Warehouse Journal Volume 21, pt 2

l+u

[project]

laguna [students]

Standard River Level 0.5m

Lee Ann Bobrowski / Andrea Linney

Flood Level 1

Intermediate flooding 1.0m

Flood Level 2

Standard flood height 1.5m

Flood Level 3

Extreme flood height 2.0m

[information] [instructor] [program] [site]

Anna Thurmayr Environmental Design, Year 4 Otterburne, Manitoba, Canada

[description]

The project began as an imaginative response to the growth occurring at Providence College in Otterburne, Manitoba.

Reimagining a campus seeks to explore the future possibilities for the expansion of the college in regards to its housing, parking, athletic and green space amenities, including the reinterpretation of its existing lagoon. Currently, the lagoon functions as a waste-treatment resource, retaining all the sewage from the college, but with the impending proposal to connect the college’s sewer system with that of the remaining town, the landscape is free to be re-imagined.

Set within a curve of the Rat River, Laguna aims to challenge conventional perspectives of what a lagoon is, and what it can be, within the context of the prairie landscape. Inspired by an artesian spring lying beneath the site, which also serves as a potential water source, the project ideates the conversion of the landscape into a swimming lagoon.

Flood overflow and the manipulation of existing land contours form the basis of the design. Three retaining walls help to structure the site, preventing the erosion of the riverbank and directing water into the adjacent channels.

They also serve as boundaries, separating the lagoon water system from that of the river. Through the sculpting of the land, the lagoon becomes concealed, offering an element of surprise as one descends from the campus. Access is granted to the space over three main pathways, two of which are pedestrian only. Within the site itself, there are no marked pathways as visitors are able to explore as they please. Laguna will serve as a new outdoor gathering space where Providence students as well as Otterburne citizens can come to relax and enjoy the sylvan riverfront.

landscape + urbanism | re-imagine a campus | laguna

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l+u

[article]

time for experiments! [instructor]

Anna Thurmayr

[information] [department] [position] [practice]

Landscape Architecture Assistant Professor Straub Thurmayr CSLA / Landschaftsarchitekten

[description]

Outreach

I believe in the successful co-operation of design disciplines, but I do not leave it to chance! In September 2008, I met Dr. Kris Dick and Dr. M.G. (Ron) Britton, both from the Faculty of Engineering, at the Alternative Building Design Day held at the University of Manitoba. Their vision of integrating hands-on learning, research, testing, and community outreach within a “Unique Campus Village Setting” immediately inspired me to offer: “If you ever need a landscape architect involved in this project, just give me a call”! The intention to establish smaller “learning pods” on site next to the existing Biosystems Engineering straw bale research facility was the starting point.

In May 2009, I worked out a master plan for the University of Manitoba’s Alternative Village including extension possibilities and phases of realization (Fig 01). This master plan serves as a springboard for a most promising collaboration.

Showcase

I wondered if the reason for this was the climate, the soil or just missing knowledge?

The Landscape Architecture Canada Foundation (LACF) approved the “seed” funding for this project of $2,500 in 2010 and 2011. Supported by additional material funding from several companies (Reimer Soils, RockyRoad and BrettYoung) and by professional advice or voluntary assistance (Chris Penner, Prof. Dietmar Straub, Farhoud Dalijani, Kathy Fedirchuk, Jeremy Pinkos, Shawn Wiebe, Devin Segal) it was possible to realize the gravel lawn test plot at the University of Manitoba’s Alternative Village in 2010.

The goal of the project is to provide successful construction recommendations and to market alternative methods to the industry. Load capacity and plant coverage are primary concerns. Gravel lawn is a consolidate covering made out of 80% gravel with a defined grain distribution and 20% compost and soil. The applied mixture must be compacted and sown (Fig 02, and 03). The degree of maintenance depends on the intensity of usage. In general it is recommended the gravel be mown 2 to 3 times a year. Regular irrigation is necessary during the first three months after construction and within this time period any usage should be prevented (Fig 04, 05, and 06).

While carrying out the research I realized adequate seed mixture was not available in Winnipeg's market (though common in Europe) and I had to start the test with conventional grass knowing that the aesthetics of wild flowers could boost interest much better. Thus the next step is searching for suitable native grasses and perennials. Currently the gravel lawn research project is at the stage of maintaining and monitoring. Further research results will be published in The International Journal of the Constructed Environment, Common Ground Publishing.

Since 2010 I have been testing alternative construction methods in collaboration with Dr. Kris Dick at The Alternative Village – a ground-breaking interdisciplinary project that brings together Landscape Architecture and Bio-Systems Engineering Follow-Up which, as a collaboration of professors from varies disciplines, This unique idea of hands-on learning inspires more and more people. In 2011 Dr. Kris Dick gave my “Construction Materials” is significant for the University. class a tour through the Village. Most of the students had not heard about it before. After that many students expressed their The aim of this research is to test economical and ecological deep desire to do tests and experience hands-on learning on construction methods in the cold prairie climate of Winnipeg.

Campus as part of their studies, too.

Contrary to the dominant methods of hard surfacing this project will explore techniques that allow precipitation infiltration. The research will initially focus on a technique known as the gravel lawn. In temperate climates gravel lawn is suitable for parking areas and is often used for emergency access routes.

People who get in touch with my research often shout out: “Oh, I know that from my cottage!” And that is exactly, how the research started. I recognized that inevitably “gravel turns to lawn” even in the city of Winnipeg and was wondering why asphalt, concrete and lawn are the predominant surfaces in Winnipeg’s landscape projects. Knowing alternative ways from Europe I contacted several firms and realized that there is no knowledge locally of this kind of construction method.

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landscape + urbanism | time for experiments!!

The green roof trial at the Alternative Village location, which is part of Shauna MacArthur’s Master’s thesis, (Department of Landscape Architecture 2012), exemplifies possibilities and can be seen as a prototype for successful research application. An interdisciplinary committee was formed to support Shauna’s regional investigation (Fig 07).

I would like to see Shauna’s work used as an example for other students to follow. There is a need to develop basic, environmental and applied research on campus and there is no question that such research would benefit from interdisciplinary thought exchange. It is time for experiments!

The Alternative Village is up for more!

[fig 02, top left]

[fig 01, above]

Testing Limestone

Master Plan of Alternative Village

[fig 03, top right]

Sowing After Roller Compaction The seed mixture was composed of Perennial Ryegrass (Lolium perenne), Tall Fescue (Festuca arundinacae), Creeping Red Fescue (Poa reptans), Sheep Fescue (Festuca ovina var. ovina), Brooklawn Kentucky Bluegrass (Poa pratensis “Brooklawn�), and Kentucky Bluegrass 98/95 (Poa pratensis).

[fig 04]

Watering After Construction

[fig 05]

Maintenance: First Cut

[fig 06]

Gravel Lawn Test Plot "Limestone" 80% Coverage in first year after construction

[fig 07]

Green Roof Trial University of Manitoba's Alternative Village

landscape + urbanism | time for experiments!!

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l+u O4.3.1

O4.3.2

studio 5

studio 5

Bridges

Possible Urbanism(s)

Bridges, to borrow a phenomenological expression, “gather spaces around them” while simultaneously keeping them at bay. It is this ambiguous condition as both places and passages that invests bridges with such poetic gravitas and makes them instrumental in the understanding of cities. Yet, contemporary urbanism and engineering have tended to emphasize the transitional function of bridges. They have also favoured the segregationist logic inherent in the modern zoning of urban land uses: bridges are for cars, trains, pedestrians, water, steam and other utilities, all of which are designed for optimal efficiency of movement.

Winnipeg General Strike 1919

instructor: jean trottier

Modern bridges are made to go through, not be on.

This studio reconsiders the civic function of bridges: as places for gathering and debate - political places; as places of rest, for finding a place in the City; as places for reconnecting with the bigger picture, with the hydrological and ecological worlds that sustain the urban artifice. Its purpose is both to envision these new civic spaces and advocate their relevance in making Winnipeg a better city. As an experiment the studio concentrates on the segment of the Assiniboine River comprised between the Assiniboine Park and the Red River. Each student is assigned one bridge along that segment. The conceptualisation of bridges as ‘design sites’ varies in each instance but must include the bridge structure itself (in part or in whole), the space and surfaces that surround it (including the water surface, the riverbed and underwater topography, air rights, and view shed) and the open spaces that anchor both ends of the bridge (the extent of these spaces will be defined on a case by case basis).

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landscape + urbanism | bridges / possible urbanism(s)

instructors: dr. sheri blake

The site that prompted this studio is a contested fragment on the riverfront, next to the former Victoria Park and Gardens, situated between the Alexander Docks and Stephen Juba Park. As noted on the Victoria Park 1919 website, “This site has historical significance to the settlement of Winnipeg, to its early public park history, to its evolution as a major North American trade centre, and the inland fishery.” The park was a key meeting place for strike leaders and workers in 1919. City officials eventually destroyed the park, some believe as punishment for the strike, selling it to City Hydro. In 1906, it became the site for the James Avenue pumping station and eventually the Amy Street Steam Plant.

As recently as July 2011, the City of Winnipeg voted for a change in zoning, to allow a private developer, Sunstone Resort Communities, to lease the land to build a 3-story boutique hotel on the Red River and convert the Harbour Master building into a restaurant. The riverfront has, more recently, been reserved for public use, so this change of zoning could set a precedent for further development on the riverbank. There are at least four main protagonists/antagonists (depending on your point of view) in this conflict – the City of Winnipeg, the developer supported by Centre Venture, residents of condos along Waterfront Drive, and the Friends of Victoria Park. To date, despite the importance of the Strike in both the history of Winnipeg and Canada, memorials to it are relatively obscure.

Can design mediate these competing demands? Who benefits in the design proposal, the public, local residents of Waterfront Drive, the City of Winnipeg, private developers, others or a combination of? If the hotel proposal moves forward, can it be enhanced to benefit public users of the site? What other key sites could be enhanced, and it what ways, to commemorate the Winnipeg General Strike? How could the history of Victoria Park be enhanced in the design of the site?

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l+u

[project]

competing geometries [student]

Adam Dubyna

[information] [instructor] [program] [site]

Jean Trottier Landscape Urbanism, Year 4 Winnipeg, Manitoba, Canada

[description]

This project begins with the a bridge that spans from the Forks to Assiniboine Park that is yet to be built. The City of Winnipeg has a proposal for a pedestrian bridge to span McFayden Playground to Fort Rouge Park, in accordance with the Active Transport Plan. Since it has been deemed that the surrounding bridges (Osborne and Midtown) are dangerous especially for cyclists in particular. Therefore the goal for this project is to look at this site and analyze if building a bridge in this location is the best solution.

The geometry of features on site were developed through an experiential study that observed the site as calm and quiet even while being situated near downtown and in the most dense area of the city. It is an oasis that keeps the chaos out. A mixture of competing geometries: linear and curvilinear collide together to form dynamic spaces while creating unity between the bridge and entire site.

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landscape + urbanism | bridges | competing geometries

The bridge itself is a non symmetrical dual cable tied arch bridge. The north side arch is slightly longer and higher, creating an open expanse below at the new boat dock and river walk plaza. It spans 168 meters, and the deck is 5 meters wide.

The load is supported by triangulated steel trusses placed at three meter intervals from which steel cables rise to an arch. The reason for the shape is twofold, first the topography alterations. Land is added to the south side acting as a strong front and lookout. Once the north land is taken away opening a large plaza at the river walk level.

l+u

Passive Recreation

Active Recreation

The quiet relaxation areas on site Areas for active play are that contain seating and much of the designated such as a wading pool, existing mature forest on site. two tennis courts, and climbing area on the north side, as well as a basketball court, sand and water play areas on the south.

Topography Change

Ecological Preserve

High Traffic Areas

Two areas on site consist of vast grading change. On the south side fill is added to create a lookout space and large open lawn. On the north the bank is cut into creating a plaza like space on the river walk.

The topography changes create dynamic spaces but also serve as a basis for the bridge form.

Large amounts of the existing river bottom forest are to remain in effort to preserve the ecological benefit to the site, and also maintain the mystery and exploration that the forest promotes.

Four meter wide pathways for high pedestrian and cycle traffic.

On the south side the two paths act as the edge between private and public space from the park to surrounding apartment

[bottom]

1:200 Model Half the bridge and south shore topography

landscape + urbanism | bridges | competing geometries

297

l+u

[project]

aubrey waterworks [student]

Stephen Himmerich

[information]

298

[instructor] [program] [site]

Jean Trottier Landscape Urbanism, Year 4 Winnipeg, Manitoba, Canada

[description]

This project explores the idea of bridges and the possibilities inherent in these spaces when they are considered as places to gather rather than just as points of connection. The site of the Aubrey Waterworks bridge is one of these spaces and yet it operates in a very different way than that of the other bridges in Winnipeg. The bridge that runs across this section of the Assiniboine allows no immediate access across the river. It is a bridge that carries water over the river allowing for drinking water to move between reservoirs depending on demand.

This lead to the questioning of whether people were aware of the processes functioning within the city and how it could be revealed. This site has the potential to offer something different; a new way to look at public works sites and how they might be re-imagined as a means of connecting a city's inhabitants with the hidden systems that affect their everyday lives. The focus of the project is to incorporate the water service features of the site into a space that would also act as a place of gathering and engagement within the community.

landscape + urbanism | bridges | aubrey waterworks

The site opens itself up to the possibility of acting as an educational playground that is multi-faceted in nature, revealing more of itself as the individual further engages the site.

The features of the design play on the principle of retaining what makes the site unique while modifying it to bring order to the site, highlighting elements that are expressive of the place. The waterworks features such as the bridge and the pump houses for flooding and drainage are maintained and the hidden underground pipe network informs the structure of the main paths through the site. The progression into the site also was of important consideration. The site sits on the Assiniboine River with the riverbottom forest running along its banks. This is a crucial element of wildlife movement through the city so as you move towards the river the site shifts towards its natural state. The site then becomes about being aware of how you move through space and treading lightly as you consider the implications of your actions.

l+u The Trees

Waterworks Buildings

The Riverbottom Forest is a key aspect of animal movement through Winnipeg and as such it is crucial to maintain the trees. The design works around the existing trees and relocates two newly planted trees to other areas on the site.

The proposal for the site blends the public works buildings with the landscape to make the whole site more inviting. The buildings begin to reveal their inner workings with windows showing the pump systems and information discussing the water systems and their implications to Winnipeg.

The Heigh Paths These paths directly reflect the pipe system that operates below the surface on the site. The high paths strive to bring visual cues of these elements to the surface with each of the paths directing you through the site.

Network Paths The network paths are slightly curved paths that wind through the site and gently direct you in your movement through the site. These paths are less ridged and only suggest a direction.

The Nature Deck The structure of the deck is meant to tread lightly in the landscape. It sits on supports gently above the ground allowing plants and animals to inhabit the space around and below the deck while keeping ground compaction by people to a minimum. The deck also sits near high flood levels allowing interaction with the river even during flooding periods.

Connecting Paths & Hardscape The connecting paths lead from the surrounding community and connect the area together into a network drawing people to the waterworks site.

The area opens up as a large public plaza that is elevated from the rest of the road maintaining a uniform elevation for pedestrians and a shift in grade for those in vehicles.

The Site Land The site operates in three major parts.

The first stage of progression into the site is the hardscape which acts as the entrance and least natural. The manicured park space follows and allows wild growth but is maintained.

Down another level to the wild untamed river bottom forest where the land is allowed to grow free allowing the ecological corridor to remain intact but also allow human interaction.

landscape + urbanism | bridges | aubrey waterworks

299

l+u

[project]

fragmented memory [student]

Britney Bell

[information] [instructor] [program] [site]

Dr. Sheri Blake Environmental Design, Year 4 Winnipeg, Manitoba, Canada

[description]

Designed to be a commemorative park for the Winnipeg General Strike of 1919, with the intention to educate and illustrate the significant event that took place in Winnipeg. The proposal is broken into sections of fragments that alter the experience through it.

The Botanical Gardens, located beside Stephen Juba Park, are fragmented in shard like forms to represent the frustration and chaos that led up to the strike. Throughout this garden, each larger fragments will be planted with various perennials, annuals, and flowering shrubs. The second segment in the design is the Recreation Mound, an area that gives visitors the opportunity to lie on the grass and relax or participate in recreational activities such as soccer, Frisbee, etc. The changes in elevation create a false horizon line as you pass by on Waterfront Drive as the mound also acts as a barrier from the busy street, softening the noise.

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landscape + urbanism | shaping the future | fragmented memory

The Memory Wall is the third section of the park, located beside the Recreation Mound. Constructed of aluminum laser cut panels, the fragments of the wall are backlit to illuminate the images at night. The wall is broke down into fragments based on a timeline, which reflects important dates involving workers rights and the Winnipeg General Strike. Running perpendicular to the wall, cuts in the concrete are formed to outline the dates and brief factual information about each fragment in time.

Sitting on the other side of the Memory Wall is the fourth section of the park, the Grass Fields. The pathways that cut into the grass field offer views of the river and surrounding city. The trees are lit with pot lights at the base of each trunk, creating a glowing effect at night. Finally, the boardwalk is the fifth section of the park. Broken into sections that step down towards the river, visitors are given the opportunity to access the river directly from the park.

l+u

[project]

new victoria park [student]

David Paton

[information] [instructor] [program] [site]

Dr. Sheri Blake Environmental Design, Year 4 Winnipeg, Manitoba, Canada

[description]

The city’s recent approval of a proposal for a riverfront hotel along Waterfront Drive stimulated discussion of the fate of the adjacent property including the Alexander Docks. Incorporating the riverfront hotel as well as its landscape design, the proposal for the New Victoria Park aims to encourage interaction with the river as well as represent the ideals of the original Victoria Park, complete with a series of elements that celebrate and commemorate the Winnipeg General Strike of 1919. Inspiration was taken from a careful study of the history of Winnipeg’s parks and past plans and visions for the city’s riverfront, some over a century old.

The design explores the aim of creating several distinct, but interconnected spaces on the land adjacent to the Alexander Docks. A strong, wide path adjacent to the river enhances the existing river paths to the north and south of the site, a continuation of the public path that goes through the hotel property. Diversion from this linear path of movement is encouraged through paths towards the river, enticing park

users to slow down and appreciate this public amenity from the retained Alexander Dock. The manipulation of topography enhances the effect of these paths, an idea that was explored and designed through the construction of a scaled contour model. In the southern portion of the park, fill is used to extend the amount of land above flood levels, continuing work that was begun over a century ago, creating a crisp fold in the landscape.

The fold creates a dramatic visual drop-off, and this combined with the unique path layout draws the eye towards the river. To the north, a series of ‘pockets’; semi-private spaces partially enclosed by vegetation and freestanding walls, is nestled into the existing topography. Each is equidistance apart, in elevation and in plan. The result is a winding path down to the Alexander Dock structure, broken up by ‘pockets’ with unique, framed river views. In between the north and south portions of the park, a uniform slope from the street to the river creates an instant visual connection, as well as providing for emergency access to the dock.

landscape + urbanism | shaping the future | new victoria park

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l+u O4.4 studio 6

Emergent Futures

instructor: dr. marcella eaton + david lucas

This studio began with the development of preliminary ideas for the LAGI (Land Art Generator Initiative) Competition 2012 on the Fresh Kills site in New York City.

Students were introduced to GIS (Geographic Information Systems) during the term and developed various mapping scenarios in both the New York and Toronto projects throughout the term.The major project for the term, “Project Choice” followed a trip to Toronto in February.

Students were required to choose a site, write their own briefs, research and develop them through GIS mapping and design an intervention in their chosen sites. This studio encourages students to “dream big dreams” while proposing an emergent future in Toronto. Students were encouraged to challenge themselves to tackle ideas or methods which they had not yet had a chance to explore during their undergraduate education. "

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landscape + urbanism | emergent futures

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[project]

untitled [student]

Katie Black

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[instructor] [program] [site]

Dr. Marcella Eaton and David Owen Lucas Environmental Design, Year 4 Toronto, Ontario, Canada

[description]

In this work an exploration into how, and whether land form impacts the growth of an urban region is the focus. GIS mapping and drawing studies helped to achieve a better understanding of how the urban grid structure appears to both embrace and ignore the ravines, rivers, moraines and escarpments in the Greater Toronto Area. Edges and corridors found within the contours, laid on top of the street grid, show how the urban structure relates to natural landform. The street network reveals a clear distinction between developed urban areas and rural areas, and also clearly shows their relative density. All of this is evidence of how the city has grown, and how it may possibly grow in the future.

landscape + urbanism | emergent futures | untitled

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40 Kilometers

40 Kilometers 0

[information]

5

5

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40 Kilometers

l+u

[project]

reflectere [student]

Lee Ann Bobrowski

[information] [instructor] [program] [site]

Dr. Marcella Eaton and David Owen Lucas Environmental Design, Year 4 Toronto, Ontario, Canada

[description]

The semester as well as project began with concepts of time, including how it affects the different design disciplines.

