we recognize architecture as the product of a globalized culture , informed by highly specialized studies and theoretical discourse spanning geographic boundaries and disciplines. It is this design agenda which promises so much, which also renders the future of architecture unpredictable, and positions the institutions of higher learning as essential. The graduate study of architecture is much more than the path within which one may acquire skills which ultimately lead to licensure. It is a study based on the ability to engage in the

RAMONA ADLAKHA


ANIMAL FARM PAVILION

[Explorations of a Concrete Ecosystem] Fall 2015, in collaboration with Jesus Elizondo, Iris Kim, Mana Sazegara & Mary Swysgood Critic: Eduardo Rega, University of Pennsylvania “Animal Farm” explores the interactions between fish, birds and humans that frequent Manitoga. A critical analysis of the interactions between these three live elements was executed thought mapping and diagramming of movements and forces. Our group first examined the native birds of Manitoga, New York. We studied the flight patterns and varying speeds of these birds as they hunted fish, observed their surroundings and nested. Next, we investigated the movement of fish through bodies of water at Manitoga. Finally, we critiqued human interaction with these pre-existing natural relationships. “Animal Farm” is the result of this analysis, as it serves to emphasize and further enhance certain critical moments of interaction between predator, prey and observer. It draws on moments of interference between our motion studies and further postulates the conditions of such interactions. By developing scenarios in which certain live elements come into play with one another (i.e. a bird swooping down to catch a fish, a man enjoying his morning coffee while bird watching etc...), this pavilion aims to further aggrandize dynamic interactions between distinct species. The project plans to achieve this while cultivating a space, which serves to simultaneously aid and disrupt natural and cultured relationships. This in turn becomes a critique of humans and futher emphasizes our role as natural disruptors.

EXISTING MICROSITE

REIMAGINED MICROSITE


Massing Strategy & Kit of Parts

MASSING STRATEGY

ZONES OF OCCUPATION

KIT OF PARTS FRAME SIZE

1’x1’x1’ - x10

FABRIC: RIBBED COTTON KNIT

1”x2”x12” TIMBER

1.5’x1.5’x1.5’ - x37

1”x2”x18” TIMBER

x5

x5

x2

x1

x15

x19

x6

x2

x1

x1

x1

x1

FABRIC: RIBBED COTTON KNIT

2.5’x2.5’x2.5’ - x6

1”x2”x30” TIMBER

MATERIAL EXPLORATIONS


Development of Form

ANIMAL EVOLUTION

SMALL AGGREGATIONS (2-4 COMPONENTS)

ASSEMBLY

CONCRETE COATED FABRIC IN MULTIPLE LAYERS

PIECE - COTTON KNIT

1”x2” TIMBER FRAMING

STYROFOAM POLYFILL TO BE REMOVED

SOLID CONCRETE ANCHOR

COTTON KNIT FABRIC STRIPS STRIPS COATED IN CONCRETE

AMOUNT OF CONCRETE PER COMPONENT


1” X 2” TIMBER FRAMING 2.5’ 1” X 2” TIMBER FRAMING 2.5’ RIBBED COTTON KNIT FABRIC HEAVYWEIGHT COTTON THREAD

1”X2” TIMBER FRAMING 1.5’ 1”X2” TIMBER FRAMING 1.5’ 1”X2” TIMBER FRAMING 1’ 1”X2” TIMBER FRAMING 1’

POLYESTER BLEND FABRIC

STYROFOAM POLYFILL TO BE EMPTIED

NESTING AREA FOR BIRDS

EXPANDABLE FOAM FILL TO BE REMOVED

LEISURE/OBSERVATION SPACE SOLID CONCRETE ANCHOR - SAKRETE POROUS ECO-SYSTEM FOR FISH EXPANDABLE FOAM FILL TO BE REMOVED

HOLLOW CONCRETE FOAM FILLED CONCRETE SOLID CONCRETE


Rendering


Rendering


HIDE/REVEAL

[A Study of Surveillance] Fall 2015 Critic: Eduardo Rega, University of Pennsylvania


Visibility Mapping

Discipline & Punish “The panoptic mechanism arranges spatial unities that make it possible to see constantly and recognize immediately...VISIBILITY IS A TRAP!” - Michel Foucault,

Positing Foucault’s theories, this project sited in Manitoga, New York, developed a spatial sequence defined by simultaneously carving and dispersing variegated tunneled spaces around the quarry across from the Russel Wright house which serve both as a place to watch and be watched.