Abstractions of deterioration and growth were explored in examining the role of time in architecture as well as landscape architecture. Reflectere seeks to explore the opportunities for a space that can occur when these two disciplines come together.

The design proposes to create a garden that reflects the pavilion spatially. The wetland to the east shall exist permanently, reflecting a return to the marsh and wetland landscapes of Toronto that have been infilled so profusely with waste over the years. The pavilion serves as a lighthouse at night, signaling the floating dock to rise, inviting Toronto’s homeless to occupy the space.

Located along the waterfront and built in 1922, Sunnyside Bathing Pavilion comprises the context for the project.

Throughout Toronto, two things stuck out about the city, the first being this archaic buildings, situated amongst the chaos of the Gardiner Expressway, and the second being the homeless citizens sleeping on the streets, who in many ways are situated similarly. In consideration of this, explorations were made into how the passage of time can affect a building, a natural environment, as well as a person - how a structure degrades, how a landscape grows and how a child develops into an adult.

The movement of the dock mirrors the pattern of the sun as it rises in the morning and sinks in the evening. The proposed wetland will exist permanently, returning to the previous Toronoto landscape of marshes and wetlands that have been so profusely infilled with waste over the years. Additionally, the vegetation would explore potentials for bioremediation on the site in order to help clean the water,

landscape + urbanism | emergent futures | reflectere

305

l+u

[project]

liquid landscapes

a look at technologies latent potential [student]

Stephen Himmerich

[information] [instructor] [program] [site]

Dr. Marcella Eaton & David Owen Lucas Environmental Design, Year 4 Toronto, Ontario, Canada

[description]

Everyday the individual logs a series of unique actions related to how they move through and engage with the world around them. All of this data rarely gets documented and is constantly lost, but what if this information was harnessed to better understand how the collective self moves through and interacts with space? If this rarely collected information was logged in connection with how people move through public spaces then the results might reveal how a place is utilized and what small changes in engagement are happening over time.

The concept for the emergent future is to create a digital framework that acts as a secondary means by which individuals can engage landscapes. This system could act as both a way by which research and analysis about a site can be gathered while also presenting opportunities for a broader range of users to engage with the site through various activities.

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landscape + urbanism | emergent futures | liquid landscapes

[top left]

[top right]

A digital framework acts as a secondary means by which individuals can engage landscapes. It would serve as a way of connecting to a site and creating engagement beyond our current ability.

This system could act as both a way by which research and analysis about a site could be gathered while also presenting opportunities for a broader range of users to engage with the site through various activities.

This project changes the way people relate to a space by actively integrating them into the processes of the landscape. People become the input device for analyzing a site and also are directly engaged with the site through a connection to the data generated about it. By knowing more about a place better decisions can be made in regards to how it is developed and utilized. This framework provides that opportunity.

Eco-System Overlay

Pin Board The pinboard acts as the conceptual framework from which ideas developed. Landscapes are thought as fluid places that are in constant flux.

We inhabit space and directly influence it in some manner. This further led to the thinking of how we might record these impacts and access the data for the benefit and use of those that inhabit these environments.

Responsive Cognition

[top left]

[top right]

The Ontario Place BETA site would be modified with a network of sensors that read the conditions of the landscape and also create a digital hotspot for those engaging the site.

Basic site data could be retrieved through the offering of free Wi-Fi. Only information about the site and how the individual moves through the space being gathered. This would register directly into the online database.

As the data is collected over a period of time the information would begin to offer an insightful look into each of the networked spaces. The data could be analyzed over a series of years or decades to present an informed look at how a landscape is changing. The data would essentially create a virtual model of the site which could be explored to provide an in depth look at how peoples’ use of a space changes over time. You

Sensory Landscape

l+u

Collective Engagement would be able to see how communities and neighborhoods are transforming and determine what parts of a site are failing and which pieces attract the most attention. This information could also reveal the environmental quality of a site and show whether conditions are improving or deteriorating as the life of the site is logged.

This project changes the way people relate to a space by actively integrating them into the processes of the landscape. The user becomes the input for the device which analyzes a site and directly engages with the site through a connection to the data generated about it. This opportunity to engage the site will result in information of how it is developed and utilized.

As a beta site to test and refine these concept Ontario Place was chosen for its history as well as its potential. Ontario Place is a site that never had a strong identity with the local population as it is a result of Expo '67 that failed to create an atmosphere like Toronto or a clear identity. The development of the proposed digital eco-system provides a means by which the now closed Ontario Place could reengage with the populace and provide ideas for how the site should be developed and what it might become.

landscape + urbanism | emergent futures | liquid landscapes

307

l+u

[project]

what's up, what's down [student]

Roxane Gratton

[information] [instructor] [program] [site]

Dr. Marcella Eaton and David Owen Lucas Environmental Design, Year 4 Toronto, Ontario, Canada

[description]

Traveling on the subway can be a solemn and brusque experience.

The dark passage way has no reference to the landscape above ground which disorientates and creates a gap in the mental map of the City of Toronto. In this landscape design proposal the aim is to create an experience above and below the subway route in order to engage both pedestrians and passengers.

A water feature, using water run-off from the site above ground, meanders through trenched windows along side the underground railway for passengers to view. Above ground, long flexible LED lights, situated in the water feature, ignite and illuminate the landscape each time a train passes under the site. Energy is also harnessed from the subway in order to exhaust reverse effects of the seasons onto the landscape. In the cold and wet winter the green spaces are warmed and cleared of water. In the humid heat of Toronto summers, fresh cool air is softly breezed onto the passage. All these elements work together as a system to create softened conditions and experiential qualities along the subway line, above and below ground.

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landscape + urbanism | emergent futures | what's up, what's down

l+u

[top]

Sparkling Water Tunnel The shear shimmer reflection of water brightens the stark passage

landscape + urbanism | emergent futures | what's up, what's down

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l+u

[project]

screaming building & urban fabric [student]

Chengru Liang

[information] [instructor] [program] [site]

Dr. Marcella Eaton and David Owen Lucas Graduate Studies, Landscape Architecture Toronto, Ontario, Canada

[description]

In the era of "eyeball and attention economy", driven by a series of major events, the mass media has paid more and more attention on architecture. Meanwhile, there is a type of building that has emerged, some people called them screaming buildings, which deliberately show themselves and do not match the surrounding environment. Such buildings generally have a unique appearance and most of them are designed by the star architects.

The proposal seeks a restoration and reorganization plan for the screaming site to weaken the interference on the urban fabric, to eliminate the obtrusive architectural space, and to integrate the external space and existing landscape.

Analysis with cognitive line drawings mapping the edges, path, district, nodes and landmarks of the site revealed that there is an original cultural axis never changed since Grange Park has In Toronto, the sharp centre of OCAD, is used as an example to been updated several times. However, the OCAD building invades study. Such buildings do have strong visual impacts, and they soon into the limited entrance of the space of the park resulting in the become the city's landmark, however it might be short-sighted proposal to open the narrow space under the centre to recreate and utilitarian to advocate the as to a certain extent, this kind of a wider space. The design is based on the axes that compose a buildings obviously affects or destroys the original urban fabrics play field for children. of the site. Could the ecological restoration and urban culture conservation, the public interest, and the humane care begin to balance the damage from screaming buildings?

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landscape + urbanism | emergent futures | screaming building & urban fabric

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landscape + urbanism | emergent futures | screaming building & urban fabric

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l+u O4.5 studio 6

Shaping the Future instructor: richard migrom

Downtown as a Livable Neighbourhood Downtown Winnipeg has lost its resident population. Over the last few decades efforts have been made to revitalize the core, with incentives for development proposed by the City and organizations like Centre Venture and the Forks North Portage Partnership. These have resulted in scattered successes (Waterfront Drive and Central Park, for example), however, many agree that downtown needs more residents.

The Winnipeg development community is largely focused on building single family housing on the periphery. Home builders will argue that there is little market demand for other forms housing forms, and they continue to concentrate on known commodities in new suburban subdivisions. However, urban environments can be livable, and may even have advantages (social, environmental, even economic) over the conventional development patterns.

Downtown presents opportunities for a new vision.

Presently, the most common land use is surface parking, and in recent months this has become a high profile issue in political and media circles. Last year the Winnipeg Free Press ran a series about surface parking; the Mayor has promised to address surface lots and provide incentives for mixed-use development; the Provincial NDP has suggested that it will redevelop four lots that it owns; and Manitoba Public Insurance has announced it will redevelop two.

Developed of these lots should take into consideration public realm that would make this more than a collection of buildings, for the functions and amenities that would make this a livable neighbourhood. However, in order for any of this to happen, a vision for the whole area is needed. And this is the focus of the studio. The studies seek opportunities by developing an understanding of existing initiatives; exploring precedents for downtown revitalization; making proposals for a downtown neighbourhood; and illustrating how development of the public realm can support these visions.

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landscape + urbanism | shaping the future

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l+u

[project]

i love new yo [student]

Lea Rempel

Phase 1

Phase 2

Phase 3

Further commercial and office development near the Convention Centre, introduction of pedestrian friendly alleys.

Eastward expansion of the public realm, dense development along peripheries of main pedestrian corridor.

Infill in surrounding blocks in response to a growing downtown population and need for services.

[information] [instructor] [program] [site]

Richard Milgrom Environmental Design, Year 4 Winnipeg, Manitoba, Canada

[description]

Downtown Winnipeg needs a facelift. This design outlines a number of suggestions to define and emphasize the public realm. It is a set of ideas intended to accommodate anticipated growth and encourage the intensification of the city’s core.

York Avenue has the potential to serve as the foundation for expected growth that could follow the expansion of the Convention Centre and would connect the Centre with the forks, another important landmark. If established in phases, the more densely developed York could become vibrant, energetic, and lively at street level. These characteristics invite pedestrians to enjoy the spaces created and increase downtown residence population.

Certian characteristics are outlined for the development and include three storey podium towers with setbacks; podium program options such as commercial or low density residential; tower program options such as a hotel or office; each building must have at least three sides that address the street; blocks

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landscape + urbanism | shaping the future | i love new yo

much have no fewer then three entrances from the pedestrian alley; ground level along York is reserved for active public commercial space.

Ultimately the intention of this design is to establish an area in which pedestrians are not second to automobiles and that serves as not only a connection between two important landmarks within the city but also as shot of energy for downtown and a destination point in itself.

l+u

[project]

a drop of green in a sea of grey trinity plaza [student]

Danielle Loeb

[information] [instructor] [program] [site]

Richard Milgrom Environmental Design, Year 4 Winnipeg, Manitoba, Canada

[description]

Trinity Plaza is located in the heart of Downtown Winnipeg and is contained by Smith Street, Garry Street and Graham Avenue.

Located along the Bus Rapid Transit route, the plaza connects Holy Trinity Church, Millennium Library, the new Winnipeg Police Headquarters and Trinity Towers, a new residential and commercial complex. Once a parking lot, the space has been transformed into a lush, green space for active commercial and retail use, and passive relaxation activities. Parking has been provided in a well-lit, heated underground parkade that is readily accessible to both pedestrians and vehicles. What was once a surface parking lot could become a safe, energetic civic space in the heart of a new downtown neighbourhood.

landscape + urbanism | shaping the future | a drop of green in a sea of grey

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O5.0

Department of Landscape Architecture graduate studies

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larch O5.1 studio 3

On Campus Off Campus instructors: dietmar straub

The word campus is derived from latin meaning field. A campus is the denotation for an enclosed area at a college or an university with facilities for teaching and research, sports and recreation, residence for students and professors. In a lot of cases the landscape is the leading actress on the stage of learning and living.

A “dispersed campus� model awakens a yearning for definite, solid compositions. The Providence University College campus is a “good� example of an accumulation of large-scale and small-scale buildings with various uses that lack urban cohesion in the landscape. Even in the age of movement and rapid images, people still yearn for order and orientation, for prominence, character and clarity. A campus landscape could give visitors much more to work with as they attempt to navigate their way.

To a large extent, work in this studio involves developing an open hypothesis for recultivating the various spaces that merge into each other. The designs aim to create properly-dimensioned spaces scaled for human use, which take a free and open-minded stance towards the life of this campus landscape while setting the scene for the successful coexistence of a variety of users and protagonists. This presupposes a complete rethink of the relationship between infrastructures like buildings or parking and the landscape. Proposing a landscape design leads us into discussions on public space and the nature of a campus. Clear landscape architectural elements are introduced to counter the amorphous structures of different areas, thereby forming lines and edges, and formulating transitions and boundaries.

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Amanda Blick / Curtis Krul / Megan Wilson

!

Dietmar Straub Landscape Architecture, Graduate Studies Otterburne, Manitoba, Canada

The project began with a collaboration with the Administration of Providence College. With investment into renewable energy sources, Providence College began to work towards environmentally sustainable practices and desired a new campus plan to work towards that.

Our plan began with severe landscape changes, centred around the creation of a channel in the middle of the campus.

The rowing channel centres the campus, while dividing the institutional function and living space. With the creation of this new centre, spatial relationships are created and altered, however underlying these bold landscape changes is a heavily functional landscape.

Sewage is treated on the site and is slowly released back into the river in the closed (semi) system. The rowing channel not only serves as a campus landmark, but also as part of the brand of athletics, environment, and student life. Water retention and energy generation also happen within the channel. It brings the river into the campus, and the campus back to the river.

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Weather Fields Climate The calendar translated into a cycle, mapping precipitation, crop growth, temperature, and sunlight hours. In relation to Kamloops (desert) and Victoria (Rainforest coastal).

Model Construction Process Milboard to plaster to wax

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Lia Abolit / Taylor LaRocque

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Dietmar Straub Landscape Architecture, Graduate Studies Otterburne, Manitoba, Canada

At Providence College in Otterburne, Manitoba, the buildings are largely utilitarian, with many spaces inbetween being allocated to parking and storage. Looking at the massive agricultural grid within which Providence college is situated, the idea of having a programmable grid that differed from the one surrounding the college is explored through experimenting with lines which run through the site and out into the existing prairie landscape.

The developed hierarchy of lines that would delineate the space within the college campus consisted of three main diagonal lines which we determined would be alleys of oak trees that could also provide parking for the campus. These three main lines also separated the campus into learning (the institutional buildings and public spaces), living (the residence facilities)

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and exploring (a naturalized area developed from the former waste lagoons). The next set of lines further breaks down the four principle areas, allowing spaces for future contemplative and public space.

Other areas proposed include an orchard to the west of the historic building, a nursery south of the residences, and a grid of trees throughout the center of the campus, meant to be a more formal area to bring people through the campus to the river.

Destinations

Axis

The three main lines extending into the landscape are quite literal. “Destinations� along these lines would appear in the landscape as groves of oak trees, visible from the campus. They would act as reference points from within the campus, and as markers towards the campus from the exterior landscape. These destinations could be used for sports, recreation, or simply as reference points. It would

be a subtle way to point to something larger, while still retaining the character of the prairie landscape that used to exist in the area. Thick groves of oaks are so rare in the prairies now, that it is very probable that should someone see them, they would look further in order to understand where they came from or what they are alluding to.

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The 3 main lines of oak trees would be planted first with poplars in order to obtain a canopy quickly. The oaks would, in time, take over the poplars and become an oak alley with a dense canopy. The secondary alleys, in the learning area, are mixed woodland with prairie grasses in between them. The grove, the gridded area in the center of the campus, is separated into two areas: an aspen grove and a spruce

grove. These two trees were chosen for their colour and seasonal qualities.

The spruce trees would provide a canopy and colour even in the winter months, while the aspen would shed their leaves yet have a brilliant orange colour in the fall months.

japanese tree lilac lilac latecherr amur late lilacy lilac tree lilac japanese late amur cherry lilac japanese tree late lilac late lilac amur cherry japanese tree lilac late lilac ry cher amur e tree lilac japanes amur cherry lilac latecherry amur amur cherry

japanese tree

lilac

spruce

oak

mixed wood

mixed wood wood od mixed wood mixed womixed

aspen

oak

aspen

late lilac cherry amur japanese tree lilac japanese tree lilac amur cherry late lilac late lilac amur cherry ry amur cher amur cherry late lilac tree lilac japanese late lilac

spruce

oak

japanese tree lilac amur cherry

late lilac

japanese tree

lilac

amur cherry late lilac

amur cherry late lilac japanese tree lilac late lilac late lilac amur cherry amur cherry japanese tree lilac late lilac amur cherry japanese tree lilac late lilac late lilac amur cherry japanese tree lilac amur cherry japanese tree lilac

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Basketball Courts Soccer Fields Parking Fitness Facility Classrooms Orchard Grove Plaza Rat River Residences Lagoon

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Phase One

Phase Two

Phase Three

Phase One

Occurs over the first five years, and would involve the installation of the landscape, including the alleys of trees, the grove, the orchard and the nursery.

Phase Two

To take place from years five to ten, would involve the implementation of two new institutional buildings, as well as two new residence complexes consisting of townhouse style living where students would have their own outdoor spaces as well as access to community gardens. This expansion would allow for approximately 125 extra student accommodations.

Phase Three

Take place from years ten to twenty would include three additional institutional buildings and three additional residential complexes, allowing for an additional 125 student units and bringing the total number of residence students to 500. These buildings, as well as the institutional buildings, would be built in the spaces allowed by the landscaping plan.

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Site Plan

The extension of the riparian forest around the south and east edges visually separates the areas of living space and the college. The undulating edge of the plateau reflects the form and shape of the contours of the river.

Stephanie McKichan / Kristen Struthers / Amy Whitmore

Existing Trees/Buildings

Proposed Trees/Buildings

Existing Contours

Proposed Contours

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!

Dietmar Straub Graduate Studies, Landscape Architecture Otterburne, Manitoba, Canada

The prairie condition is composed of fields, riparian forest and rivers. In the campus design, the method to harness each of these broad conditions and interpret how the landscape could create a campus that is sensitive and embracing of its place informs the content of the proposal.

Based on the existing trees, buildings, and the relation of topography to flood levels, three bodies were formed in which buildings of similar function are grouped together to create spaces for living, learning, and athletics. Buildings are proposed in areas protected from flood levels and where they would cause little disturbance to the riparian forest. While landscape Farming dominates the land in the area and is a practice of elements such as plateaus and pathways have been introduced maximum efficiency, from the way the river-lot system was to push people out of these comfortable protected areas into implemented to the placement of the farmhouse. Learning from the more exciting experiences the prairie has to offer. these historical practices and interpreting the basic principles of shelter-belts, river access, and maximum space for agriculture; the proposal seeks to design in relation to learning, living, and playing sports in the prairies.

Parking Gravel Lawn Soccer / Football Erosion Fields Agriculture Parking Stalls Lawn / Potential Building Concrete Plateau Hanna Building Reimer Centre Riparian Forest Grey Water Lagoons / Black Water Remnants of Orchard Transit Stop / Turn Residence Cedar Stand Otterburne

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i spy with my little eye...

Dietmar Straub

Landscape Architecture Assistant Professor Straub Thurmayr CSLA / Landschaftsarchitekten

Changing Perspectives

Ich sehe etwas was du nich siehst‌. or in english: I spy with my little eye. Most of you know this game. Either from the perspective of a child in the back seat of a car on one of these indefinitely boring rides. Or from a parent’s perspective in the front seat looking for moments of silence.

This game is about playing together in a group, listening, taking turns, and viewing the world through different lenses.

At the end of the game everybody is looking at the same thing albeit from different perspectives. I don’t know if my perspective is unique but what I have learned and what I try to teach is the ability to look through different lenses while looking at the world.

I don’t work with recipes or truth and sometimes I might not fit people’s expectations because my perspective is different. I cultivate doubt. Doubt provokes further searching and the process of searching enables the act of discovery, which, in turn, leads to the creative process of invention. And each case is unique.

What I learned and try to teach is the ability to see a location's potential, the ability to discover new aspects of something familiar. I am sure that many of you will have experienced the feeling, while engrossed in a topic or assignment, of coming across connections and associations in images, texts, exhibitions, or simply while you are taking a stroll.

These impressions and associations are then condensed into something that suits our purposes. This is a phenomenon that Professionals in practice and students of landscape architecture work on projects that tackle complex questions. we can systematically practice and improve.

These projects typically involve the development and Design should not aim to make a spectacle of itself or evaluation of strategies and models in collaboration with town planners, architects, civil engineers, urban sociologists, celebrate the clients’ prestige, but simply strive to give the space its own energy by injecting a sensual feel. ‘Show-off’ artists, citizens, and politicans, to name a few. This broad gardens and landscapes are something I abhor. I always hope perspective of all the key protagonists closely matches the that my designs appear to have integrity as designed spaces real-life environment in which interdisciplinary working because of their honest approach to appropriation. Perhaps it groups come up with potential solutions to complex issues. is their modesty and the humility of their execution that is their A cross-disciplinary approach connects specific expert best lesson. knowledge, scientific knowledge and applied knowledge right from the start. The boundaries dissolve and we spy‌.

Treating Existing Features with Respect But this kind of collaboration requires a few prerequisites Virtually all projects involve the difficult task of translating namely trust, curiosity, and openness. a broad range of requirements, some of which are mutually contradictory, into a landscape architecture design. A key On Avoiding Showiness criterion in this process is deciding how a new range of When did you move to Canada? Are you from Germany? uses, which we often have to elaborate ourselves, can be What brought you to Winnipeg? We always get these kinds integrated into a landscape over the long term. All creative of questions when people see the washing line running concepts are oriented towards the yardstick of what is already diagonally through our garden. Nobody would really expect present. New developments are carefully and respectfully two landscape architects to live on this plot of land, but we integrated in the existing structures. During this process, the love drying our laundry in the sun. It smells so different idealised view of the landscape architect and visitors to the site sun dried (Fig 01).

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focuses on aspects of local and historical significance. It is time studios or by student competition in collaboration with C.A.S.T. for a case study from work in practice. or the wood shop. We called them “concrete cushions� and they are like colourful flowers in a meadow (Fig 04).

I Spy‌ A Vermilion Boulevard

In 2010 I was asked by Cibinel Architects whether I would like to comment on a project. The project is on the Fort Garry Campus just beside my daily route. What a sweet temptation.

The site for the Active Living Centre is at the corner of University Crescent /Dafoe Road and I took a photograph there in my first fall term in Winnipeg because there was an explosion in red. (Fig 02).

The design for the building was already very advanced when I was asked for my opinion. Everything was well developed but I noticed the ‘fire’ was not part of the plan. Puzzled looks, and maybe it is my English, but I said, “I am missing the fire�.

Overall the landscape design for the Active Living Centre (Fig 04) aims to create properly dimensioned spaces scaled for human adoption that take a free and open-minded stance towards the life of this campus landscape while setting the scene for the successful coexistence of a variety of protagonists. The entire campus is viewed as a platform in this context, a stage for the University‘s “post-boom generation� in search of moments of happiness. I like to work with spatial typologies rather than with single elements or features – how nice they might be or to use “nature� as an excuse in our design. They stand in stark contrast to their surroundings and create a clear delineation between private and public areas. These structures are capable of forming a new system of coordinates and acting as an effective navigational instrument for the landscape area on the campus of the University of Manitoba.

To cut a long story short or in the words of Le Corbusier, "I prefer drawing to talking. Drawing is faster, and it leaves less room for lies". I asked for site plans and sections and one day later I went back with the fire. Bringing together the mysterious I Spy ‌ Angels “fall shotâ€? and the building in a simple section elevation was What would I like to design next? I am dreaming of a runway enough to create a yearning for what we designed below. for angels in the Prairies. But I will have to take a lot of hostile questioning. Will devils get clearance to land as well? Do you Convinced by this drawing (Fig 03), our partners wanted to need a control tower? Or what happens if you don’t believe know where they could get those ‘fire trees’ from? “Save in angels? I have to think about the answers to the first two them, they are actually there!â€? was my answer. Feuer Ahorn questions. For the last one: Even if you don’t believe in angels it is the German name for these trees, which means fire is good to have one! maple. Here we call them Amur maple. They turn brilliant orange to red in autumn. All these existing trees along the new building will provide the pleasant side effect of cooling it during the summer for free. And the runners on the track NOTES will feel like they are running through a forest, separated project only by a layer of glass.

Active Living Centre, Fort Garry Campus, University of Manitoba This “Aha� experience required a few modifications. Some walls had to be moved out of the root zone and the topography had to fit with the trees. If you believe in trees you should do everything to make their lives as comfortable as possible.

Part of this concept for the Active Living Centre was to involve students from our faculty and facilities on campus in this design. Pieces of furniture could be designed and produced in

landscape architecture preliminary design: Fig 03-04 Straub Thurmayr CSLA Landschaftsarchitekten und Stadtplaner Dietmar Straub + Anna Thurmayr architecture Cibinel Architects Ltd., Winnipeg In collaboration with Batteriid Architects, Iceland

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larch O5.2

Ecological Infrastructure instructors: richard perron + rob zonneveld

This studio examines current theories of ecological infrastructure situated in the context of three Canadian cities located in three distinct ecological regions i.e., the boreal forest (in the Precambrian Shield), the tall grass prairie and the short grass. Each city is examined through the design studio process using a combination of GIS investigations and CAD based design iterations.

Investigations began with macro scale considerations of ecological functioning within the urban settings and micro scale designs developed to illustrate how strategic actions could help build or reinforce an urban ecological infrastructure. In the studio the questions of what is an urban ecological infrastructure, and what are reasonable goals and objectives in designing and developing such an infrastructure? Rather than working from a singular definition, the studio seeks the definition as part of the design thinking. So for example “Ecological Infrastructure� may be defined as the organizational framework that meshes ecological processes and ecosystem services into the urban fabric. Goals that may emerge from such a definition include: - Designing ecological infrastructures to frame growth around regional mixed-use centres - Re-constructing anthropocentric infrastructures to incorporate natural processes in the city - Identifying vital ecosystem services and incorporating their functions and processes into ecological infrastructure - Indicating areas of opportunity, where human and natural processes intersect, to allow for hybrid processes to emerge Projects explore how design context, understood as the convergence of natural and urban systems, provides the basis formodeling urban ecological infrastructure, beginning with a macro scale long term ecological plan of the city and resolved through a series of site specific design investigations.

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Taylor LaRocque

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Richard Perron and Rob Zonneveld Landscape Architecture, Graduate Studies Medicine Hat, Alberta, Canada

Research of different types of pollution present along the South Saskatchewan River, as well as the Seven Persons Creek and Ross Creek, is explored through mapping as a method to recognize the pollution sources, highlight areas of interest (either vulnerable or harmful), and suggest sites for possible interventions or improvements. In addition, the city of Medicine Hat, which is yearly impacted by rising water levels, is strangely disconnected from the winding river that directly goes through the middle of the city.

In designing a site for a treatment of river water, involvement of the citizens of Medicine Hat is key in developing an atmosphere that is interactive, inviting and dynamic. The wetland proposal is located on Police Point Park, a low-lying piece of land across the river from the historic clay district. The wetland is designed to withstand seasonal flooding, as well as abnormal flood events and consists of an inlet, sedimentation forebay, interior segmented channels, a micropool and outlet.

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The wetland serves to remove contaminants such as phosphorous and nitrogen, as well as various sediments. By exposing the process of water treatment, citizens of Medicine Hat can approach the river and observe the treatment cycle firsthand.

An elevated pathway runs along the west side of the river, with a pedestrian bridge connecting with the historic clay district on the other side of the river, extending outward with four docks.

The elevated pathway sits above the treatment wetland and treatment pockets along the river, staying dry during seasonal flooding, allowing the user to feel connected to the river at all times of the year. By becoming aware of the change in water volume in the river at different times of the year, users will gain an understanding of the cycles the river goes through and how human interference is currently affecting both the quality and quantity of the river water. The RiverWalk also allows for visitors to take in weather events in a controlled environment, whether it means playing in the rain and watching the wetland fill, or venturing into the reeds to view the wildlife in the dry season.

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An Interactive Treatment Wetland The transition of the wetland throughout the year, from low levels during the early spring and fall, to the highest levels during the month of June. The wetland is designed to withstand this seasonal flooding, as well as abnormal flood events. It consists of an inlet, sedimentation forebay, interior segmented channels, a micropool and outlet.

The wetland serves to remove contaminants such as phosphorous and nitrogen, as well as various sediments.

By targeting various types of river water pollution, the treatment wetland both improves water quality and educates the public about the quality of their river.

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Network of Pathways to Access the River An elevated pathway runs along the west side of the river with four docks that move outward from the primary pathway over the treatment wetland. These docks follow the topography of the wetland closely, and some areas may flood at certain times of the year. These docks allow visitors to venture even closer to the river, and view the processes at work in the treatment wetland.

The docks combined with the elevated pathway and footbridge combine to create a network of pathway infrastructure that is accessible year round, yet still dynamic and exciting to visit at certain times of the year for viewing the rising water levels of the South Saskatchewan River.

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Marie Levesque

sun

transport via Earth’s magnetic lines of force

900

exosphere 800 incoming charged particles - solar winds

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PURPLE

600

charged astronomical [solar] particles collide with atmospheric particles

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400

N2

nitrogen

RED

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red light - slowed particle collisions

aurora borealis

distance (m)

200

100

80

O2

oxygen

ionosphere

GREEN

green light - supercharged particle collisions

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mesosphere/thermosphere boundary 40

20

0m 0.5

O2

mine tailings oxidation

oxygen

HO 2

water (vapour+liquid) tailings - oxidizing layer

surface - atmosphere interaction

tailings - non-oxidizing layer

1.0

1.5

2.0

earth

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Dr. Richard Perron and Rob Zonneveled Landscape Architecture, Graduate Studies Thompson, Manitoba, Canada

As part of a group-based, long-term strategy for the City of Thompson focusing on the transition of the city from a mining and resource-based city to a service-based city, this proposal seeks to develop the existing tailings pond for recreational use. The proposed design directly addresses the potential for both social and aesthetic qualities of the existing mine site located in Thompson, Manitoba, with indirect influences on overall community health and ecology of Thompson and its surroundings.

Experimentation with dry ice and lighting on an encaustic painting representative of the tailings surface allowed for a deeper understanding of the aesthetic properties of designs such as the Blur Building, Miroir D’Eau, and Promenade Samuel de Champlain. The ephemeral qualities of the "steam" and "fog" created by the dry ice reflected those of the Northern Lights - a major influence on the site selection and design itself. The study of various forms of auroral displays was undertaken to gain a better understanding of the processes and environmental conditions required to achieve specific results. The experimentation process later informed the strategy for providing a choreography to the site design, implementing water vapor (steam) and lighting as the "instruments" of the score.

The exposure of the tailings to water and the atmosphere causes the iron-rich metals to oxidize, forming brilliant displays of colour; while the northern lights are created by excited particles from solar winds mixing with the atmosphere at various heights.

In each condition the mixing with the Earth’s atmosphere causes a unique display of colour. The design seeks to captivate and The site consists of a main observation tower and engage the human environment with the ephemeral nature of the interpretive center, and 20 points of interest which will Earth and astronomical interactions within our atmosphere. display light and steam events following a programmed

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Through analysis of the processes associated with the Northern Lights and the oxidation of the mine tailings, the common connection to the atmosphere was revealed.

Combined diagram acting as a one potential "score" for the choreography of fog and light.

Experimentation with dry ice and lighting on an encaustic painting (melted beeswax and oil-based pigment) representative of the tailings surface allowed for a deeper understanding of the aesthetic properties

Concept Graph

Score B Drawings

Experimentation

choreography or "score". The main observation tower holds the controls, pump and generator for the subsurface pipe and electrical system, connecting each of the 20 points to the larger system. Pressurized and heated water will be forced through tiny perforations in the expandable pipes, positioned at grade with the tailings surface. As more tailings are generated and disposed of on the site, the horizontal network of connecting pipes will be covered, buried by the tailings.

The vertical pipes connecting the high-pressure mist nozzles will extend to the new surface level allowing for subsequent steam/atmosphere mixing. The choreography of each site has been influenced by the northern lights. Each site will achieve a unique character dependent upon the selected flow rate, duration and intensity of the steam event and subtle use of lighting. Through the choreography of water vapour, lighting and subtle programming this design aims to establish atmospheric conditions influenced by the northern lights to engage people with what is normally perceived to

be a negative by-product of the mining process, changing the perception of the tailings pond as a vast landscape of devastation to a beautiful forum for experiencing interactions within our atmosphere. The site represents a new hybrid ecology, a pioneer community of bacteria introduced to the area through human activity and natural processes. In encouraging people to walk across the surface of the tailings the connection is complete.

The influence of Earth’s atmosphere is felt and seen underneath, experienced at the surface, and viewed in the night skies above.

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Trent Workman

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Dr. Richard Perron and Rob Zonneveled Landscape Architecture, Graduate Studies Winnipeg, Manitoba, Canada

Water is a continual issue in Winnipeg; as the city sits in a natural floodplain, drainage is an important consideration of any landscape. This study focuses on the land adjacent to the Nairn overpass where water drainage is imagined as a catalyst for the sedimentation cycle. Using this site as a depository for the annual 4,500 tones (roughly 5,000 truckloads) of sand, salt and debris removed from the streets of Winnipeg, this project re-considers this grit as a form of sediment suitable for land formation.

The project emerges in three successional settings with each involving a operations of assemblage, accumulation and finally aggregation.

Primary Setting

The first operation involves the setting of stone gabions which provide seating and conversely become agents of resistance to the water that will be eventually channeled to the site. As the street grit is re-routed and dumped on the gabions, the spring overflow waters will begin to move the grit across the site. This primary setting results in a muddy site, an ideal breeding ground for Canada Geese with hints of new life forms emerging.

Secondary Setting

The secondary setting encourages people to visit the site by installing a connecting pathway connection from Downtown 338

Winnipeg to Birds Hill Provincial Park via the Northern Pioneer Trail. Along with a grove of successional aspen species, willows are planted to buffer the overpass - both species’ rhizomous growth pattern compliments the processional nature of the design. The damp condition of the brackish marsh promotes the vitality of the willows. New orders of insects, invertebrates and plants will attract new species of birds and animals who feed on the lower-order species. The wet meadow has evolved to a seasonal marsh mixed with an aspen forest.

Tertiary Setting

The third setting of elements has increased the programmatic aspect of the site in the form of a pedestrian boardwalk system that weaves through different stages of assemblage and dispersal. A desalinization process is introduced to remove salt from the water. Beneath a mesh boardwalk, a grid-work of pipes collects water from the brackish marsh. As this water is heated, it conversely sprays a mist of fog while separating salt particles from water. New orders of successional species emerge in the tertiary accumulation, and consistent aggregation has allowed water to collect and stay on the site year-long. Mounds of street grit have been covered by successional forests and encouraging new hardwood species to being to grow on site.

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Primary Assemble

Primary Accumulate

Primary Aggregate

Secondary Assemble

Secondary Accumulate

Secondary Aggregate

Tertiary Assemble

Tertiary Accumulate

Tertiary Aggregate

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Kristen Struthers

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Dr. Richard Perron and Rob Zonneveled Landscape Architecture, Graduate Studies Medicine Hat, Alberta, Canada

Medicine Hat has been built, literally and figuratively, on a natural gas reserve, and has adopted the identity of The Gas City. The exploitation and subsequent reliance on this natural gas has created a landscape perforated with over 1,500 wells reaching depths of 400-500 meters located seemingly indifferent to the surrounding land districts. The Energy Resource Conservation Board of Alberta has recently implemented a building set back of 100 meters from a natural gas well which creates a unique opportunity for the city of Medicine Hat to strengthen its identity as The Gas City through pockets of public space.

Although natural gas is the cleanest burning fossil fuel and has enabled the city to flourish, natural gas is 96% methane, which is considered a potent greenhouse gas.

According to the U.S. Environmental Protection Agency, methane emissions “occur in all sectors of the natural gas industry, from drilling and production, through processing and transmission, to distribution�. 1 A grid of trees and devices able to capture hydrocarbons, like methane, would be introduced in each gas well buffer. The devices would be able to capture, store, and eventually burn methane, releasing only carbon dioxide

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and water. The act of burning methane would mitigate the harmful greenhouse gas effects. The gas flare would act as a recognizable beacon in the landscape and the energy created by burning the methane would power a seed dispersal mechanism. The introduction of the capturing and dispersal devices creates a scenario where each buffer becomes a garden designed by natural gas.

A garden designed by methane and the site specific topographical, climatic, and vegetative conditions. A grid of trees and devices in each buffer act to create a landscape that is recognizable throughout the city despite the heterogeneity of the buffer conditions. The ubiquity of the buffers both exposes and celebrates the space afforded by the gas well setback policy. The simple grid infrastructure exists in each buffer as a framework for the topographical, climatic and vegetative conditions to dictate the seed dispersal and germination pattern.

NOTE 1

Energy Resources Conservation Board (ERBC). 2011. Directive 056: Energy Development Applications and Schedules. Accessed 29 March 2012. http://www.ercb.ca/docs/Documents/directives/ Directive056.pdf.

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an ecological pilgrimage

Shawn Stankewich

"

Dr. Marcella Eaton Landscape Architecture, Graduate Studies Omand's Creek, Manitoba, Canada Bois des Esprits, Manitoba, Canada Netley-Libau Marsh, Manitoba, Canada

This practicum explores landscape architecture’s role in environmental stewardship. By adopting the idea of ecological literacy as a driving force behind the design of landscapes, the outcome will be to develop places that enrich human experience of the natural world and provide opportunities for people to increase both an understanding of and love for the environments within which they live.

in scale and location, including urban stormwater runoff, agricultural runoff, poor riparian zone health along waterways, and perhaps the most pressing, the decline of the Netley-Libau Marsh, the lake’s last line of defense against nutrients loading from the Red and Assiniboine River watersheds.

Although engineered solutions are currently being proposed and implemented to address many of these concerns, there is a timely opportunity for landscape architecture to bolster these attempts at land manipulation, by yielding sound solutions that will not only reduce the environmental impacts of human development, but also create open space for environmental awareness. In addition to providing solutions, the design of the landscape could also provide spaces for research and investigation into these impacts, at many different levels.

By allowing citizens to engage in the spaces that make the mitigation of environmental issues possible, ecological literacy can be increased through enhanced landscape experiences.

These landscapes could operate on a variety of levels to provide an engaging, enriching environment for both casual and intensive users of the space.

Stated quite simply, ecological literacy is the ability to understand the systems that support life on earth. More broadly, it entails a holistic understanding of the surrounding environment that is not exclusively empirical, but rooted within human nature. Essentially, ecological literacy is about reading the landscape. It is about interacting and connecting with our surroundings on a deeper level than we are typically required to within an industrial and technological society. The approach to understanding our environment that David Orr suggests is more than a scientific understanding of measurable factors; it is also about a spirit and attitude that must be present within humans.

It is about knowing and feeling, a combination that might equate to a more encompassing worldview and citizens who are able to further human culture without compromising the health of the natural environment.

Design work will be focused on areas with a particular need for environmental impact mitigation, as well as potential to The Province of Manitoba is a political region rich in freshwater support the study of the landscape. In addition, concerns of resources. Although water’s abundance provides services that civic infrastructure and increasing the opportunity for citizens allow life of all kinds to flourish, there are many anthropogenic to engage with natural systems will be addressed. Sites will be stressors that place the future health of Manitoba’s water chosen for their appropriateness with these goals in mind, and in jeopardy. Water issues in Manitoba will be the focus of an will be consequently connected by Manitoba waterways, each environmental study, and site selections will be considered a part of the Lake Winnipeg watershed and related to major with their relation to water as a primary factor. Eutrophication issues regarding its health and sustainability as a freshwater is a major issue for many water bodies, including Lake resource. The programmes for each intervention will vary, Winnipeg, Manitoba’s largest lake, which covers nearly 4% of but the initial focus will be on university students involved in the province’s area and possessing a watershed that is home courses of study that relate to the study and interpretation of to over five million people (Manitoba Water Stewardship, 2012). landscapes (ecology, environment, landscape architecture, etc.).

In recent years, the lake has seen its waters choked out by The interventions will also be open public spaces that will allow harmful algal blooms at alarming rates and intensities. This interactions between community members and exchanges nutrient loading is a consequence of a myriad of factors varying between constituents and surroundings.

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Education and interpretation will be directed toward the beauty, efficiency, and wonder of ecological services provided at each site, as well as the relationships of humans to these systems and how the benefits of each landscape intervention may be shared between all forms of life.

species, though the city’s mission to use the landscape as a teaching tool suffers from a lack of infrastructure and trail systems that need significant upgrading to reduce environmental impacts while promoting greater connections for active transportation.

Three gardens will be designed that will be connected not only by waterways, but also in their approach to mitigating environmental issues and in their attempts to foster a greater sense of ecological literacy. Programmatic elements will include: research areas for studying the dynamics of existing and/or reclaimed ecosystems, public open spaces with a focus on ecological interpretation, as well as additional site-appropriate programmes related to ecosystem potentials and community needs. Designed as centres for the advancement of ecological literacy and local knowledge, these gardens will be developed, funded, and maintained through partnerships between the University of Manitoba, all levels of government, non-government organisations, as well as members of the private sector with vested interests in each of the issues at hand.