VISIBILITY LESS .........................MORE

1. HIDING

2. STAGED REVEAL

3. REVEAL


Render Looking In


Render Looking Outwards


FRACTAL COLLISIONS

[Colliding and Colluding to Cultivate the Carnivalesque] Spring 2016 Critic: Jonathan Scelsa, University of Pennsylvania Utilizing notions of collision theory in chemistry, an idea which proposes the increased collision of particles based on an increased number of particles at play, this project strives to synthesize notions of collision as a space defining medium. The premise of this project proposes the aggregation of blocks, a developable geometry, which are dropped from a height, and as they land based on gravitational forces, the spaces which may emerge from their collisions. In order to lessen the demarcation between the programmed black boxes and unprogrammed “dropped� blocks, this project aims to both collide and collude, ultimately producing a structure with neither a definitive ending nor beginning in the devlopment of a cultural arts centre.

Collision Theory Particles

Particle Dropping Animation Stills

Aggregation Strategy


Site Plan


Site Axonometric

A

C

B


Section Through Opera House


Interior Opera House Rendering


Sectional Perspective

Cruciform Program Usage

Section Cut

Flex Spaces

Gallery Spaces

500 Seat Black Box

Theatre

1200 Seat Proscenium Concert Hall

2000 Seat Proscenium Concert Hall


A (BIM)URBAN PROPOSAL [Developing Construction Drawings] Spring 2016

1

2

3D Exterior View Looking Northwest

3D Exterior View Looking Southwest

3

3D Close Up Exterior View


STACKED

[Coalescing Co-housing Configurations] Fall 2016 Critic: Ben Krone, University of Pennsylvania The site for the 7.7-acre (3.1-hectare) proposed tower is located in a largely industrial area of Brooklyn’s Red Hook neighborhood–close to a large IKEA store – and is surrounded by water on three sides. The design for the project capitalizes on its unique location with attempts to foster a wider regeneration of the area by mixing young millennials from varying demographics and injecting life to develop a vibrant public realm. The project’s aesthetics will pay homage to the area’s industrial heritage, while respecting the scale of the neighborhood and creating flexible living typologies. The project’s demarcation of shared and private levels attempts to coalesce millennials of varying income brackets into a sophisticated cutting edge residential complex, blurring the boundaries between shared and privatized space. The tower’s design proposes to become a sustainable and collective community, where social interaction is enabled and encouraged in numerous ways without compromising the need for privacy.