Netley-Libau Marsh (Fig 02) – The last line of defense as water from the Red and Assiniboine River watersheds enter the lake, The Netley-Libau marsh has been highly degraded by changes to its hydrology over time including the regulation of water levels due to hydroelectric development as well as dredging for navigation. The marsh has been transformed into a monoculture of wetland species and the prevention of natural drawdown fluctuations has made it difficult for most emergent plant species to regenerate, resulting in vacating wildlife species and general loss of biodiversity.

Three sites investigated:

Bois des Esprits (Fig 01) – A protected urban forest oasis of over 100 acres, the Bois des Esprits is a popular walking, jogging, and cycling destination for residents in St. Vital and the newly established Royalwood subdivision. The forest features five distinct ecological zones with various native

Omand’s Creek (Fig 03) – Located near the Polo Park Shopping Centre, Omand’s Creek is a remaining historic creek that has been channelised and marginalised due to urban development.

The creek is a main destination for stormwater runoff and is located within an area of Winnipeg that has combined storm sewers that can cause increased wastewater introduction during storm events. The creek also has limited riparian health, but is enjoyed by many as a city park and productive, albeit stressed, urban forest.

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sinister cine-scape

Kelly Wojnarski

" " "

Landscape Architecture Dr. Richard Perron Dr. Marcella Eaton Dr. Brenda Austin-Smith NOTE This work is an excerpt from the practicum document titled "Sinister Cinescape: An Ostranenie of the Everyday through the Films of Alfred Hitchcock".

An electronic version of the work is contained in the University of Manitoba’s MSpace Electronic Theses and Dissertations collection.

!"

Initial Thoughts

The preliminary ideas inspiring this practicum project reach back to my experiences as both an undergraduate and a graduate student in design school. It is my belief that my formal education over the years has been primarily based upon learning about space through static representations such as readings, photographs and models of projects both constructed and unbuilt. To me, landscape architecture is conceived on the basis of physical reality: although design requires a great deal of imagination and vision, projects constitute a response to the spatial and temporal conditions of the "Real World" even if they are not realized. Therefore, my question becomes: how can I reconcile these static two-dimensional depictions vis-Ă -vis the dynamic, multi-sensorial reality of motion and change in which design operates?

Film As Spatial Antidote And Haunting Image Introduction

This graphic represents a visual outline of my project and it is meant to shock and overwhelm, just as I felt at the beginning of this practicum journey in the autumn of 2008. This illustration is an attempt to sort out all the new ideas I had encountered in the realm of film studies in relation to landscape architecture.1 348

The film medium offered an apparent and easily accessible solution to this query. The sequencing of images in cinema creates the illusion of movement and three-dimensional space that is incredibly vivid, completely engaging and so strangely similar to the experience of physical reality that the impressions generated by this "Reel World" tend to overwhelm my lived

larch experience of space. This seamlessness, while allowing one to inhabit fantasy worlds, also triggers powerful imagery which lingers and persists as an ghostly vision long after the movie itself has finished running.

Constructed Worlds

As I began to contemplate the role of cinema in my developing understanding of space, I studied the film medium and the manner in which the surrounding landscape has been depicted throughout its history.

documented by massive catalogues of reference photographs, including the use of a large, permanent standing set located in the back lot of many studios, immense hand-painted backdrops, rear projection of film shot on-location to impart a dynamic feel, and miniatures or models skewed according to a false perspective to lend the illusion of increased depth in order to appear more convincing.8

Genre + Constructed Worlds Since this Golden Age of American cinema, equipment has grown more portable and more sophisticated so as to permit Early Cinema filming to return to the streets, and it is common these days With the advent of motion pictures in the late 19th century, the for movies to comprise a combination of location shots edited first films often involved a single long take to captivate audiences together with studio footage.9 Although contemporary narrative through exotic or dynamic views captured by this novel new cinema has retained the emphasis on plot over setting, and medium.2 Without a fictional narrative, this cinema focused on consequently “cinematic locations serve as backdrops for “street scenes or views of other topographical subjects, some of characters that shape the story�, setting can also be expressive them photographed from moving vehicles and boats� to form the of underlying psychologies or overarching social critiques, earliest genres: actualities and phantom rides.3 While actualities although these roles are mainly prevalent in experimental, often involved recording urban scenes of daily life in the big rather than mainstream, film.10 city, often from a upper story window above the street, and phantom rides captivated audiences through unfolding dynamic Having watched a multitude of diverse films by this point in my views of the surrounding countryside captured by a camera research, I noticed that my discussions with Richard tended strapped to the roof of a train or streetcar, both of these types to concentrate on movies from a few specific genres: drama, can be considered to offer extensive, unedited views as a faithful fantasy, and sci-fi. With this observation, I decided to investigate reproduction of the surrounding landscape even though these these categories in order to understand how genre and its silent films were created on monochrome stock.4 Furthermore, associated conventions influenced the depiction of the landscape cinema offered the ability to capture the movement and change and drew several conclusions. While drama films focus on inherent in nature which still cameras simply could not, even in human characters and their relationships, they require a setting the most verisimilar panorama.5 which supports the unfolding narrative while not overshadowing it. In some cases, this setting is embellished as an extension Hollywood Studio Production System of the characters, and other times it is mundane and banal, As cinema continued to evolve into the 20th century, films but generally it is manipulated to a certain extent according to generally became “longer, but with shorter shots, close-ups diegetic needs of the storyline. In contrast, fantasy and sci-fi films and, increasingly, fiction and studio sets� and consequently both tend to emphasize bizarre or extraordinary hypothetical the landscape was relegated to the background as a setting situations, at times issuing warnings regarding dystopian futures. in which narrative events took place.6 A particularly evocative Occasionally these films present a totally detached universe period in cinema with regard to this notion of constructed from our own, and often require an entirely constructed reality worlds is the development of the American film industry during to support these strange stories. While the impositions of genre the early 1900s with the introduction of sound movies and result in a variety of distinctive realities, it is undeniable that all the establishment of the Hollywood system of production.7 fictional films require a believable setting, an alternative world Since contemporary equipment was considerably bulky and into which we enjoy escaping. microphones were apt to capture background noises, it was necessary for most films to be shot almost entirely on a While a film can begin with a narrative which requires the soundstage. This meant that in many cases settings had to molding of reality into a plausible setting, as in many Hollywood be almost entirely fabricated from scratch. A variety of clever films, or with a specific reality that inspires a particular narrative, technologies were devised to create this image extensively as in Italian Neo-Realist pictures, cinema generally involves

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the deliberate manipulation of place and in this sense all filmic worlds are constructed to a certain extent, creating a ontological distinction between the "Real" and "Reel" worlds, and between the realms of landscape architecture and film.

In my experience, landscape architecture is fundamentally driven by drawing: all design starts with the act of drawing to ascertain the conditions in which an intervention is proposed, as well as to generate possible solutions to a problem at hand by drawing out various alternatives in order to understand and Divergence of Landscape + Film communicate these possibilities. While this activity can result in As I continued to study the nature of the film medium through the production of an artifact, engaging graphics which express theoretical readings, it seemed to diverge from my understanding ideas long after inception, design drawing is equally focused on of landscape architecture. The seamlessness between our "Real" the awareness that this act of making, the drawing process, stirs world and filmic "Reel" worlds is an illusion, after all, and despite in our consciousness.12 The drawings produced alongside the the semblance of three-dimensionality, the cinema is still just written component of this document, ranging from ideograms a two-dimensional image‌albeit in motion or sequence. The to composite graphics incorporating a variety of media and worlds depicted in film are for the majority shaped according to have permitted me to record, to reveal and to reflect upon ideas narrative, and therefore produce their own reality. While the "Reel" emerging from the textual analysis of the films. The fluidity and World provides a captivating diversion into an alternate universe unselfconsciousness of the drawing medium render it a true which makes film-watching such an enjoyable pursuit, the antidote to the static representations which permeated my primary objective of film-making has been to develop a plausible design education.13 While drawing has enabled me to engage setting rather than an authentic depiction of our physical milieu, with the process behind the image and to seize control over the "Real" world, in which landscape architecture maintains its the persistent haunting of the filmic image by giving form to agency.11 This represents the fundamental difference between intangible atmospheres, in turn it has also served as a catalyst to landscape and film: while cinema creates worlds into which we generate new speculations on approaches towards the landscape escape, landscape architecture acts within the parameters of the as well as my emotional reactions towards these spaces. With world we currently inhabit. the capacity to represent a variety of conditions, ranging from the description of empirical reality in a technical axonometric to the [Draw]ing Parallels Of Intentionality fanciful expression of possibilities in imaginative collages and In spite of this intrinsic gap, the haunting visual imagery in cartoons, I have been able to harness the power of drawing to movies maintains a significant influence over my thinking, bridge the gap between the ‘Reel’ and the ‘Real’. insidiously infiltrating my design process as I constantly return to particular moments in films as I begin to consider and Hitchcock Datum manipulate spaces. Wondering why this effect is so pervasive, I Introduction started to ponder how it might be useful for designers to realize Returning to the notion of a haunting presence, the films of the covert influence of cinema. Through further readings in director Alfred Hitchcock began to reappear in my personal film theory, I became aware of the way that spaces are shaped research as well as throughout my elective course in film theory. according to the intentions of the director to elicit a specific Watching several of his features over the term, namely Shadow emotional effect. This manipulation of setting can produce a of a Doubt, Psycho, and Vertigo, I realize how Hitchcock’s films particularly palpable atmosphere and indelible visual imagery, provoke a strong reaction, even on repeated viewings, as my outcomes that I believe designers also strive towards with regard classmates and I jumped and twitched in our seats. Sifting to interventions within the landscape. through the profusion of material on the ‘Master of Suspense’ and his meticulous process of filmmaking, I came across The purpose of this practicum project is to deconstruct the an interview in which he remarked that he was “playing the manner in which cinematic atmosphere is shaped through audience like an organ,â€? that is to say that he deliberately prean examination of the mise-en-scène and the specific devices planned his productions to manipulate the viewer to achieve a employed by the director to achieve a certain emotional impact. specific emotional effect.14 Through the use of drawing to analyze this cinematic imagery, I explore how these concepts and techniques may be applied in Childhood & Embellishment landscape architecture to achieve similar effects. Drawing as As a designer, I was amazed at Hitchcock’s ability to affect process and product is a notion that underlies this practicum. his audience so potently through his films, and I studied

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several biographies in order to explore the extent to which his background had influenced his method of filmmaking. Born in Leytonstone, England in 1899, Hitchcock was the youngest child of a Roman Catholic family in the wholesale grocery business.15 Reserved and quiet, he preferred to play alone and was fascinated by the study of maps and train timetables.16 At the tender age of five or six, as the famous anecdote goes, young Alfie was sent to the local police station with a note from his father instructing that the boy be locked up in a cell for five minutes as punishment for some trivial naughtiness.17 Although the different accounts of this incident vary considerably, and particular sources question the truth upon which this myth is based, this story certainly represents Hitchcock’s characteristic propensity to embellish reality with a certain amount of fiction for artistic effect.18 Design & Art Direction In 1914, Hitchcock studied draftsmanship at the University of London and subsequently found employment at the W.T. Henley Telegraph and Cable Company as an estimator.19 Finding this work repetitive and monotonous, he turned to film as a diversion, continuing to pour over trade publications and attend the cinema as he had in his early youth.20 After noticing an advertisement in one of these papers, he submitted a portfolio of original designs to the newly established Famous Players-Lasky studio in Islington and was hired to design title cards for the films.21 While working at this fledgling studio, Hitchcock took on many different roles, however, his career truly began in production design as he designed and dressed the film sets.22 Eventually promoted to the rank of director, Hitchcock had learnt the art of visual storytelling and had accumulated the requisite technical skills in production design to follow through on this approach towards filmmaking.23 Drawing & Cinematic Vision As a director, Hitchcock was notorious for exercising complete control over each and every aspect of his productions, and engaging in exhaustive pre-planning activities.24 While the extent of this control has been disputed, it is clear that Hitch, as he

was known to his collaborators, made elaborate preparations, including the use of drawing to visualize the film, often sketching out these ideas during the development of the script itself.25 Although the artistic skill that Hitchcock possessed were also called into question, the director often utilized various types of drawings to communicate and to plan specific shots and special effects, prior to and during shooting, in order to make the production process unfold more smoothly and produce a film more closely related to his initial vision.26 Realism & Atmosphere Although Hitchcock’s cinematic narratives often take a curious twist, they are for the most part inspired by ordinary events, particularly crimes reported in the British press.27 Fascinated by these news stories, in which the macabre unexpectedly sprang from seemingly normal circumstances, Hitchcock tended to plunge ordinary characters into bizarre, dark situations.28 After moving to the United States from England in 1939, the director began shooting films on Hollywood soundstages as well as within the American landscape.29 Working on location, thereby capitalizing on familiar views of iconic places, as well as re-creating the city through the construction hyperreal sets, this director was able to “lull the audience into a false sense of securityâ€? then jolt them with a sudden shocks, usually delivered through narratives based on murder or espionage.30 The power of Hitchcock’s mise-en-scène is that it persuades us into believing things that we would not normally accept through its verisimilar appearance to reality.31 In addition to this suspension of disbelief, the imagery in his cinema is so particularly vivid as to leave an indelible imprint on the mind. Certain scenes have definitely lingered in my subconscious, past the experience of actually watching his films. I find myself drawn to the intricacy of the detailed mise-en-scène which yields to a powerful atmosphere: Hitchcock realism deliberately sets the stage for a specific feeling to emerge.32 Project Datum Through this research, I decided to focus on Hitchcock to provide organization for this project in the form of a datum since each of his films are essentially haunting, intellectually loaded yet simultaneously engaging and entertaining. Although his

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larch filmography is substantial, it is also finite, which enabled me to examine a range of work while permitting me to engage in a more detailed analysis of the work. While many of his films take place in the “Big Cityâ€?, sometimes New York, often times these narratives shift back and forth between dense urban locations to more rural spaces as the action unfolds, establishing an interesting juxtaposition of landscape types. While Hitchcock often adapted his scripts to certain places, he recognized the suspense inherent within these landscape.33 Within the studio, Hitchcock constructed settings “in an obsessive manner, so that it is possible to find cogent significance for most of his details.â€?34 Whether set on a soundstage or shot within an actual location, Hitchcock’s films exude atmosphere yet comprise a tightly controlled mise-en-scène: through the deconstruction of these production design elements as well as my impressions of the films, I have endeavoured to understand the manner in which Hitchcock created this imagery, the power it holds over the viewer and the potential that these methods hold for the realm of landscape architecture.35

correlate the concepts discovered in the films to real-world sites by exploring places which embody these cinematic atmospheres.

These explorations, as well as additional investigation of the landscape themes, form the basis of Chapters 3, 5 and 6 within my practicum document.

Product

Through this analysis, my intent was to produce a set of composite images to reflect upon how the devices employed

by Hitchcock can apply to the material world as well as to graphically communicate these ideas in my final presentation and within this document. These illustrations, produced alongside the writing, are composed as digital collages and have served to inform my investigations along with exploratory sketches and ideograms. While these drawings each describe a separate condition, they share the common objective of stitching together landscape and film through the visual description of a temporal condition, a moment in time within a particular film as well as a related space within my everyday reality. These composite images appear at the conclusions of Chapters 3, 5 and 6 of my Process practicum document, although their development is also rooted Throughout my practicum, process has been equally as important in Chapters 2 and 4 through the developing awareness of my as final product and this notion of developing ideas is embedded everyday landscapes. within this document.36 Through the incorporation of process photographs and sketches as well as written passages describing Application/s various image-making activities, discussions and the discovery of This dialogue between landscape and film, and between image key concepts at different points throughout this journey, such as and text, is embedded within this final document. It is intended the detour represented in Chapter 4 of my practicum document, I to stimulate other designers into questioning the extent to have endeavoured to mimic the process I have undertaken during which cinema has coloured their perceptions of the landscape, this practicum experience. prompting a re-examination of the cinematic spaces normally taken for granted in film and an active engagement in the Initially, my intentions were to select a few major films from dramatic possibilities proffered by the Reel World. A discussion Hitchcock’s Hollywood productions, analyze specific scenes from consolidating these concepts and their relevance to the realm the movie, and discuss the atmosphere of the filmic image in of landscape architecture is presented in Chapter 7 of my terms of the mise-en-scène and my personal reactions towards document, along with the culmination of my personal journey it. Each film was to form a separate chapter in the final document through the application of the composite images onto canvas and in which I constructed this haunting imagery through an analysis the process of developing this practicum document. of the manner in which it was constructed. However, as I began working through these materials and contemplating my role as a designer, I decided that it was more appropriate to return these ideas to the landscape in a set of themes which are introduced in Chapter 2 of my practicum. It was always my intention to

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SOURCES 1

2

I must acknowledge that this drawing was inspired by a piece created by artist Mason McFee in Beautiful/Decay’s Book 6: Future Perfect (2011). This illustration can be located at: Mason McFee, “B/D Book 6,� Hello Maseman, accessed 3 January 2012, http:// www.hellomaseman.com/2011/07/bd-book-6/.

19

Patrick Keiller. Urban Space and Early Film, in Cities in Transition: The Moving Image and the Modern Metropolis, ed. Andrew Webber and Emma Wilson. (New York: Wallflower Press, 2007), p.32.

22

20 21

23

3

Keiller, “Urban Space,� p.29.

4

Further information on actualities can be found in: James Sanders. 24 Celluloid Skyline: New York and the Movies. (New York: Alfred A. 25 Knopf, 2001), pp.26-31, 33, 42.

5

Scott MacDonald, “The Attraction of Nature in Early Cinema,� in Adventures of Perception: Cinema as Exploration. (Berkeley: University of California Press, 2009), pp.198-213.

6

Quoted from Keiller, “Urban Spaces,� p.32.

Maurizia Natali. “The Course of the Empire: Sublime Landscapes in the American Cinema,� in Landscape and Film, ed. Martin Lefebvre.

(New York: Routledge, 2006), p.104.

7 8 9 10 11

12

13

14

15 16 17 18

26

Further details are described in: Sanders, Celluloid Skyline, pp.4360 A description of these elaborate sets is included in: Sanders, Celluloid Skyline, pp.61-84.

Sanders, in Celluloid Skyline, pp.437-439.

27

David Melbye, Landscape Allegory in Cinema: From Wilderness to Wasteland. (New York: Palgrave MacMillan, 2010), p.1, 11-13.

28

Martin Lefebvre, “Between Setting and Landscape in Cinema,� in Landscape and Film, ed. Martin Lefebvre. (New York: Routledge, 2006), p.19-59.

29

Karen Wilson-Baptist, “Solve it by Drawing: Drawing as Design Inquiry,� (unpublished lecture from Research Methods in Landscape Architecture (LARC 7420), University of Manitoba, January 25, 2010).

Terry Rosenberg, “New Beginnings and Monstrous Births: Notes Towards an Appreciation of Ideational Drawing,� in Writing on Drawing: Essays on Drawing Practice and Research, ed. Steve Garner. (Bristol, UK: Intellect Books, 2008), p.109-124.

John Russell Taylor, Hitch: The Life and Times of Alfred Hitchcock.

(New York: Pantheon Books, 1978), p.19. Bill Krohn, Hitchcock at Work. (London: Phaidon Press Limited, 2000), p.12. François Truffaut, Hitchcock. (New York: Simon & Shuster, 1984), p.269.

Charlotte Chandler, It’s Only a Movie: Alfred Hitchcock, A Personal Biography. (New York: Simon & Schuster, 2005), p.14.

Taylor, Hitch, p.25-26.

30

31 32 33 34

35

Ibid., p.27, 31.

Ibid., p.19, 28.

Chandler, It’s Only a Movie, p.35.

36

Donald Spoto, The Dark Side of Genius: The Life of Alfred Hitchcock. (Boston: Little, Brown & Company, 1983), p.16.

Patrick McGilligan, Alfred Hitchcock: A Life in Darkness and Light.

(New York: ReganBooks, 2003).

Gary Leva, The Master’s Touch: Hitchcock’s Signature Style, Film.

(Glendale, CA: Leva FilmWorks, 2009).

Spoto, The Dark Side of Genius, p.35-37.

McGilligan, A Life in Darkness and Light, p.15-17.

Taylor, Hitch, p.39.

Spoto, The Dark Side of Genius, p.55.

McGilligan, A Life in Darkness and Light, p.51.

Spoto, The Dark Side of Genius, p.66, 70.

McGilligan, A Life in Darkness and Light, p.62-63, 68.

Curtis, “The Last Word,� p.15-17.

Will Schmenner, “Creating the Alfred Hitchcock Film: An Introduction,� in Casting a Shadow: Creating the Alfred Hitchcock Film, ed. Will Schmenner and Corinne Granof. (Evanston, IL: Northwestern University Press, 2007). p.4, 8, 11.

McGilligan, A Life in Darkness and Light, p.55.

Krohn, Hitchcock at Work, p.12-13.

Curtis, “The Last Word,� p.17, 22-23.

David Alan Robertson, “Preface: Casting Alfred Hitchcock – An Art Historical Perspective,� in Casting a Shadow: Creating the Alfred Hitchcock Film, ed. Will Schmenner and Corinne Granof. (Evanston, IL: Northwestern University Press, 2007). p.ix.

McGilligan, A Life in Darkness and Light, p.50.

Krohn, Hitchcock at Work, p.10.

Spoto, The Dark Side of Genius, p.68.

Curtis, “The Last Word,� p.18-22.

Spoto, The Dark Side of Genius, p.33.

Spoto, The Dark Side of Genius, p.13.

Ibid., p.13.

Leva, The Master’s Touch.

Natali, “The Course of the Empire,� p.115.

McGilligan, A Life in Darkness and Light, p.34.

Krohn, Hitchcock at Work, p.15.

Steven Jacobs, “Sightseeing Fright: Alfred Hitchcock’s Monuments and Museums,� in The Journal of Architecture 11, no.5 (2006), p.593.

McGilligan, A Life in Darkness and Light, p.24.

Chandler, It’s Only a Movie, p.5.

Krohn, Hitchcock at Work, p.15.

McGilligan, A Life in Darkness and Light, p.9.

Melbye, Landscape Allegory, p.144.

Tom Gunning, “In and Out of the Frame: Paintings in Hitchcock,� in Casting a Shadow: Creating the Alfred Hitchcock Film, ed. Will Schmenner and Corinne Granof. (Evanston, IL: Northwestern University Press, 2007), p.42.

Schmenner, “Creating the Alfred Hitchcock Film,� p.7.

Krohn, Hitchcock at Work, p.16.

Chandler, It’s Only a Movie, p.13.

Curtis, “The Last Word,� p.22-25.

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shifting ground

Kira Appelhans

Parsons, The New School for Design Adjunct Assistant Professor Working Earth

Landscape architecture begins with sites that have been molded and shaped by millennia of use. Intaglio printmaking begins with a perfect, polished copper plate. Initially the two practices may seem incongruent. Ultimately, however, intaglio prints mimic the landscape’s natural evolution, etched layers scarring that perfect copper surface, just as the grinding of time forever alters the natural landscape.

I was introduced to printmaking while studying for my masters of landscape architecture. As a professional, I continued to pursue printmaking in the moments between life and work, eventually discovering that printmaking provided the opportunity to explore design through an alternative medium. Last fall I exhibited some of this work in a show, Shifting Ground, at the University of Manitoba.

Both landscape architecture and printmaking deal with processes that are inherently dependent on time—one measured in decades, the other in minutes. Landscapes adapt to change over time. The intaglio print process is a mechanism for rapid exploration and chronicling of that change. Printmaking also enables the depiction of nature’s ephemeral conditions, and the generation of unusual geometries, conditions, or spontaneous relationships. The prints are catalysts that, when synthesized, inspire new design thinking. Because of this, printmaking has potential as a tool in the design process.

Alternative Exploration

Landscape architects generally work with defined sites full of existing constraints. Programmatic requirements and client desires add to the project’s complexity. Eventually, all elements must be integrated to create a cohesive whole—a challenge faced, and embraced by designers throughout the ages.

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Designers from Roberto Burle Marx to Yves Brunier and Zaha Hadid have used art to both address site challenges and generate new formal and conceptual approaches to their work.

For designers, artistic exploration can be particularly freeing because the valuation of a medium changes when it exists outside of professional constraints. The work of a fine art printmaker is critiqued for the quality of print product, printing technique and any conceptual ideas being explored. As a designer, without the burden of a deep historical and technical knowledge of the discipline, I am able to step outside of the traditional fine art framework and use printmaking methods as one step in a larger creative process. There is also naturally less tendency to self-critique when working outside one’s discipline. Both of these circumstances free the craft from context and encourage more nuanced explorations.

Exploring design concepts through art processes also opens space for the mind to cogitate without explicitly thinking. It is an enforced pause during which ideas simmer in the background. These periods of work related to, but not specifically directed towards, design facilitate the interpretation of those ideas through one’s hands.

Like other art forms, printmaking offers an immediacy that design cannot. Unlike some other techniques, the printmaker can make a print after each revision, 356

generating a record of the plate’s transformation. Every iteration is a finished product in a way that multiple variations of a design on trace paper are not. The recordkeeping inherent in the print process prevents individual images from becoming too precious and, thus, resistant to change. The visualization of ideas happens much more quickly. The tempo of work changes.

A critical energy builds after a few hours in the printmaking studio. That energy drives me to keep testing, looking, and producing. During this time, I let myself follow almost any whim without being too critical of it's trajectory. This doesn’t mean I’m not making considered decisions about what I’m creating; each etch is intentional. The marks are qualitative studies of flows, both human and atmospheric, and ephemera, but not always completely controlled. The lack of control inherent to the process moves the work forward. I edit, react to, and incorporate both the intended results and the unexpected, often fortuitous, accidents that are part of printmaking. The aim is to use the process for intentional deviation from representation.

To maintain creative momentum, I work on multiple plates simultaneously. As one plate etches in the acid bath, others are ready for marking or printing. This approach is immensely productive. Later, I filter through the profusion

Ways of Water Print

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Ways of Water Plate

Angeled Opportunity Print

Out of Appalachia Print

of work and incorporate relevant pieces into the design process as tools for cataloguing layers of site information, and in experimentation and speculation.

a large press. The force of the press squishes the paper into the ink-filled grooves, printing the etched areas. The resulting image is the inverse of the image on the plate (Fig 01, 02).

The Intaglio Printmaking Process

Experimental Print Practices

The art of intaglio printmaking originated in a time when the exact reproduction of images was relatively difficult. When etched onto a metal plate, one image becomes infinitely reproducible. Botanical renderings, political cartoons, and fine art from the likes of Rembrandt and Goya were made using traditional etching techniques.

Used traditionally, intaglio printmaking is highly controlled and yields predictable results. To explore the potential of this process as a generative tool, I use the materials more experimentally to observe, improvise, and expose the altered physical properties of a material. These experiments, which range from applying hard ground on a partially oiled surface to drilling holes through the plate itself, push the bounds of In its most basic method, the printmaker begins the process by control in plate-making and reveal unimagined relationships covering the entire surface of a copper plate with hard ground, and textures during etching and printing. (Fig 03). a material resistant to acid. She then drags a needle across the covered surface to expose the metal below. When the plate The physicality of printmaking also allows for a different is submerged in acid, or etched, areas of exposed metal are kind of experimentation. Although prints are twoeroded leaving indentations in the plate’s surface. Those areas dimensional, the plate is malleable and can become a very that have been etched for longer periods of time have deeper three-dimensional object. It can accept the application of indentations and so create darker marks when printed. significant force, allowing for the instantaneous visualization of actions upon the plate—be they violent erasures, the trace To print, the printmaker applies ink onto the plate with a card of a concentrated impact, or the gentle residue of acidic or roller. She then wipes the plate first with a loose fabric puff erosion. Always, the focus of this process is the evolution of and then by hand to remove all extraneous ink. The etched the plate, not the production of a pre-conceived image. areas hold ink even after the plate has been wiped. Damp paper is then placed over the plate and they are run through

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Print by Mikaela Kvan

Parsons, The New School for Design

Printmaking & Design

Anu Mathur and Dilip da Cunha are pioneers of the use of printmaking as a design tool. Their work studies landscapes in flux—the Mississippi River basin, Bangalore maidans and the Mumbai estuary—and questions boundaries that societies and governments perceive as finite but which are often indistinct. As they wrote in an interview on Design Observer, their work seeks to "uncover a more dynamic and layered terrain and history." Through intensive research they draw out conflicting layers of these landscapes. They reinterpret these investigations, superimposing them using silkscreen to create challenging, informative representations of both visible and invisible agents within the landscape. By questioning entrenched assumptions rather than proposing specific projects, the aim of their work is to initiate a dialog that effects change at both individual and political levels.

Print Series, Overland

landscape-based work. Built projects are rarely “finished,� rather they are the start of a process that the weather, seasons and other external forces continue to shape.

Printmaking allows for the compression of the decades-long landscape timeline, enabling designers to quickly experiment with processes, both organizational and natural (Fig 04).

The layering of prints allows for the creation and study of complex systems, such as cities. In addition, many aspects of the printmaking process mimic natural processes: erosion, deposition, accumulation. Acid actively eats away at the plate, making the study of these processes real instead of imagined.

The printmaker can record the process of erosion.

Printmaking can also be used to study the conflicts that arise when designed systems interact with organic processes.

For example, the Overland series (Fig 05) are a study of fixed In a theory class, Anu Mathur introduced me to printmaking linear elements traversed by a cross flow. The linear elements, as a design technique. The class focused on the exploration railroad tracks in real life, are defined by impressions of seed of landscape conditions through analog techniques and was pods made with a malleable hard ground, or plate covering. as much a study in potential processes as the production of The cross flows were generated by literally running sugar lift, images. My own explorations of printmaking as a design tool which pops the hard ground off the plate, across the plate. The have built upon those first experiences. basic concept reads in the final print but the image is much more complex than the original concept.

While landscape architecture plans for transformation, intaglio printmaking uses degradation to create. The Ephemera relationship between the two lies in the malleability of the Landscapes change moment to moment. Each experience material and its ability to accept and record change. El of a place is unique, transformed by the time of day, season, Lissitsky, a Russian artist, designer, and typographer wrote, weather, and other inhabitants. Many of the phenomena "Every form is a petrified snapshot of a process. Therefore that shape our experience of the landscape also work to a work is a station in evolution and not its petrified aim." physically alter it. Evidence of these dynamic elements, Printmaking facilitates the exploration of evolution as it as they affect our individual experience or as they affect relates to elements that also exist in landscapes: change greater geologic-scale change, is typically difficult to record. over time, ephemeral conditions, and scalable space. The The printmaking process can conceptually capture these subsequent interpretation of these images changes the ephemera—both site-scale circumstances as well as more generation and representation of design concepts. intimate occurrences in the studio.

Compressing time, capturing change

The structures we build are designed to be permanent.

Nature, however, does not tend toward stasis. It constantly acts against our desire for permanence—clogs, cracks, and sprouts disassemble all we create. The passage of time, which often must be imagined, is an active element in 358

By facilitating the expression of landscape phenomena— movement, sound, smell, humidity—printmaking presents an alternative strategy for drawing information from a site.

Images emerge that are of a place and reveal unimagined potential in familiar places.

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Part of the Edmondson Park explorations

Rain Only Swarms Once a Year Detail, with scale figure

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3D Collage on Print

Viewing Booths

Advanced Tanners

In the studio, printmaking records the beauty of the organic reactions of substances against one another. For example, the print Rain Only Swarms Once a Year (Fig 06) began when water splashed on one of my plates. The arrangement of the droplets was incredibly dynamic so I dropped acid into each one to etch their fleeting presence onto the plate. Unlike the clip art photograph of splashing water, the print captures the droplets’ existence and energy with less mimicry. They were recorded, but at the same time altered. That transformation frees the printed image from standard assumptions and creates space for unconventional readings.

Scale

Printmaking generates scalable spatial ideas. In some instances, the interpretation is more intimate, in others, it relates to larger site strategies. Inserted images provide a reference point for reading the print across the hugely different scales that exist in the landscape.

A second strategy for scaling the prints requires reading the image from different vantage points—mostly perspective but also plan and section. In this exercise, the print is essentially treated like a Rorschach image. Building on unique conditions within each print, the images are re-interpreted and yield original spatial configurations (Fig 08). This technique developed from a period when I was collaging humorous phone book ads onto my prints, so some interpretations are more whimsical than others (Fig 09, Fig 10). When I have accumulated a catalog of these potential spaces, drawn out of prints, I will experiment with weaving them together and onto a site. Designed spaces will emerge from discovered worlds rather than through the traditional development in plan and section, subverting the design-to-illustration process.

In preparation for the Shifting Ground show, I developed the scale wheel, a frame with movable parts that demonstrates the scalability of prints. Prints are placed in the frame and a rotating wheel overlays a series of different images—in this case a beer can, fern and strolling couple—which instantly shift the reading of the print. (Fig 07, Series)

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Desired Connection

Axial Misunderstanding

Park Void

Site Print, Edmondson Park

Print

Diagram

Edmondson Park Plan

Some sites design themselves. Others are more mundane and benefit from the infusion of dynamic structures. One of the strategies I have been investigating is an interpretation of a technique called grafting.

The concept of grafting has horticultural origins and has more recently been adopted by the design profession. When used in design, it involves the overlay of an image with defined geometries onto a site with the goal of developing new site organizations. It is a strategy that is often taught in design school and used to varying degrees of success in contemporary practice.

instead of working with the shapes, I decided to work with what I call ‘forces.’ I made a diagram of the energy of the print (Fig 12B) and applied the diagram, not the shapes, to the park. The actual formal development was a reaction to the concepts of the diagram as they related to the conditions of the site and program (Fig 13).

In the design, ideas of flow, conflict and isolation determined programmatic relationships and formal geometries. Users are separated by material—decomposed granite for pedestrians, concrete for skateboards, turf for play. Bands of materials move through the left side of the park, colliding in the central portion of the park that is at once neighborhood plaza, skate park, and As part of the work developed for the Shifting Ground exhibit, I play space. The major axial entrance from the neighborhood explored several strategies for grafting prints onto a site with terminates in this ‘zone of collision’ encouraging active little inherent organization. The site I selected is a long thin park community use. On the right side of the park, larger turf spaces on a busy road in Nashville, Tennessee, bordered on one side and bar-b-que area float in a sea of pea gravel encouraging by a new residential development, and on the other by a lightmore passive occupation. industrial neighborhood. (Fig 10A-C) There are many elements of this site that can’t be photographed, principally the noise from This design was developed from a print that had no association the adjacent street and the feeling of complete vacancy within with the site. In the future I will experiment with using site the park. These I captured in a site analysis print (Fig 11). observation/analysis prints to generate design proposals. The attraction of this method is that the ephemeral components of The design for the park needed to engage the neighborhood, the site will enter into the design dialogue and have an effect on buffer the street, and provide activities for the 300+ children that the generation of space. live within walking distance. The park program was developed by a group of high school students in a summer design camp.

Having already used these students’ ideas to develop a previous design, I decided to keep the program consistent across investigations to allow for easy comparison.

I started to design by selecting a dynamic print unassociated with the site (12A). At first I imposed a print onto the site simply as a geometric construct. Though the forms in the print fit within the site, qualities that made the print dynamic were lost in the translation to pure geometries. It felt reductive. So, 362

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I have also used several of the previously discussed methods in a class called Waterlogged that I teach at Parsons, The New School for Design. The class uses printmaking to explore two parallel investigations. The first studies the complicated, layered systems of cities. The second uses printmaking to introduce students to conceptual ways of thinking and working.

The students in Waterlogged study historic waterways of Manhattan and their relationship to modern city forms. In present-day New York City, little evidence of these streams remains. Students study old maps and GIS databases to extract layers that describe the city’s evolution. In the printmaking studio they etch these layers onto a plate, slowly building an image that registers the complexity of change in a densely urbanized place.

Conflicts arise when designed systems are overlaid on natural surfaces. As the students add layers to their plates they begin to discover some of these conflicts themselves (Fig 14).Because intaglio printmaking is an additive process, each new layer is forced to react to and incorporate marks made in previous etches. Much like the experience of working on a project in a city full of old buildings, pipes and tunnels, students must deal with the constraints imposed by the traces of previous occupation.

As students research the history of remnant waterways in Manhattan, they discover that, like the marks on their plates, water in New York City did not simply disappear as the metropolis obliterated individual streams. Bubbling up in basements, channeled into sewer pipes, and trickling down subway tracks, streams still run in Manhattan.

Print by Emma Walshe

Waterlogged also uses printmaking to teach students more complex analogy-based concepts. This is the technique I was

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Parsons, The New School for Design

Workshop

Site Observations Drawing Drawing done done along along railroad railroad tracks tracks in in Philadelphia, Philadelphia, for for print print series, series, Overland Overland (Fig (Fig 05) 05)

introduced to in Anu Mathur’s theory class. For Waterlogged and in other workshops, I have adapted this approach to teach analogy as a tool to create abstract studies of sites. (Fig 15) Students begin by making a series of observation drawings in areas of their historic stream sites. The focus here is to record the elements of the place that are not photographable. The sites in their own way deal with the history of control, everchanging flows, and the boundaries created by infrastructure.

The streams now invisible, the students focus on other ephemeral elements of the site.

While making their observation drawings, students are specifically asked to avoid illustrative depictions of objects— buildings, cars, people—but rather to record the reaction of each object to the varying conditions of each space. This starts with a diagrammatic analysis of the structure of the space (widths, height, visibility, porosity). Observations of ephemeral elements—smells, sounds, movements—are added next. This second layer focuses on mapping the movements of other habitants, their species and speed, and their traces read through scrapes, depressions, and disturbances. Students are also asked to record the ambient conditions. They are asked to consider the spaces above and below them. These drawings, (Fig 16) which are developed over the course of several weeks, are the basis for an abstract study of each site.

Using the drawings, students determine the arrangement and quality of constraints on their site. This becomes the base geometry they lay down on the plate. Observed movements are analyzed and described. Words like divert, intercept, converge, and aggregate come up often. These direct the manner in which marks are made on the plate. As each layer is added to the plate, students are asked to consider and react to existing

marks, forcing engagement with both the plate and site. The prints naturally evolve away from initial diagrams as the process carries them in different directions and yet, embedded within each image are logics and relationships inherent to the site.

Building on Anu’s technique, students use the final prints to develop ideas about real-world project proposals. The students are asked to revisit their site and, using their prints as a starting point, develop conceptual projects that reveal the existence of buried waterways to the public. Using the print scaling methods discussed earlier, the students work into their prints, extracting inspiration for initial project proposals from the images. This is probably the most difficult conceptual leap for them to make. It is very hard to separate the site from the prints and imagine new images or landscapes developing from them. As they synthesize the prints, students are encouraged to tie initial site observations into their final projects. Over the course of project development, the focus of work turns towards creating a more standardized set of design drawings.

As can be seen, the printmaking process is inherently different from the design process. James Corner once wrote, “Landscape architecture has traditionally sought to recover sites and places, employing site phenomena as generative devices for new forms and programs.� By first altering and then drawing inspiration from site phenomena, the hybridization of landscape architecture and printmaking is another iteration of that longstanding tradition. The combination of disciplines, when used to explore design, transcends the potential of either process in isolation and guarantees a unique outcome. As a tool for investigating abstract concepts or enlivening designs, printmaking has enormous potential in the field of landscape architecture.

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Department of City Planning graduate studies

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city

winnipeg: city of memory

Adam Prokopanko

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Sharon Ackerman City Planning, Graduate Studies

Introduction

Architecture invokes a sense of place in the city. Buildings that have stood the test of time achieve continuity not only in a physical sense but also in the meaning they have for the citizens. Meaningful architecture communicates the purpose and importance of a place even to visitors who are experiencing it for the first time. The Exchange District is a National Historic Site of early 20th century buildings, many built as warehouses and banks. Thanks to Winnipeg’s relatively slow growth in the latter Academy of Urbanism 106) part of the 20th century, the city’s buildings from this timeframe were left largely intact in comparison with other Canadian cities.