OCCUPATION DEMOGRAPHICS HA RF

SITE PLAN CL IN TO N

W

HALLWAY

ELEVATOR OFFICE SPACE H A L LW AY

LIVING ROOM

E L E VATO R

HALLWAY WASHROOMS ET RE

ST

RE ET

ELEVATOR HALLWAY

OV

ER

ST

RE E

T

R

CO N

O F F I C E S PAC E

LIVING ROOM E L E VAT O R H A L LWAY

DINING ROOM OFFICE SPACEKITCHEN HALLWAY

KI

NG

ELEVATOR

WASHROOMS

ST

RE

ET

READING ROOM

ELEVATOR LIVING ROOM

OFFICE SPACE

ST

EE

LA Y

ON

IM

PI

KITCHEN

LIVING ROOM

READING ROOM HALLWAY

ELEVATOR

DINING ROOM


W

OL CO T

HALLWAY TS

TR

EE

ELEVATOR

T

LIVING ROOM H A L LWAY E L E VAT O R

SITE PLAN

O F F I C E S PAC E

H A L LWAY KITCHEN READING ROOM OFFICE SPACE

ELEVATOR

Plans

LIVING ROOM

WASHROOMS DINING ROOM

CL IN

TO N

W

HA R

F

DETAILED WALL SECTION

ST

RE

ET

A SOCIAL ANALYSIS

1970 > > >

Expanded Floor Typologies

LEAST FOLDED & OPEN

Double paned white glass Mullions KIN

G

ST

RE

THE INTERNET OF THINGS

12” poured concrete slab Metal deck Mullions

WEWORK

THE APP

ET

WELIVE HERE NOW TOO.... ST

RE

W OL CO T

ANALOG STUDIES

IVA N

UN

LL

6” poured concrete

ELEVATIONS 2000

TS TR

SU

EE

T

Frosted glass

BR

WHAT HAS HAPPENED IN THE LAST 45 YEARS TO MAKE COHABITAT HOUSING “FASHIONABLE” AGAIN?

24” poured concrete slab

2014

TS

TR

EE

VA N

THE COMMUNE

CO NO VE

R

ST R

EE

T

ER

IM LA Y

NE

ST RE

ET

PIO

Carved out concrete poche niche spaces

ET

T

2015

Site Plan

2016 CIRCULATION

DETAILED WALL SECTION

Carved out concrete poche niche spaces

MOST FOLDED & COMPACT 24” poured concrete slab Double paned white glass

SECTIONS

Mullions

12” poured concrete slab Metal deck Mullions Frosted glass

LEAST FOLDED & OPEN 6” poured concrete

RATIONALIZING PLANES ELEVATIONS

EMERGENCE OF SPACE WITH LESS DIVISIONS

DISAPPEARANCE OF SPACE WITH MORE DIVISIONS


Cluster Cutaway Detailing & Elevations

Carved out concrete poche niche spaces

24” poured concrete slab Double paned white glass Mullions

12” poured concrete slab Metal deck Mullions Frosted glass

6” poured concrete


Lowest potential energy use & all resources shared

Fully expanded out spaces

DEMATERIALIZING THE WALL

CIRCULATION

CONCRETE

LAYERED GLASS

FROSTED GLASS

Niche spaces carved into the poche

Double paned glass

Single pane glass

Exterior visibility: 25%

Exterior visibility: 50%

Exterior visibility: 0%

Massing Strategy

Contracted Units

In-between Condition Units

Expanded Units

Combined Units


EL SHADDAI RURAL TRADE SCHOOL [Professional Design/Build Project]

April 2014, in collaboration with Ashley Adams, Tamsin Ford & Rotem Yaniv Architecture for Humanity Toronto

Working with the Architecture for Humanity Toronto team, this project strove to develop a rural trade school for young adults in the rural community of El Shaddai, Swaziland. Following a comprehensive analysis of existing cultural and site conditions, our proposal focused on the development of a building type that would use readily available construction materials and be relatively simple to construct by locals. As a result, the Architecture for Humanity team designed a modular building system utilizing masonry as the core construction technique and implemented construction materials such as 12x5x5� bricks and square glass windows available in El Shaddai. While developing a modular building system which posed the ability for expansion with the growth of the village, the plan for the trade school also encompassed novel techniques for the community such as rain water harvesting basins, single pitched roofs to direct rainwater, recreational courtyards and thatched pergola spaces connecting indoor/outdoor spaces.