Winnipeg is a city rich in memory. Due in part to the city’s In the case of the Exchange District, the integrity of the area relatively slow growth, the buildings in the city are older on average than most Canadian cities. While the age of a place is not is worth more than the sum of the individual buildings. The the only criteria determining memory, it is an important factor, as neighbourhood evokes the memory of Winnipeg’s past glory days as the third-largest city in Canada and the “Chicago of the Northâ€? memory is a quality developed over time from an accumulation The brick warehouses were fairly utilitarian structures at the of human experiences. Throughout the 20th century many time of their construction, but now are considered unique period cities experienced tremendous physical change in the name architecture that is prohibitively expensive to duplicate today. of progress. Winnipeg held back somewhat, not necessarily by choice. As a result, the city has preserved a stronger sense of Winnipeg is home to many historic churches, cathedrals, and memory in its urban fabric. The importance of this preservation synagogues. Designed from the start as sacred spaces, their is becoming increasingly appreciated. Anthony Reddy states architecture often sets them apart from their surroundings and that there is “a growing recognition [‌] of the value of a distinct becomes a focal point for their neighbourhoods. They also feature urban identity. It is an irony that, in this era of globalization, prominently in peoples’ memories as the sites of baptisms, bar the uniqueness of regional urbanism and identity is becoming mitzvahs, weddings, funerals, and other milestones. The iconic increasingly valued.â€? (Academy of Urbanism 100) onion domes of the Holy Trinity Ukrainian Orthodox Metropolitan Memory and meaning can be found in Winnipeg, as in other cities, Cathedral and other churches rising over the North End are a product of the Eastern European immigrants who settled there. through the architecture of its buildings, the experiences in its places, and the memories of its people. Memories are altered and The St. Boniface Cathedral is considered to be the mother church revised based on the way and place in which they are preserved. of western Canada. The current structure is the sixth church built The style, location, and condition of the buildings and monuments on the site, within the ruins of the previous cathedral destroyed in a spectacular fire in 1968. The memory of the former grand stone that evoke memory also influence the nature of that memory. basilica is maintained with the incorporation of the surviving This is readily apparent in Winnipeg, city of memories. shell into Étienne Gaboury’s modern replacement. Virtually all notable franco-manitobain leaders of the past two centuries are Architecture buried in the cemetery on the cathedral grounds. “Especially in the last few decades, these architectural Arguably the grandest edifice in Winnipeg is the Manitoba residues from earlier times have become important sites Legislative Building. The neo-classical grandeur emphasizes of pleasure. Perhaps it is the elusive quality of these its role as the seat of government for the province. The solid outmoded places or their precarious state of existence Tyndall stone architecture evokes a sense of permanence and that offers the spectator pleasure. Or pleasure might continuity. The Legislature also features numerous architectural be found because these fragments reawaken forgotten details, including Egyptian sphinxes, that add to the intricacy and memories that have long been dormant, or because their intrigue of the building. Upon closer examination of the Masonic original function and purpose have been erased, allowing imagery incorporated into the building, hidden symbols give it a the viewer to substitute invented traditions and imaginary mysterious and meaningful quality. The iconic Golden Boy atop narrations.â€? (Boyer 19) “Cities and towns are amalgams of buildings and people.

They are inhabited settings from which daily actions from the minor to the important, the random to the organized, derive their validity. In the city and town is the ultimate memory of humanity’s struggles and efforts; it is where pride in the past is put on display.� (Reddy in

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the dome has been one of Winnipeg’s most prominent landmarks since the 1920s. The iconic, windswept corner of Portage & Main is the focal point of the Winnipeg skyline with the tallest buildings in the city on its four corners. The sheer scale of the architecture denotes this intersection as the centre of economic power in the city. While modern office buildings and concrete barricades have given the corner a certain sterility in recent decades, the corner retains a mythology as the focal point of the city. This was evidenced most recently with spontaneous celebrations at the announcement of the return of the Winnipeg Jets, recalling the memory of Bobby Hull’s 1972 signing of the first million-dollar hockey contract at the same location.

Places “A city remembers through its buildings, so the preservation of old buildings is analogous with the preservation of memories in the human mind. The process of urban change is the domain of history, but the succession of events constitutes a city’s memory and this is the preferred psychological context for making sense of the city. Identity, it follows, is the sum of all the traces in the city but likewise if development sweeps buildings away then memory loss and identity crisis threaten and the city loses its typology (its memory forms) and can no longer act as a kind of guide or exemplar for the people living in it.� (Crinson xiii) Seemingly ordinary places can accumulate a great deal of memory in the collective psyche of the city. In these cases, meaning is derived not from the architecture itself, but from the many memories associated with that place. The place becomes a physical anchor for a continuum of memory. There are many such places in Winnipeg, cherished by locals and eagerly revisited by former residents during their return visits to the city.

Not surprisingly, restaurants figure prominently in these favourite places. Special foods invoke fond memories involving all five senses. Kelekis Restaurant has been a North End landmark for decades. It is a nondescript little building with basic diner fare.

Nevertheless, it has become an iconic institution in the city. Mary Kelekis still runs the business that her father started from a chip wagon in the 1930s. The pictures of hundreds of celebrity musicians, actors, athletes, and politicians who have eaten there are proudly displayed on the walls. For decades, political leaders have made a point of eating at Kelekis while campaigning in the city to show their support for an authentic Winnipeg experience.

The Bridge Drive-In on Jubilee Avenue is Winnipeg’s most popular place to get ice cream on summer evenings. It takes its name from the adjacent Elm Park Bridge, the oldest crossing of the Red River in south Winnipeg that remains in use as a pedestrian bridge. The BDI, as it is known locally, is noted for unique and elaborate delicacies such as the Sleeping Beauty served in a hollowed-out pineapple and the Goog, consisting of a chocolate sundae floating in a blueberry milkshake. On hot summer nights, people eagerly wait in line for half an hour as the surrounding area becomes a hive of activity.

The statue of founder Timothy Eaton stood in the venerable Eaton’s store on Portage Avenue until it closed in 1999. The statue was a major downtown meeting point for people, even if they weren’t shopping at Eaton’s. Years of rubbing the toe of the statue for good luck have given it a shiny finish. With the construction of the MTS Centre on the former Eaton’s site, the statue received a new home and is currently situated very close to its original location. Although the building housing it has changed, the statue remains a meeting place for a new generation of Winnipeggers. The block on the south side of Portage Avenue between Donald and Hargrave streets has been an important location in downtown Winnipeg since the Eaton’s department store was built there in 1905. In its heyday, it is reputed that Eaton’s attracted as much as half of all discretionary spending in the city. The downsizing and bankruptcy of Eaton’s in the 1990s symbolized the decline of downtown Winnipeg and the spirits of the city as a whole. The construction of the MTS Centre and the return of the Winnipeg Jets have once again made that downtown block the most happening place in the city.

People “There are no more obvious markers of memory in a city than its monuments and no more obvious sites for crises of memory. Monuments are usually paid for or at least sanctioned by the state and represent what must be remembered according to established power, although they can also stand for challenges to that power.� (Crinson xvi) Memory is about people as well as places. The memorable people who have been honoured with public commemorations demonstrate the collective values of the city. Some are remembered for their contributions to Winnipeg, others for

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their accomplishments elsewhere. The manifestations of these memorials say a great deal about the message implied in the commemoration.

British war hero Sir William Stephenson grew up in Winnipeg but achieved his fame abroad. During the Second World War, he was the head of British intelligence and espionage efforts and is cited as the real-life inspiration for the character James Bond. A statue of Stephenson stands along Memorial Boulevard next to the war memorial. There is also a downtown street and a library named for him. Small but speedy North End hockey player Billy Mosienko also achieved fame outside his hometown. He is best known for the fastest hat trick in NHL history, scoring three goals in just 21 seconds while playing for Chicago. Mosienko is memorialized in a peeling mural on his namesake Main Street bowling alley. There is also a city arena named in his honour, coincidentally next to the Stephenson library on Keewatin Street. The library is much newer and in better condition than the arena. While it is impossible to compare different people’s accomplishments, in the case of Stephenson and Mosienko there is a definite difference in the prestige of their memorials, warranted or not.

Louis Riel, perhaps Manitoba’s most memorable figure, has different depictions in different locations. The prominent statue of him at the Legislative grounds depicts a statesman, the founding father of the province. Looking confidently forwards with the Legislature at his back implies that he is supported by the government. This 1994 statue by Miguel Joyal is in stark contrast to the previous statue of Riel erected at the same location in 1970. The earlier work by Marcien Lemay showed Riel as a naked, tortured figure suffering with his MÊtis people. There was a great deal of controversy surrounding the earlier statue, which many people felt was in poor taste. The Lemay statue is now located on the grounds of the UniversitÊ de Saint-Boniface, only a block away from Riel’s grave. At this new location, the statue is an important memorial for Winnipeg’s francophone community, however visitors to the city are less likely to see it than its prominent replacement.

In the First World War, three young soldiers who hailed from the same block of Pine Street in the West End each received the Victoria Cross, the Commonwealth’s highest decoration for bravery. In their honour, Pine Street was renamed to Valour Road and includes a memorial to the men along with commemorative signage. The Famous Five statue on the grounds of the Manitoba Legislature commemorates the women who campaigned for 370

women’s equality under the law in the early 20th century. In 1916, Manitoba was the first province in Canada to grant women the right to vote and other provinces soon followed. In 1929, the Famous Five won a landmark decision by the Privy Council that declared that women are indeed persons under the law. Similar statues are located in Calgary and on Parliament Hill in Ottawa.

In the case of both the Valour Road soldiers and the Famous Five, most people no longer remember their individual names but their accomplishments as a group live on. Their achievements together outshine any one of them individually and are symbolic of the great struggle of many more suffragists and soldiers who contributed to these causes.

Conclusion “Our cities and towns are amongst the most complicated and wondrous artefacts that man has created. In addition, they are the cumulative generational entities that express our values as a community and provide us with the setting where we can live together. Accordingly, it is our collective responsibility to guide their design in appropriate fashion.� (Reddy in Academy of Urbanism 110) Winnipeg is truly a city of memories. Memories are an important part of the intangible quality of home and sense of place that so many of its residents cherish, often without knowing quite what it is that they love so much about their city.

There is no one common memory of Winnipeg. Rather, each person has memories of particular places and experiences that join together to shape the city’s collective memory. Memory in Winnipeg is found in the architecture of its buildings, the continuity of its places, and the commemoration of its citizens.

These are represented in a variety of ways and locations that create many different kinds of memories: heritage, spirituality, governance, power, gastronomy, shopping, achievement, sacrifice, and heroism. The city is rich in memory and meaning and is a richer place for it. The past lives in the present in Winnipeg, city of memories.

SOURCES Boyer, C. (1994). The City of Collective Memory. Cambridge: The MIT Press.

Crinson, M. (ed.) (2005). Urban Memory: History and amnesia in the modern city. New York: Routledge.

The Academy of Urbanism (2011). Urban Identity. New York: Routledge.

city

Jillian Geen / Ryan Gilmore / Dylan Harris / Alexander Henderson / Sangwoo Hong / Krysti Horton / Aaron Leckie / Kelly McRae / Adam Prokopanko / Joyce Rautenberg / Andrea Spakowski / Liam Speirs

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Dr. Richard Milgrom City Planning, Graduate Studies

In the fall of 2011, the M1 City Planning studio focused on age-friendly planning. This means accommodating the needs of seniors, children, new and expectant mothers and others who need special consideration. By planning for the members of our communities with the greatest needs, we are shaping communities that are better for everyone to live in.

Due to Canada’s aging demographics, the need for age-friendly communities is greater than ever and that need will continue to grow in the decades ahead. The World Health Organization defines an age-friendly community as one that “adapts its structures and services to be accessible to and inclusive of older people with varying needs and capabilities.� By applying the principles of the World Health Organization’s Global Age Friendly Cities: a Guide and the City of Winnipeg’s Complete Communities we conducted an age friendly assessment with the communities of Corydon Village and South St. Vital in Winnipeg, as well as with the town of Morden.

South St. Vital is a suburban area of southeast Winnipeg largely developed since the 1960s. As a result, it is very car-oriented and lacks facilities for pedestrians in many areas. Additional crosswalks, street lights and traffic calming measures along the Dakota Street active transportation route were recommended to improve neighbourhood walkability. A redesigned centralized transit station at St. Vital Centre would improve efficiency of transportation options , while redevelopment of the surrounding area would provide opportunities for streetfront retail with residential above. New housing options such as secondary suites and mobile home parks could provide more affordable and flexible choices in a community where the current housing stock is primarily single-family residential.

The town of Morden is in the Pembina Valley of south-central Manitoba. It offers many amenities within walking distance of the seniors housing in its historic downtown. With immigration, Morden is growing rapidly. Unfortunately much of the growth is focused on the edge of town and lacks pedestrian connections.

By learning through the experience and knowledge of the Focusing future development on empty land near the centre residents, observations through on-site visits, as well as looking of the town would build on Morden’s existing strengths and to ‘best practices’ used in communities around the world, we charm and better integrate with a proposed new public transit were able to identify environmental design challenges and make system. A transit hub with a cafĂŠ and bandstand would provide a recommendations for specific improvements that may contribute pedestrian-oriented public space. to the future plans of these communities to become more agefriendly. The analysis and recommendations for the communities By implementing the proposed design and policy targeted four topic areas: Outdoor Spaces and Buildings, recommendations, we believe there is increased opportunity to Transportation, Housing, Social Fabric. age in place and move efficiently in one’s environment regardless of mobility needs while having access to safe and affordable Each of the communities we worked with had unique housing. By taking a holistic approach to neighbourhood characteristics and needs. Corydon Village is an urban improvements, the goal is to provide an environment that is neighbourhood with mature residential areas and a vibrant inclusive in nature, encouraging community ties and social commercial strip. There are high numbers of senior citizens and participation by everyone. young professionals. However, the community suffers from poor connections to nearby Osborne Village and the new Southwest Transitway. Recommendations included enhanced pedestrian crossings and the creation of a central square to enhance public space available to be enjoyed by all. Proposals were made to create continuous pedestrian-friendly development to bridge the gaps in the neighbourhood.

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Bield, Perthshire

praxis + ethos + poiesis

Dr. Ian Wight

City Planning Associate Professor

Like several other faculties at the University of Manitoba, the Faculty of Architecture is a professional faculty, aiming to graduate imminent (and eminent) professionals. But what does ‘professional’ mean to us? How central is it to our identity? Where does our particular design focus find professional form? One way to tackle these questions is to reflect on the making that is at the heart of our design enterprise.

The underlying question becomes: What obligation do professional faculties have to graduate not only students with degrees, but also self-realized individuals with a praxis, an ethos and a propensity for poiesis? How are you faring on these fronts? Can you give your emerging professionalism some form, in these terms? Your design persona potentially confers a particular advantage over your counterparts in other professional programs.

What makes a professional can be defined in terms of what a professional makes – generically, and genuinely. These makings are defined here in terms of praxis (personal), ethos (interpersonal) and poiesis (transpersonal) – all extraordinary integrations in themselves, but in combination amounting to a design project like no other: an elephant of a design project. We are operating in the realm of metaprofessional self-design. It is an ‘inside’, as much as, an ‘outside’ job – individually and collectively, meshing the personal, the professional and the spiritual (if the latter elephant can be ‘outed’).

While challenging integrations in themselves, the integration of praxis, ethos and poiesis may be represented as a design project like no other. And if there is anything design students love, it’s a challenge – the more elephantine the better! But this will be a stretch. It demands unusual pre-positioning: an appetite for both ex-sightings and in-sightings; integration all-round – with-in/with-out – as a whole; and not simply understanding, but overstanding – in action, enacted.

What I am offering here is a perspective informed by a now decade-plus interest in integral framings, a key dimension of which involves consciously placing one’s self in the Praxis represents the personal integration of one’s theory picture – making an object of one’s subject. My story in this studies, practice experiences and personal values/beliefs. context goes as follows: a geographer by formal education; Building on one’s praxis, Ethos – more than, and prior a professional planning practitioner; and an academic in city to, ethics - is interpersonal, now referencing oneself in a planning, in architecture. I’ve been a planner in design-land, community of fellow professionals, ethical agents in ethical noticing all the making going on around me in this faculty, communion. Anticipating even more evolution, Poiesis pushes consequently evolving a focus on place-making, and now further into the transpersonal and the transprofessional wondering about the making/s of professionals. realms; for example, engaging with other professionals across a range of professions in novel integrations of the My bearings, as ‘a planner in design-land’, entail a view good, the true and the beautiful – uncommon collaborations of: planning as the linking of knowledge and action; the in unusual service, achieving a rare poetry. linking is by design; design as the integration of perception, intention and making; the integration is via planning as

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city place-making, within an integral framework; and the meta-context is meta-professional. I represent my current inquiry, my calling, as Evolving Professionalism – Beyond the Status Quo and I situate this within the context of a contemplation of ‘the Education of the Agents of the Next Enlightenment’. It is proving to be, in Marcel Proust’s terms, a ‘voyage of discovery’, with the multi-perspectiveprivileging integral frame affording ‘new eyes’, and giving some form to what might be ‘the spiritual’ for some, the transpersonal for others: “The only real voyage of discovery consists not in seeing new landscapes but in having new eyes‌. in seeing the universe with the eyes of another, of hundreds of others, in seeing the hundreds of universes that each of them seesâ€?

-Marcel Proust (1871 – 1922) The precise place that produced the triptych insight at the centre of this offering may be relevant for some. My ‘voyage’ was a leave in my native Scotland; my ‘discovery’ was at the Bield, in Perthshire‌ an interdenominational retreat centre.

For the lover of words, ‘bield’ is an old Scottish term ‘rich in meaning’. The centre’s information brochure continues: “a physical place of shelter or refuge, a pleasant environment of protection and rest‌ it can also express such activities as: ‘to nurture’, and ‘succour’, ‘to embolden’ and ‘encourage’ â€?. I was participating in a ‘Quiet Day’ program, designed to explore ‘the meaning of holiness and wholeness in life’.

I had personalized the day’s program as a meditation, a ‘bielding’, on ‘being professional’, in the context of wellbeing, as whole-making (during my leave I was based at the Centre for Confidence and Well-being in Glasgow).

Initially, it included some mantra-making: ‘Doing well by my Self, Being well Together, For the well-being of All’ (‌ not quite a haiku, but close!). In retrospect, this also informed the finalisation of a major think-piece, on wellbeing and placemaking (Wight 2012).

hearts and souls and spirit are in action. This is ‘professing’ that is literally inspired (in-spirit-ing), by fully present, fully engaged meta-professionals - inter-beings in interprofessional communion, enacting through their whole selves – body, mind, soul and spirit.

The making of such professionals, enacted by and through their makings – praxis, ethos, poiesis – represents a design project like no other. It takes the form of an integration of: perception: seeing with new eyes, through many sets of eyes – a universe of I’s – multi-perspectival perception; wholeness-extending; intention: enacting the ‘in’ in intention – inside sensing with acting in mind, action with vision – enacting with heart and soul; spirit-in-action; and extraordinary making, better rendered as whole-making.

And this integration demands extraordinary integrated integrating individuals – i.e. y/ours truly - who have mastered the ‘inner work’ projects associated with the makings - praxis, ethos and poiesis.

We can too easily limit our design integration efforts to exterior form, overlooking the necessity of a similar design concern with interior consciousness. We are - after all - the instruments of the integration, on our inside as well as on the outside. The concern is with not just the objective integration of the ‘its’ outside us. We, you and I, are directly implicated in a very subjective, and intersubjective, set of exercisings.

The integrators are US, individually and collectively, drawing on our inside assets – our mind and heart, our soul and spirit – bringing our whole self to the integrating.

When all is said and done, as one prescient futurist – Richard Slaughter - has observed: “The sources of global problems – and the means of redressing these problems – lie within ourselves and our social, including professional, contexts� (Slaughter, 2009).

Current educational initiatives along these lines include the integrally-informed journaling (Friesen and Wight, The creative acts continued: roughly half-way through a long 2009) – in support of praxis development – in the capstone walk in the grounds, some integral in-sightings surfaced Professional Planning Practice, a finishing/finessing course around my inquiry into ‘being professional’: the ‘making of that completes the MCP coursework. The course is run as a professional’ emerged as a set of transformations: from a professional-self-design studio, affording opportunities ‘me’ to I [Praxis], from I to We [Ethos], from We to All of Us to develop self-authoring and self-transforming capacities.

[Poiesis]. These appeared to be manifestations of interior The course includes an ethos-making workshop, where essencing meriting outer expression. students co-create a common ethos with local practicing professionals (Wight 2011). This experience also informs With this framing we are moving beyond mere professional their own efforts to create a class ethos, in the form of a ‘development’ into the territory of transformation - into the collective statement to the profession. realm of consciousness, and its growth and development.

We also begin to appreciate the limits of merely ‘modern’ Like all studios, the professional-self-design studio features professionalism, as our all too conventional frame of guiding questions: What is calling me? What is my calling? ; reference. Transforming professionals – with a praxis and an What am I being called to profess? ; What do I want to make of ethos and a propensity for poiesis - are agents of an evolved myself, personally and professionally? ; What does the world form of professionalism, more than modern professionalism. want of me‌ to use me for? ; What is my unique gift or gifts, that Within an integral framework an even more complex I cannot not give? ; How do I plan to be of service in the world, to evolution may be contemplated; an integral professionalism the world? The ethos-making features consideration of potential that integrates the best of (while dispensing with the worst ‘pairings that matter’ – inner dimensions coupled with outer of) pre-modern, modern and post-modern professionalism. expressions: self + service; soul + role ; spirit + purpose.