SWAZILAND CULTURAL SUMMARY Age Demographics

% of Population HIV+

LIteracy rate

65+

15-64

Life Expectancy

Rural vs. Urban Population

75

26.1%

0-14

83.4%

84.7%

78.6%

45

21.4% SWAZILAND CANADA


Site Plan

LEGEND 1 2 3 4 5 6 7 8 9

STAFF ENTRANCE SCHOOL OFFICE CLASSROOM 1 CLASSROOM 2 CLASSROOM 3

10 11 12 13 14 15

COURTYARD STUDENT ENTRANCE RAINWATER HARVESTING BASIN OUTDOOR CHAT CIRCLE

14

EXISTING HOUSES EXISTING PRIMARY SCHOOL

12

EXISTING PATHWAYS

CLASSROOM 4

PROPOSED PATHWAYS

CLASSROOM 5

RAISED PLINTH

CLASSROOM 6

WOVEN PERGOLA

WASHROOMS

CORRUGATED TIN ROOF

13

9

7

11

8

10 6 2

11 10 5

4

3

15

1


Site Rendering & Assembly Elevation

MODULAR COMPONENTS

12x5x5” BRICKS SLAB ON GRADE CORRUGATED METAL OPEN TO PLENUM BEYOND 18X18” GLASS WINDOWS

36X36” GLASS WINDOWS

36X84” WOODEN DOOR

2/6” TRUSS @610MM O.C. 150MM D HALF PIPE GUTTER

CONCRETE TIE BEAM


Rendering


WORKshop

[Professional Work at Design Incubator] Fall 2014

I was extremely privileged to work for two years as the assistant manager at dynamic design centre, WORKshop. The centre was founded in 2009 as an experimental incubator for ideas synthesizing a studio, gallery and shop. Implementing rigorous design research, product development, curating thoughtful exhibitions, hosting meaningful lecture series and establishing a retail shop to promote emerging designers, WORKshop is a unique and celebrated cultural hub. Working closely with the centerĘźs Creative Director, Larry Richards (former Dean of Architecture, University of Toronto) my role at WORKshop required an extraordinary amount of creative problem solving. Donning a variety of hats ranging from designer to salesperson to website manager, I had the opportunity to work on the continual evolution of the centre. While my tasks continually fluctuated, my primary focus was the expansion of the retail component in efforts to generate a sustainable business which supported the centreĘźs operations, while fostering creativity within its community.

STUDIO GALLERY

SHOP


Renderings

PRODUCT FEATURE L O C A TION


VINYL GRAPHICS

EXHIBITION POSTERS


Annotated Photograph

BUSINESS CARDS

HOUSE2020 EXHIBITION ASSISTANCE CORPORATE BRANDING

WEBSITE DESIGN

SMART BAR CURATION

SEASONAL DISPLAY STORE DESIGN

SHOPPING BAG DESIGN RETAIL SIGNAGE

BACK OF BOX POSTERS

VISUAL MERCHANDISING YEAR OF THE HORSE ZODIAC CARDS


CLOUD BROCADE [A Geotextile Installation] 2011 Philip Beesley Architect Inc.

A suspended geotextile (1700x400x3000mm) encapsulating a network of vessels which accumulate small amounts of stray organic matter from its surroundings. Derived from individual rhombus-shaped elements, the underlying geometry presents a non-repeating Penrose tessellation thereby lacking translational symmetry. The system is organized in three vertical strata, which work in conjunction - filtering, accumulating and digesting matter. The tetrahedral pyramid skeletons that comprise the installation are made from custom laser-cut acrylic components. Each skeleton holds a small glass vessel which gathers atmospheric deposits. This network of tubes enables a basic circulatory system deriving connectivity and facilitating passive chemical exchanges. Exhibited: “STICHES”, WORKshop Inc., Toronto, Canada (Oct 2011 - Feb 2012) “Le Festival Bains Numériques”, Enghien-les-Bains, France (June 2012)


SUPER SPACE

[A Study of Hyper-real Spaces] Fall 2011 Critic: Christos Marcopoulos, University of Toronto

Framed around Heideggerʼs “Building Dwelling Thinking”, this studio project strove to articulate the discrepancy/intersection between hyper-real spaces as developed by a superheroʼs attributes and their conversion into built form - supplanted into the architectural wasteland of a suburban mall. This project, driven entirely by a superficial application, explored the ramifications of extracting distinctive qualities of a SUPER HERO and translating these qualities into an architectural intervention. According to Heidegger, building as dwelling is derived to develop a sense of the present, forged by a known historical past and predicated on a predicted future. The manner in which we dwell is a reflection of who we are as human beings. It is an extension of our identity and existing cultural conditions. For strictly research purposes, I began watching the 1970ʼs cult class, “Wonder Woman” starring Linda Carter. Utilizing the TV show as a medium for analysis, I chose to conduct a formal study of Wonder Womanʼs magical lasso of truth and its application as a SPACE MAKING device. Based on stills from a subjectively selected episode, this project proposed the generative application of Wonderwomanʼs extracted lasso movements as space in the development of a SUPER SPACE.


SUBURBIA

SUBURBIA

1

0 AY 4 W H G HI

SUPER SPACE MUSEUM

YORKDALE MALL

SUBURBIA

SUBURBIA


Stills from Season 1, Episode 8 “The Pluto File”, 1976 7:43

7:45

7:47

7:48

7:49

7:50

7:53

7:54

Combined

Section, The Museum of Supernatural History at Yorkdale Mall


Lasso Analysis & Spatialization


CONCEPTUALIZING A SOUNDSCAPE [An urban study of sound]

Fall 2012, in collaboration with Kamila Buraczynski Critic: Liat Margolis, University of Toronto

“The city today is place where visible and invisible streams of information, capital and subjects interact in complex formations. They form a dispersed field, a network of flows.” - Stan Allen, Mapping the Unmappable: On Notation Instructed to develop a notational system to map one of Toronto’s busiest neighborhoods, Yonge and Dundas Square, this project engaged with representation at the scale of the city. As the task was to depart from conventional techniques and engage in an analytical understanding, I developed a series of maps to analyze sound over a nine-hour period. My notation technique based on nodes as discussed in Stan Allen’s Mapping the Unmappable: On Notation, involved studying the square’s acoustical experience to develop a series of maps which ultimately conceptualized the spatial and temporal conditions of the Square’s soundscape.