We are clearly well beyond the status quo, beyond convention. More than minds and bodies are at work; 374

city Particular inspiration is derived from the recent work of Parker Palmer (2007), on ‘educating the new professional’.

Palmer advances five ‘immodest proposals’: 1. Seeing the us in/as Institutions – calling for a privileging our whole self; 2. Trusting our emotions - as much as our intellects; 3.

Acknowledging the ‘intelligence’ in emotional intelligence – and taking it seriously; 4. Cultivating communities of discernment and support – knowingly, skillfully, with sensibility, and; 5. Leading an undivided life – living and working with the question (i.e. What is of ultimate concern?).

While advances have already been made in the areas of praxis and ethos, it seems that poiesis remains in the realm of potential; it has the feel of ‘extraordinary inner workin-progress’. Perhaps this is - in essence - a ‘calling’ for our Faculty at this time, with its rich mix/mesh of different professions and disciplines. Poiesis represents a major codesign challenge, a ‘we-design’ project, that might come to define our most evolved professional place; greater than the sum of all our collective sense-making and meaning making, potentially - collective wisdom enacted. Let’s dream a little along these lines: The University of Manitoba is an aspiring global centre of excellence in integral professional education, with our Faculty as the anchor for a new Faculty of Design, on a par with Science and Arts, with the mission of Wellbeing by Design. Its graduates are renowned for having not only a degree, but a praxis, an ethos, and a propensity for poiesis, in service to all‌ graduates of a Faculty hosting a world-class centre for interprofessional education by design‌ a Faculty that models the integration of service-learning, community outreach and civic professionalism‌ a maker of new professionals, by the ware-house-full – that are, quite simply, extraordinary.

Give yourself the gift of this closing meditation, and imagine it is a collective effort, with your fellow emerging professionals: Invoke your most evolved selves; Mobilise your whole self – body, mind, soul; Tap into the spirit that feeds you, fuels you; Permit yourself to go high, and wide and deep; Cast yourself as being in the ‘we-design’ business with the others in your midst; ‌ and ask your Self: What is coming up for you? What poetry is emerging? What can we make of ourselves? How can we be in service to the world?

Where is the light? What is our agency in communion?

Welcome the elephant in the room: acknowledge and honour the spiritual intelligence within – manifested in your praxis+ethos+poiesis. Make change that transforms, by design.

SOURCES Friesen, E. and Wight, I. 2009 “Integrally-Informed Journaling for Professional Self-Design: Emerging Experience in a Graduate Program Context� Journal of Integral Theory and Practice, 4 (3), 59-86 Palmer, P. J. 2011 “A New Professional: The Aims of Education Revisited�

Change (The Magazine of Higher Learning), Nov-Dec 2007 www.changemag. org Slaughter, R. A. 2009 “Beyond the Threshold: Using Climate Change Literature to Support Climate Change Response� Journal of Integral Theory and Practice, 4 (4), 27-46 Wight, I. 2011 “From Codified Ethics to Co-Created Ethos: Staking Common Ground in Uncertain Times� Plan Canada, Winter 2011, 33-35 Wight, I. 2012 “Place, placemaking and planning: an integral perspective with wellbeing in (body) mind (and spirit)�, Chapter 15, 231-248 in Wellbeing and Place, edited by S. Atkinson, S. Fuller and J. Painter, Ashgate Publishing

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Robin Beukens / Shengxu Li / Jennifer Pritchard / Johanna Washchyshyn

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Dr. Ian Skelton City Planning, Graduate Studies

Studio work with Fisher River Cree Nation focused on community planning initiatives related to water and energy. The projects made an effort to tie into existing planning initiatives already underway in the community. Watershed mapping and water education projects tie into the Integrated Watershed Management Plan that Fisher River Cree Nation and other communities in the Fisher River Watershed are developing in conjunction with Manitoba Conservation and Manitoba Water Stewardship. The renewable energy and energy conservation projects help lay the foundation, next steps, and research potential options for Fisher River Cree Nation as the community moves forward with community energy planning initiatives.

Students met with Fisher River Cree Nation Chief and Council, as well as community members, multiple times over the course of the semester. Initial meetings focused on topics of interest and potential projects. Once the projects were confirmed, the meetings focused on gaining community input for the projects.

Chief and Council were updated on project progression throughout the process. The end product includes watershed maps of local knowledge based on community members’ concerns, solutions, and ideas; water related educational materials; community energy planning information regarding energy conservation; and options for renewable energy. There is a particular emphasis on education, as Chief and Council emphasized that this was a high priority. It is also hoped that this report from this project and other supplementary materials can be used to contribute to the knowledge exchange the Assembly of Manitoba Chiefs is facilitating, contributing to building community planning knowledge in First Nations communities throughout Manitoba.

Jill Collinson / Jonathan Hildebrand / Laura Rempel

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Dr. Ian Skelton City Planning, Graduate Studies

Garden Hill First Nation is a remote community in northeastern Manitoba. This community of 4000 has strong cultural ties and the majority of residents are fluent in Oji-Cree. Garden Hill is a flyin community. Accessible only by air for the majority of the year, this requires an hour and a half plane ride from Winnipeg. During freeze-up the community is also accessible by vehicle, through a 14-hour drive from Winnipeg with later portions of this trip on winter roads. The remoteness of Garden Hill not only makes it challenging to visit, but also has significant affects on daily living – such as elevated food prices, difficulty of readily accessing building supplies and limited fuel supplies. During the first trip, a tour of Garden Hill occurred to familiarize student ‘outsiders’ with life, activities and realities of living in a remote community. This visit also allowed the beginnings of a relationship to be formed.

From talking with Garden Hill residents, it became apparent that capacity building was important to the community. On a following visit to Garden Hill, students facilitated a community engagement event. From stories shared by residents, and from talking about realities in Garden Hill, objectives of the Garden Hill Community Planning Project were identified. These included: familiarizing residents with community planning, beginning a land use inventory, discussing future land use, and laying the groundwork

for establishing a community vision.From identifying objectives and listening to community members, the Garden Hill Planning project evolved into a joint focus surrounding comprehensive community planning and land use. Land use themes were identified by community members, and included: community services, housing development, commercial activity, natural/ traditional preservation areas, recreation, water and waste, transportation, and culture. The Comprehensive Community Plan (or CCP) project, which is still on-going, is based on participatory, community-driven processes that outline local values, visions, and priorities of Garden Hill First Nation. This process will highlight the community’s goals and strategic actions necessary to reach those goals.

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Caitlin Kotak/ Chris Larson / Meghan Norman / Ryan Paradis

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Dr. Ian Skelton City Planning, Graduate Studies

Sapotaweyak Cree Nation (SCN) and four students took on a project to support local comprehensive community planning and capacity building. During the initial meeting involving University of Manitoba representatives, SCN Council, and local community members, housing emerged as a priority. The following meeting, held with SCN, AMC, and the City Planning student group, tasked the students with exploring how such a project would be most effective for the SCN Housing Committee. The collaborative outcome of this meeting was a decision to develop a community housing survey that would provide a clear assessment of current housing conditions.

The goals of the SCN Community Housing Survey were to determine the condition and level of crowding present in existing housing, the type and level of household servicing, and future locations for the development of new housing.

Meeting with Council’s approval, the survey was distributed by the SCN Housing Committee, which consists of Council members, elders, and community members. Students provided support in survey delivery, collection, and most

significantly in data analysis. The major project deliverable was a housing report containing an analysis of survey responses on housing conditions, facilities and occupancy.

The analyzed data collected through this survey supports funding applications for improving housing, as well as future comprehensive community planning efforts in conjunction with maintaining open communication between Sapotaweyak Cree Nation members. This Community Housing Survey will ultimately serve as a template to aid other communities.

Diogo Albuquerque / Chris Beauvilian / Ryan Eidick / Marie Cecile Mbadugha / Alexis Miller

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Dr. Ian Skelton City Planning, Graduate Studies

Through the University of Manitoba’s City Planning Indigenous Planning studio, five students spent the fall semester working with Swan Lake First Nation (SLFN). At first, objectives were loosely defined, however through a process of conversation it quickly became apparent that a type of community plan would be of great benefit to the community. Our conversations allowed us to create a working relationship where we were able to formulate an approach to a plan while also defining our expectations and limitations. Through ongoing meetings between students and Swan Lake community members, a comprehensive community plan (CCP) began to take shape. We created a working document that mirrored our process, and was developed in a fluid and dynamic way. We set the framework for the development of a CCP, a living document that will include the rich history of the Swan Lake people, current community context, and future development.

The entire process revolved around knowledge sharing; initially in creating relationships and then as building a knowledge base between the community and students in formulating the project. Through the Swan Lake First Nation people, we were able to experience the community and form connections to the place and people. From us,

SLFN was able to gain insight into contemporary planning approaches and build links in their community that would remain in place long after we were gone. We also offered a fresh perspective on their community; they were able to see themselves and their land through new eyes. Together we built a strong foundation to promote future development in a manner that best suits SLFN and relevant to the community at large.

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chance engines

Chris Larson

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Dr. Ian Wight Urban Development City Planning, Graduate Studies

Addressing a need for recreation in the urban centre of Winnipeg, the Skateboard Plaza at The Forks opened in June 2006 and rapidly gained acknowledgment as one of the best facilities of its kind in North America. Garnering awards from the fields of landscape architecture, engineering, and skateboarding, the Plaza is firmly established as an example of best practices in terms of skateboard facility development (New Line, 2011). Incorporating artistic elements, acknowledging historical use at the site, and establishing collaborative partnerships between community groups and different levels of governance, the Plaza illustrates the range of expertise, inclusion, and involvement, as well as the attention to detail required to create a great place.

Since its beginnings in the late 1980s, The Forks has reinvented a stagnant set of railway tracks flanked by abandoned industrial buildings into one of the most popular public spaces in Winnipeg.

The Forks-North Portage Partnership (FNPP) is responsible for the management and continuing renewal of The Forks, and is a semi-independent agency governed by a board including appointees from all three levels of government. Federal and municipal properties exist together cohesively at The Forks. The Human Rights Museum and the Esplanade Riel footbridge to St. Boniface are at least partially on city property, although in the eyes of visitors they appear to be a part of The Forks, which is federally operated (Leo & Pyl, 2007).

Numerous public-private partnerships were necessary to create the Plaza, with funding provided in large part from the Burns Family Foundation. Emerging through collaboration between the FNPP, Skateboard Coalition of Manitoba, and Sk8 Skates, the SK8 Park Ambassadors are a key initiative for ongoing site-management. While at the Plaza, Ambassadors (youth given first-aid training) teach users the ethics of the park and act as informal guardians. This sense of community ownership encourages civilized and responsible behavior, contributing to an enhanced sense of safety and security.

The design of the Plaza has a strong distinctiveness and local identity, based around the concept of a sculpture garden integrated into the urban architecture of Winnipeg. Working on the pedestrian scale and with the pedestrian experience, the Plaza sits within existing viewscapes, providing legible

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throughways towards the Esplanade Riel, Saint Boniface Cathedral, and Union Station. Sculpture features throughout The Forks are also incorporated around the Plaza, providing visual links that create a shared identity.

Unique features of the Plaza include ‘skateable’ sculpture and mounted modular art showcasing the local arts community. One of the most unique and distinct elements of the Plaza is a nod to the past: the “Magic Carpet“ is an undulating pathway ending in a small quarter-pipe ramp (pictured right). Based around the concept of a buckled railway, this feature imagines someone picking up the rails of a bygone era and giving them a shake, bringing the lines into a new present. It makes perfect sense that a skatepark in Winnipeg, a city characterized by railways, draws direct inspiration from the rails.

Set in a central, accessible urban location, the Skateboard Plaza is user friendly. For those driving, there are a plethora of vehicle parking options at the Forks, including a free parkade, surface parking lots, and on-street parking. Public Transit provides direct access to the Plaza via three lines, with close access to a dozen additional routes a short distance away on Main Street.

Strong active transportation corridors branch out in all directions via the Assiniboine and Red River Walks, Esplanade Riel and Forks Historic Rail Bridge. Wide and busy, Main Street (and the railway) is a barrier to access from the west, presenting a challenge for future initiatives to address. As well, skateboarding through Winnipeg is largely discouraged (illegal). Establishing skateboard-friendly routes to the Plaza and other recreation destinations would encourage active transportation. With potential to inspire improvements beyond the site, the Plaza is a user-friendly destination in the present with potential for an improved future.

In terms of commercial viability, as an internationally recognized destination, the Plaza generates tourist visits and special events, which has financial implications for local community businesses.

The Plaza also attracts a youth demographic to The Forks not previously catered to that generally has disposable income, a fact noticed by vendors. While a large initial investment was required, the high quality and durable concrete construction of the Plaza limits maintenance and ensures ongoing viability. Of

course, the Plaza is not a commercial venture; development was facilitated by private funding (The Burns Family Foundation) and advocate involvement to produce a public amenity. While generating commercial activity, the real gain from the Plaza is the active vibrancy and social diversity promoted to The Forks and Winnipeg.

and seating around the facility: there is ample seating and a pedestrian pathway bisecting the Plaza. Visitors to The Forks can actually be in the centre of the action as the walkway allows permeability through the site. This inclusion of other passive users is one area where the Skateboard Plaza is very successful, welcoming those not directly participating.

Given its previous life as the CN East Rail Yard, The Forks is a ‘brownfield’ park, representing an effort to infill and transform an industrial past into a more environmentally sustainable and welcoming present. Brownfield redevelopment has been referred to as “a salve for the wounds of the industrial age� (Waldheim, 2006). Through the reconstitution of an underutilized rail-yard, The Forks has created a multipurpose site of positive value where there was little promise.

The Place of Planning, and Planners

The Skateboard Plaza design includes naturalized green space for plants and water storage, going beyond basic functional ideas that parks are simply for recreation, addressing needs for wildlife, flood control, and community cohesion. While it is a flaw that users can not skateboard to Winnipeg skateparks, the Plaza promotes an active lifestyle providing a truly fun destination and experience, that includes a youth demographic that is notoriously hard to engage. Furthermore, the Plaza mimics urban elements, attracting users away from urban areas where their pursuits may create conflicts.

The skatepark is highly functional: features include a complex 30,000-square-foot (2,800 m2) skate plaza, and an 8,500-squarefoot (790 m2) series of bowls. The Plaza features ‘skateable’ artwork built out of a range of materials and textures (metal, granite, concrete, and brick) to withstand the regular use and enjoyment of skateboarders and cyclists. Expert and beginner terrain provides challenges for all ages and levels of ability.

Consistently ranked amongst the top skateparks in North America, the Plaza is a qualified success for enthusiasts and additionally, in winter this area features a small snowboarding facility, attracting similar activity.

While there is inherent risk in tackling the challenging terrain at the Plaza, careful site planning has minimized risk for viewers.

Considerable effort has been made to incorporate viewing areas

Progressive planners should facilitate partnerships, targeting the champions of the community to create great places. Tapping into the collective genius and passion of advocacy groups can yield rich, specialized knowledge. While a high initial investment was required, the Plaza is proof that an involved development process can produce valuable, viable results. Presently, the Plaza encourages active use and is an example of how integrating diversity makes a place great, potentially serving as an example to draw from and inspire local change. The Plaza at The Forks illustrates how a carefully designed amenity for a specific use can positively and inclusively contribute to the larger sense of a great place.

The Plaza is a part of the larger transformation underway at The Forks, a renewal of the old industrial rail-yard through new creations that resonate with that past while ensuring a more sustainable future. The Plaza serves a variety of functions, remediating an industrial site, providing a significant site for urban social function, and promoting specialized active recreational use. While rooted in history, the Plaza works in the present experienced today, and with the on-going development of The Forks, it has a live future as a great place.

NOTES B Somers, Personal communication, Sept-Dec 2011.

Leo, C. & Pyl, M. (2007). Multi-level governance: getting the job done and respecting community difference – three Winnipeg cases. Canadian Political Science Review, Vol 1(2), pp.1-26. New Line. (2011). Recognitions.

Retrieved from: www.newlineskateparks.com Waldheim, C. (2006). Landscape as Urbanism. In C. Waldheim (Ed.), The Landscape Urbanism Reader (pp. 35-53). New York: Princeton Architectural Press.

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Past:

Present:

Future:

You are provided with a copy of a photo taken by Marville, and a map of streets locating the approximate location and direction of the original photo. Set your camera to finest setting ie largest picture file. Jpg or Raw. Study the early view, locate position to duplicate, adjust lense and angle to take image as close and possible to the original. Check your frame, to include all, you can crop it more precisely later, if necessary.

Look to and consider how the place has evolved. How much information can you gather through careful observation?

Note how people use particular places, what groups will feel welcome or not in different contexts? Comment on what has changed and provide some reasons of forces at work that has resulted in these changes.

Consider ways in which the area might become more sustainable in the future.

What opportunities can you identify for infill development, eco restoration, improved street design? Imagine how these particular blocks and streetscapes may look in the future, and think about what urban planning and design strategies would help these areas improve.

rephoto project, marville's paris

Dr. David van Vliet

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City Planning Associate Professor http://www.usc.edu/sppd/parismarville

Who is Charles Marville:

Charles Marville (1816-1879) photographed Paris’s streets, both before and after being redone by Baron Haussmann.

There are over 400 images (20� x 24� glass plates), and there is a book that reproduces many of them as well as maps indicating the location and viewpoint of the camera for each image. (Marie de Thezy, “Marville, Paris�: Hazan, 1994).

Directions for rephoto:

On our first day in Paris, students were assigned locations in two areas: Les Halles in the 1st arr. and Saint Severin in the 5th arr. They found the locations by cross-referencing a current and historic street map. Each photo location is depicted on the historic street map, using open V’s (eyes) indicating the direction in which Marville shot the images.

Students were encouraged to do their best to duplicate the perspective, albeit this can be very demanding, Duplicating perspective is a matter of relative sizes of things at different distances, occlusions of further things by nearer things. This demands careful attention to the original, to look at all parts of the photo, keeping in mind that often the decisive detail confirming the correct site may be a particular fenestration, or roofline, or distant object. The concern was not so much the aesthetics of rephotography, as to document the persistence and change of the urban built environment. Some streetscapes are totally reconstructed. In other photographs, it’s intriguing to see what has persisted, and what is now there. An obvious change is the presence of people. The long exposure times required by the technology Marville used did not capture temporary activity.

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Marville Rephoto Project at UCLA:

Our rephoto assignment contributes to an ongoing project, originated and directed by Martin Krieger, Professor of Planning, University of Southern California, Los Angeles.

Using the same historic photo documentation of Charles Marville, hundreds of sites have been rephotographed. We added 50 to this. Our photos go to an archive of Marville rephotos at the library at UC LA. The digital copies of these photographs are now included on the interactive map with ‘Street View’ links. Ideally, a later phase of this project would be to encourage rephotography efforts every quarter century. A book of collected essays has been published written around these rephotographs and the originals.

Similar rephoto documentation is encouraged in every city.

With this inspiration Dr. van Vliet is initiating the Winnipeg Rephoto Project. This is a website providing historic photos of streetscapes, public places, parks, and buildings drawing upon Manitoba Archives, City of Winnipeg, and other collections.. The rephotography of these places will be undertaken by anyone interested in participating.

The resulting comparison images will be linked to map locations on the website. For further information email: david.vanvliet@ad.umanitoba.ca

NOTES Paris 1870/2008 Rephotographing Charles Marville's Paris of 1858-1877 Martin H. Krieger, editor

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Halles 343, 5 Place Sainte-Opportune

Stephanie McKichan Re-Photograph

38 Rue Saint-Nocolas-du-Chardonnet

Ryan Coates Re-photograph

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St. Severin Place Maubert

David van Vliet Re-photograph

Halles 340, 2 Rue des DechargĂŠurs

Vincent Hosein Re-photograph

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Halles 343, 5 Place Sainte-Opportune

Stephanie McKichan Re-Photograph

Halles 363, 36 Rue Saint-HonorĂŠ

Taylor LaRoque Re-photograph

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Department of Interior Design intermediate environmental design, year 3-4 graduate studies

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Becky Cheng

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Deb Scott Environmental Design, Year 3

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Composed mainly of cardboard paper, this simple stool records the interaction between the seat and its user. The primary intentions of the piece is to allow users to leave traces on the surface of the stool and to reuse every-day objects to create something new. Paper is a traditional and common medium for communication and influenced the material use of corrugated cardboard; chosen because of its structural strength, texture, and pattern. The stool is created by coiling the corrugated cardboard into a top platform, where most of the recording happens creating a harmonious patterned “landscape� at the top of the seat. The bottom support is made of paper tubes that are bolted to a wooden ring. Removable chalks are inserted into the paper tubes to leave colour traces on the bottom of the corrugated platform. After the useful life of the stool, the entire piece can be disassembled, reused, and recycled.