YONGE AND DUNDAS SQUARE Toronto , Canada


YONGE AND DUNDAS SQUARE, TORONTO 12:00 PM SOUND INTENSITY Quiet..................Loud


9:00 AM

10:00 AM

11:00 AM

12:00 PM

1:00 PM

2:00 PM

3:00 PM

4:00 PM

5:00 PM

6:00 PM

5PM


SOUND INTENSITY Quiet................Loud

PITCH Low..................High

9:00 AM

12:00 PM

5:00 PM

Detail of Yonge and Dundas crosswalk at 12:00 PM


In Moksha yoga, your practice begins in savasana. Lying on your mat with eyes closed in savasana, a corporeal stagnation, encourages muscle relaxation while engaging your breath in pranayama or heavy conscious breathing. It is here on your mat, any prior muscular spasms are released, and your body begins to relax. Seemingly contradictory to this blissful experience, a few minutes into savasana, Moksha practice dictates that you must rise from your mat and begin a series of movements which contort your body into a myriad of challenging poses. These moments of contraction and expansion, defined by both the development and dissolution of tension, are where the yogi may achieve a harmonious balance. For it is here, grounded in your practice, detached from everything except the physical exertion, a transcendental consciousness may be achieved. As yoga manifests both the conscious and subconscious, transcendental consciousness ultimately serves to amalgamate information previously collected neurological processes, and distill into an articulated lucidity. My yoga practice and my design sensibilities, though seemingly disparate, are very much the same. It is often in the middle of everything; in the sifting and curation of information, where my design sensibilities take shape. Fascinated by the age of hyperinformation, my work continually strives to encapsulate a combination of formulas, concepts and data, defying boundaries and embracing a multidisciplinary approach as architecture for me is the sum of all things. With the role of digital technology restructuring institutional hierarchies, the architectural profession has arrived at a moment of critical self-reflection. Our continual and ever expanding access to the acquisition of information has perpetuated a major shift in the design process. Capitalizing on our culture of information, architecture has become increasingly cosmopolitan, offering a multivalent design approach. The architecture of it all. Today, we recognize architecture as the product of a globalized culture , informed by highly specialized studies and theoretical discourse spanning geographic boundaries and disciplines. It is this design agenda which promises so much, which also renders the future of architecture unpredictable, and positions the institutions of higher learning as essential. The graduate study of architecture is much more than the path within which one may acquire skills which ultimately lead to licensure. It is a study based on the ability to engage in the ever timely discussion of the architect’s role and question the composition within which the profession exists. It is in this study of architecture, that we may formalize the continually evolving relation between conceptual modes of thought and cultural production.Like most facets of my life, I believe architecture to be a product of synchronistic moments where the amalgamation of site conditions, social parameters, and scientific data coalesce to form a complete proposal; culturally and historically informed. I believe the future of architecture lies in predictive analytics, social engagement and applying a holistic approach which transcends geographies. This perspective and study of information is not a novel process for it has always been an architectural solution. We see it in the futuristic megastructures by the Metabolists, and the neo-futuristic utopian explorations by Archigram, and Superstudio. Existing within a myriad of forms, weaving together aspects ranging from anthropology to materiality while continually striving towards the production of meaningful design, architecture is the ultimate intellectual endeavour. Completing an architectural studies undergraduate degree at the University of Toronto and subsequently working in the architectural industry for the last few years, first at a not for profit design/build organization and now a privately owned design incubator, I have learnt that it requires an incredible amount of tenacity to provide intelligent solutions to design problems. A rigorous design approach based on statistical rather than conjectural research must be applied. A solution where the didactic importance of research practices can be corroborated by the shifting variables of architectural discourse. Daniels’ position as a laboratory for architectural research and particularly it’s design programs, align with my interests in the further study of architecture. The program’s analysis of architecture as a complex and pluralistic endeavour fosters a multidisciplinary field of study grounded in both history and research rather than prosaic convention. I believe Daniels’ values as a center for contemporary cultural re search within the architectural discipline will engender a further informed approach in my architectural studies and future professional practice. I hope that you will consider me for placement within your Master of Architecture program. In Moksha yoga, your practice begins in savasana. Lying on your mat with eyes closed in savasana, a corporeal stagnation, encourages muscle relaxation while engaging your breath in pranayama or heavy conscious breathing. It is here on your mat, any prior muscular spasms are released, and your body begins to relax. Seemingly contradictory to this blissful experience, a few minutes into savasana, Moksha practice dictates that you must rise from your mat and begin a series of movements which contort your body into a myriad of challenging poses. These moments of contraction and expansion, defined by both the development and dissolution of tension, are where the yogi may achieve a harmonious balance. For it is here, grounded in your practice, detached from everything except the physical exertion, a transcendental consciousness may be achieved. As yoga manifests both the conscious and subconscious, transcendental consciousness ultimately serves to amalgamate information previously collected neurological processes, and distill into an articulated lucidity. My yoga practice and my design sensibilities, though seemingly disparate, are very much the same. It is often in the middle of everything; in the sifting and curation of information, where my design sensibilities take shape. Fascinated by the age of hyperinformation, my work continually strives to encapsulate a combination of formulas, concepts and data, defying boundaries and embracing a multidisciplinary approach as architecture for me is the sum of all things. With the role of digital technology restructuring institutional hierarchies, the architectural profession has arrived at a moment of critical self-reflection. Our continual and ever expanding access to the acquisition of information has perpetuated a major shift in the design process. Capitalizing on our culture of information, architecture has become increasingly cosmopolitan, offering a multivalent design approach. The architecture of it all. Today, we recognize architecture as the product of a globalized culture , informed by highly specialized studies and theoretical discourse spanning geographic boundaries and disciplines. It is this design agenda which promises so much, which also renders the future of architecture unpredictable, and positions the institutions of higher learning as essential. The graduate study of architecture is much more than the path within which one may acquire skills which ultimately lead to licensure. It is a study based on the ability to engage in the ever timely discussion of the architect’s role and question the composition within which the profession exists. It is in this study of architecture, that we may formalize the continually evolving relation between conceptual modes of thought and cultural production.Like most facets of my life, I believe architecture to be a product of synchronistic moments where the amalgamation of site conditions, social parameters, and scientific data coalesce to form a complete proposal; culturally and historically informed. I believe the future of architecture lies in predictive analytics, social engagement and applying a holistic approach which transcends geographies. This perspective and study of information is not a novel process for it has always been an architectural solution. We see it in the futuristic megastructures by the Metabolists, and the neo-futuristic utopian explorations by Archigram, and Superstudio. Existing within a myriad of forms, weaving together aspects ranging from anthropology to materiality while continually striving towards the production of meaningful design, architecture is the ultimate intellectual endeavour. Completing an architectural studies undergraduate degree at the University of Toronto and subsequently working in the architectural industry for the last few years, first at a not for profit design/build organization and now a privately owned design incubator, I have learnt that it requires an incredible amount of tenacity to provide intelligent solutions to design problems. A rigorous design approach based on statistical rather than conjectural research must be applied. A solution where the didactic importance of research practices can be corroborated by the shifting variables of architectural discourse. Daniels’ position as a laboratory for architectural research and particularly it’s dual M. Arch and MBA program, align with my interests in the further study of architecture. The program’s analysis of architecture as a complex a globally expansive perspective Daniels’ values as a center for co endeavour fosters a multidisciplinary field of study grounded in both history and research rather than prosaic convention. I believe the GSAPP’s as a center ’ values for contemporary cultural research within the architectural discipline will engender a further informed approach in my architectural studies and future professional practice. I hope that you will consider me for placement within your Master of Architecture program. In Moksha yoga, your practice begins in savasana. Lying on your mat with eyes closed in savasana, a corporeal stagnation, encourages muscle relaxation while engaging your breath in pranayama or heavy conscious breathing. It is here on your mat, any prior muscular spasms are released, and your body begins to relax. Seemingly contradictory to this blissful experience, a few minutes into savasana, Moksha practice dictates that you must rise from your mat and begin a series of movements which contort your body into a myriad of challenging poses. These moments of contraction and expansion, defined by both the development and dissolution of tension, are where the yogi may achieve a harmonious balance. For it is here, grounded in your practice, detached from everything except the physical exertion, a transcendental consciousness may be achieved. As yoga manifests both the conscious and subconscious, transcendental consciousness ultimately serves to amalgamate information previously collected neurological processes, and distill into an articulated lucidity. My yoga practice and my design sensibilities, though seemingly disparate, are very much the same. It is often in the middle of everything; in the sifting and curation of information, where my design sensibilities take shape. Fascinated by the age of hyperinformation, my work continually strives to encapsulate a combination of formulas, concepts and data, defying boundaries and embracing a multidisciplinary approach as architecture for me is the sum of all things. With the role of digital technology restructuring institutional hierarchies, the architectural profession has arrived at a moment of critical self-reflection. Our continual and ever expanding access to the acquisition of information has perpetuated a major shift in the design process. Capitalizing on our culture of information, architecture has become increasingly cosmopolitan, offering a multivalent design approach. The architecture of it all. Today, we recognize architecture as the product of a globalized culture , informed by highly specialized studies and theoretical discourse spanning geographic boundaries and disciplines. It is this design agenda which promises so much, which also renders the future of architecture unpredictable, and positions the institutions of higher learning as essential. The graduate study of architecture is much more than the path within which one may acquire skills which ultimately lead to licensure. It is a study based on the ability to engage in the

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Ramona Adlakha_Portfolio 2017