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Deb Scott Environmental Design, Year 3

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A cube can be everything or it can be nothing; it is a form and a volume. Challenging this statement with a lighting installation, where a void space is created between the object and floor through a 18'x18'x18' implied cube with other parts of the installation using numbers proportional to the number 18.

The form of the cube can be dissected into edges and planes; without either, a cube can not exist. Planes made of mylar and acetate paper connected to the edges created from wire allows the idea of the cube to transform into a different, more active form. The transparent and reflective quality of the acetate paper, the semi-opaque quality of the mylar, and the lighting create a depth to the otherwise void interior. The pattern that surrounds the light are small, tile-like planes, that have been layered together and threaded onto a wire. The pattern is able to nest into each other creating an implied plane. The pattern creates texture and movement to an otherwise static object.

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Rosalyn Boucha

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Deb Scott Environmental Design, Year 3

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The Flower of Light is the design of an object, which one might use or respond to daily with in the form of a cube with a maximum size of 18 inches. The object is to activate space and create a relationship to the body and mind. By undergoing a ritualistic process as a means of achieving balance and an understanding of material, form and action with the intent of evoking a calmer state of mind is created through the use of geometric lines and form in a light installation. The fixture is a direct reflection of the understanding of these lines and forms achieved through the process and activates the body and mind through the use of line, texture and geometric pattern. The lines within the fixture are inspired by a mathematical equation while the tetrahedron form is an extraction from Metatron’s cube.

The lines and form are intended to coexist within the room as a means to not draw immediate attention at a large scale, but to evoke mindful interaction on an intimate and more personal level.

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Exploring a ritualistic process, which through the course of repeated action could translate into an act of calming the body and mind led to the incorporation of a series of actions relating to knitting or crocheting, which would transform the process into an act of meditative doing and the final product into something of both complex simplicity and meditation.

The Flower of Light is constructed using simple and honest materials of wood and white cotton string. The string, as the only joinery and decoration, allows the viewer to understand the construction while also offering a layered complexity. The tetrahedron frame is an extraction from Metatron’s cube, while the overall form of the structure, created by the string, is a 14 inch cube. In the daylight the fixture is quiet and calming with geometric lines and curves inspired by nature. When the day turns to night, the lines are illuminated and the fixture projects an eight petal flower on the wall, reminiscent of the flower of life.

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Theodora Rutherford

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Deb Scott Interior Design, Pre-Masters www.blocksoftime.ca

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This design for a timekeeper proposes a productive representation of time. The intrinsic rhythm and repetition of the ancient art of Origami is harnessed to create an animated tableau of cubes taking shape over the course of three recognizable units of time: the minute, the hour, and the day. “Blocks of Time� challenges the numerical values associated with the passage of time, eliminating the sense of urgency, or anxiety brought about by conventional timekeeping. By using the act of folding to represent units of time, this work fosters a more positive outlook on the subject. Any amount of time is an opportunity to be productive.

Paper is selected for the construction of the origami form not only to respect the tradition of this art but also because it is a material that is comprehensible and tangible. The dashed pattern of “folding lines� imparts an identifiable sense of direction to the action, hinting at the impending fold. “Blocks of Time� is a digital work, representing the immaterial and

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uncontrollable nature of time. Although the pace of these three units of time and the material used are easily understood, the inability to touch or hold the forms reminds the viewer that they cannot manipulate their formation or the units of time that they represent. This work is accessed on the internet, and as such, it becomes a part of any space. Individual experiences with the work vary slightly, as synchronicity between the animations of the three units of time is dependent on the technology used to access the website. Once it has loaded, the silent and unobtrusive animations are perpetually active, engaging viewers for as long as they wish. As one block is completed, another invariably begins.

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Tiffany Jameson

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Deb Scott Environmental Design, Year 3 Winnipeg, Manitoba, Canada

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Pixel uses the relief of a square as a light installation. Located in the university tunnels between Duff Roblin and University College, the concept for the installation is to spark the curiosity in individuals as they walk through the tunnels. Multiple black squares are used to represent a pixelated image of a water stain that was once in the tunnels. The altered image of the once existing water stain helps connect the installation to the space, inviting users to interact with it by opening, changing or transforming the reliefs of the square. A hint of light is revealed when the shape is closed which intrigues users to discover the hidden volume of light and imagery behind.

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Emily Jones

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Dr. Susan Close Environmental Design, Year 3 Photography & Design

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To understand the site of Tinker Town, a series of images are produced over a four week time frame, capturing the sense of abandonment of a place during the closed season. The process started by beginning on the outskirts of the park and capturing the empty vastness that surround it. By slowly progressing closer to the park, the empty and static rides are revealed. The period of time documented in the series is captured by images of the snow slowly melting.

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Christina Bosowec

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Dr. Susan Close Environmental Design, Year 3 Photography & Design

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An understanding of an interior space, over a three week period, is explored through a concept based on textiles and geology.

Influenced from past use of the Fitzgerald Building on the University of Manitoba campus as the former Faculty of Geology, an idea was generated to create a connection between two fields of study: Fine Art and Science.

The project seeks to discover/rediscover the connection between patterns from nature and human made textile.

The realization that these two disciplines share common characteristics helped reassure the exploration. The cellular structure of the plant fossil is naturally repetitive in form, resembling a fixed pattern. This allowed for reflection on the idea of pattern present in textiles, and inspired the ideas to create textile though illusion. The photographs capture the patterning integrated into the space through the use of digital projection.

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Jason Shields

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Dr. Susan Close Environmental Design, Year 3 Photography & Design

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A series of 20 photographs examine Winnipeg's design culture.

As time passes, buildings become worn, damaged, and vandalized. While this may only affect a small section of the faรงade, its unsavoury appearance reflects upon the buildings and their users. The choice to fix the problem is challenged by the impossible task of matching a colour or material which results in a mismatched and noticeable coverup. In the end, the cover up remains seemingly unsightly - just as before - and yet, adds to the faรงade's unique history.

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Sean Dueck

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Jac Comeau Environmental Design, Year 4 Winnipeg, Manitoba, Canada

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2012 didn’t happen as everyone expected. There was no meteor strike or super volcano coming to snatch our lives and reduce humanity and all that it stands for to a fuming mess. There was no cataclysmic natural disasters to blame this on. It was us.

It was always us. The human condition and our insatiable appetite for destruction. Our ability to reach without looking and take without caring.

This image heavy narrative influenced the exploration of a post-apocalyptic design of a salvation army building with amenities to help aid the crisis and support the floundering civilization.

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Laser and Luminaire instructor: deb scott

This studio focuses on the opportunity to explore advanced design and making opportunities through the relationships between technology and ideas. It examines the meaning and potentials of materials and their appropriateness to processes of constructions.

Laser and Luminaire The first project explores the laser cutter as the primary tool and light as the primary element in the creation of a form. Computerised tools such as the laser cutter present opportunities for percision and other defining effects on materiality, not easily achieved through the use of other tools and processes.

Product Catalogue Library Rebranding The second project is a rebranding of the Product Catalogue Library. The Product Catalogue Collection is a design material resource library which serves the Faculty of Architecture students and Faculty. Most importantly, the Collection is also open to the surrounding local design community. The goal of the exhibition design, material exploration, light box, satellite form and branding of the PCC is to create renewed interest and excitement within the space. As the networking and communications team, our emphasis is based on creating connections between all aspects of the design. Implementing a logo and overall branding will reinforce the existing identity of the PCC. This visual reinforcement creates way finding and an overall theme that will help students, faculty members, and visitors to access the space and use it in an efficient manner.

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Alexandra Allen

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Deb Scott Environmental Design, Year 4

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Poetry is a means of expression; it is the art of rhythmical composition. The poetic sense of a luminary is described as a natural guiding body of light; the inspiration or influence on others. The mechanical application of an intense beam of light will produce one luminary that will emit both light and intrigue. The juxtaposition of mechanical operations against natural characteristics of material express the discord between human and nature. Light becomes the means of creation and medium of communication.

Wax becomes a unifying element of an industrial process.

It demonstrates strength in mass and delicacy of form. In failure, the form is melted and given new life as a candle.

Although one dimension of beauty is destroyed, another is brought to light.

Process included experimenting with wax as a medium and the laser cutter as a tool. The initial intent was for the luminaire to be created without any waste; thus wax was chosen, as it can be remelted. Experimentation proved The crude state of wax articulates complexity through order the dialogue between the wax and the laser cutter to be and beauty through function. The honeycomb sustains life; arduous and unpredictable with the final form being a life which is defined by capacity of growth, reproduction compromise between process and material. and continual change. Though the lifespan of one bee is brief, it is not the one life that is of importance; rather it is the volume of united lives that contribute to the integral perennial nature of their colony. The synergy of a colony represents constant change - the essence of time.

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Yajiao Jessyca Fan

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Deb Scott Environmental Design, Year 4

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"Cyclops" is a playful portable luminaire that takes inspiration from two primary sources: Japanese graphic novels (manga) and the paper lantern. The form is modeled after a pictorial eye inspired by mangas where the eye is often a character's most versatile and distinctive feature. Just as the eyes are able to communicate different emotions, the rotatable outer layer of "Cyclops" provides the ability to create different silhouettes.

Line, shape, and repetition are the dominate element used in mangas to communicate movement which is translated into the light installation through layering flat rings around a main circular structure.

The luminaire borrows techniques used to make traditional lanterns by attaching a translucent veil, oftentimes paper, to an wooden frame structure. Constructed with an outer set of fifteen rings with two arm extensions attached to the main structure, and with an inner set of fourteen rings reinforcing the overall structure as well as adding a second layer to help diffuse light; a translucent glow similar to a paper lantern is achieved. The inner rings offset the outer rings helping to increase structural strength while still maintaining the delicateness often associated with lanterns. By offsetting the two layers of rings, light is able to penetrate through casting shadows on nearby surfaces.

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Renee Struthers

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Deb Scott Environmental Design, Year 4

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Intricacies are revealed when taking a closer look at simple forms in nature. The deer antler, at first sight is a composition of soft fluid curvilinear lines void of obvious detail, yet delving deeper into inspection allows one to realize the intricacies in connection, formation and development.

How can technology and light be used to aid in expressing and revealing the details that are often overlooked, yet biologically necessary in nature? In creating a suspended luminaire from raw natural forms, laser cut acrylic planes; and a light source; technology is used to express nature in a different way.

The manner in which the luminaire is composed creates a sense of harmony of form, with the complimentary curves of natural, technological and human constructed forms. Contrast is intentionally evident in materiality. Becoming an extension of the antler itself, a hand-formed partially spherical shade is constructed through laser cut planes of material. The emphasis of form changes dependent on the activation of light otherwise hidden detail is revealed.

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Sean Dueck / Heather Wallis / Helene Wiens

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Deb Scott Environmental Design, Year 4 Product Catalogue Library

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The Product Catalogue Collection (PCC) is a design material resource library which serves the Faculty of Architecture students. The design intentions of the project is to create an exhibition design and branding installation that creates more interest of the PCC. The concept for the form revolves around the notion of connectivity. Connectivity encompasses networking and community, two concepts important to the PCC. Creating a community is an integral part of design as it brings together different disciplines and facets of the design world; while networking discusses the notion of technology and information sharing. The satellite form is a visual, three-dimensional representation of the PCC. The intention is to attract interest to the form and subsequently the PCC itself. The form mimics the outline of the PCC’s newly designed logo with key elements such as repetition and line, supporting the overall design. The repetition of the pieces also helps draw the eye around the circular shape, finding relief at the corner where the form terminates, meeting the floor.

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Yajiao Jessyca Fan / Haojing Zhang

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Deb Scott Environmental Design, Year 4 Product Catalogue Library

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The Product Catalogue Collection (PCC) can be conceptually understood as a sum of individual parts and information that together composes the resource library.

Connections and repetition of form are the key elements that the compose the proposal of a modular shelving system.

Easily manipulated and adaptable to a variety of exhibition arrangements that offer a multiple of display space and surfaces. Individual units rely on the overall configuration to support itself Using recycled material, cardboard, with wood to facilitate the connection of joints that are interchangeable.

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Heather Wallis

Ground Level Floor Plan

Emergency Exit Coffee Bar Kitchen Lobby Staff Washroom Office Main Entrance

Staff Room Staff Washroom Office Kitchen Main Counter

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Cynthia Karpan Environmental Design, Year 4 Winnipeg, Manitoba, Canada

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"Trek": /trek/ a long arbuous journey, especially one made on foot. The intent of this project is to design a hostel for adventure travelers who come to Winnipeg. An existing building, located at 319 Elgin Ave, is to be converted, utilizing only half of it's square footage for the hostels program.

Trek's interior is informed by the Canadian landscape, taking colors from the land and forms from the arrangement created by satellite images of Canadian cities lit at night. This arrangement is then used to configured wooden poles, acting as room dividers, and pendant accent lighting through out the spaces.

The design focused on three main goals: sustainable building functions, materials, and interior environmental quality,

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providing the comforts and feelings of home, and in addition to typical communal programming, maximize the opportunities for privacy through a range of public and private spaces. Low ceilings, wood floors, and rich texture helped to create the feeling of home, along with the possibility of staying in a private room. Guest rooms range from communal, semi-private to private; allowing guests to choose how they want to spend they stay. While wooden poles act as dividers, creating partially enclosed areas within larger communal spaces.

Grind a cafĂŠ and/or eatery where both guests from the "Trek Hostel" and locals can enjoy both beverages and snacks.

The program accommodates seating for 100 - 125 guests and utilizes the remaining square footage of 319 Elgin Ave.

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(previously used for the hostel).

"Grind" is a cafe, serving specialty coffees, baked goods, and a variety of breakfast and lunch items, through take-out or dinein service. The cafe caters primarily to hostel guests and the staff and students of Red River College.

remaining floors offer softer lighting, 10 foot ceilings featuring upholstered baffles to help acoustical control. Movement vertically through the spaces gradually become quieter and introduces larger seating arrangements catering towards groups, while partitions constructed from horizontal wood planks help separate the open spaces.

Sensory engagement with in the space is achieved through textured surfaces, acoustic controls, and visual stimulation in addition to the cafes rich aromas and flavours. Public spaces are comprised of open volumes, raw textured materials, and dark, cool colours. These are all implemented to create visual interest. The cafĂŠs main floor is to be brightly lit with 14 foot ceilings, wall to ceiling acoustic panels of graphic upholstery and a feature wall collaged from old wood planks. The $ %'! "' # "' % #% & " #&$ ' ', '% " % "

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Renee Struthers

ceiling detail continues to typ

Second Level Floor Plan

Third Level Floor Plan

Guestroom Public Showers Dining Kitchen Lounge Open to Above + Below Office Laundry Public Washroom

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Cynthia Karpan Environmental Design, Year 4 Winnipeg, Manitoba, Canada

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The "Black Door Hostel", located in Winnipeg’s warehouse district will be designed to cater to the adventure traveler’s need for discovery by providing an interesting environment in which to explore, socialize, rest, and re-charge.

Throughout the space, sight lines will be visually impeded by the use of rectilinear, angular forms, taking the guest on a meandering journey through the hostel. A succession of plywood slats on the ceiling plane, much like branches of a tree create various undulating volumes throughout. The programming, supported by the architectural features will provide various levels of interaction on each of the three floor levels. The use of raw, unfinished materials and a neutral color palate accented by colors reminiscent of the prairie sky, will

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invite the adventure traveler to feel unencumbered to inhabit the space after a long day of trekking, cycling, or paddling. The main floor will contain the lobby, reception, computer area, staff room/office, large storage area and access to the main circulation route. The second level has a lounge equipped with television, and six guest rooms, public showers and laundry room. The third floor contains the kitchen and dining area, and seven guest rooms.

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Renee Struthers

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Ground Level Floor Plan

Loading Entrance Walk-In Refrigerator Kitchen / Bakery Ovens Dishwasher Prep Surface Range Coffee Roaster "Back Door Hostel" Undercounter Refrigerator Office Bakery Counter Utlilites Storage Take-out Counter Food Cooler Dinning Patio Dinning Washroom Single Seating Seasonal Dinning

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Cynthia Karpan Environmental Design, Year 4 Winnipeg, Manitoba, Canada

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The "Union cafe", adjacent to the "Back Door Hostel" on 319 Elgin Ave, will focus on creating a neighborhood establishment that will become an integral part of the social fabric of Winnipeg’s exchange district for residents and visitors alike. Taking inspiration from the liveliness and community interaction at street-side cafes and open-air markets, the interior will be structured around the notion of “outside-inâ€? providing a feeling of dining on a patio year round. The design will pay homage to the immediate area’s history by utilizing industrial features to create a unique, multilevel take out and dine in cafĂŠ.

a slightly more intimate and closed volume area. Industrial modern textures including brick, steel, concrete and distressed wood will dominate the space, while a whitewash color palate on the vertical planes will act as a blank palate where cafĂŠ patrons become the focus of the space.

A large open volume area along the south wall will act as a continuation of the outdoor sidewalk, making use of sunlight to flood the space, while the inner core of the cafĂŠ will provide $ %'! "' # "' % #% & " #&$ ' ', (" #"

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Studio Ligature instructor: tijen roshko

Interiors as Translation of Music Experimental music has multitudes of definitions; generally, it is considered to be the genre which departs from normative music traditions. It takes a hybrid approach to different styles with unorthodox execution and compositional methods where the sound becomes the primary objective rather than the compositional method. As such, experimental music shifts the focus from representation to performance.

Experimental music distinguishes itself from avant-garde music by remaining outside the parameters of the traditional paradigm, while avant-garde music remains at the extreme periphery. Based on John Cage’s terminology, the term indeterminate music is commonly used among experimental musicians to refer to the inclusion of a sense of unpredictability in the stages of both composing and performing.

The primary goal of the current studio is to explore the connections and reciprocities between experimental music and interior spaces in terms of their structure, language, process of creation and form. Experimental music was selected to provide a neutral platform of study within which cultural references are de-emphasized. Thus, analytical research and understanding is possible without emotional or cultural association. Students are advised to listen to raw sounds and translate their analysis into spatial forms. The four primary stages of the study progressively build on each other from an understanding of the notions of harmony, time and space in music to three dimensional expressions and finally an interior space.

Following a site analysis, the study will conclude with a proposal for a School of Music. The intent is to investigate the connection and/or translation of music to interior design within the changing social context, utilizing Chancellor’s Hall at 177 Dysart Road as a medium for our spatial studies. “School of Music� is one of the suggested typologies to create the basis of the investigation. Individuals are also free to develop their own program within the boundaries of the conceptual framework.

photo: Brandon Bergem 410

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Melissa Vasconcelos

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Theatre Back Stage Delivery Entrance Main Entrance CafĂŠ Recording Studio Performance Space Conference Room Pod Janitor Room Washroom Storage Lounge

Exterior Patio Staff Lounge Office Classroom Workshop Pod Washroom Practice Room Lounge Storage

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Tijen Roshko Interior Design, Graduate Studies Winnipeg, Manitoba, Canada

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The intent of this project is to investigate the connection and translation of music onto the design of an interior space. A group composition created using original musical expressions called "Absent Silence" is translated by overlaying it over the existing site at 177 Dysart Road, Chancellor Hall. This developed into the process to create forms that represent chaos and control which also relate to the site as the location, near the river, creates a juxtaposition to the chaos found at other parts of the campus.

The "New Music School" is a place where a wide range of events could be held through-out the year, bringing together a community of musical talents. Traditional classroom teaching will be supplemented with guest lecturers and composers, enriching the learning environment. Some of these guests will have a prolonged stay with the facility providing seminars, private lessons and/or jam sessions with students. Interacting with musicians, composers, performers, and artists will support the goal of the facility which is to encourage an interdisciplinary

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academic environment. The original north facade of the building is retained while the notions of chaos and control are expressed through other parts of the exterior. A glass form, covered by a metal mesh, reveals that chaotic state of the exterior while continuing around the building to the south facade begins to return to a ordered layout broken into three glass sections. The main entry and exit points of the building refer to the chaotic moments, with traffic flow, while areas such as seating pods represented moments of control.

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The concept is further implemented in the interior through seating pods that act as moments of control in the environment and ceiling panels that enhance the feeling of chaos and order.

The pods are an important feature as implemented in three various types termed private pods, semiprivate pods, and public pods. The variety of types would further enhance the notion of progression through space and allow for different levels of interaction between users. The private pod offers an individual a secluded space removed from the commotion, where as the semi-private pod forms a mini-environment which would foster creativeness and social interaction between users.

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William Gray

Absent Silence The conceptual musical score is created from the musical composition.

Recorded Track Electirc Guitar Percussion Recorded Static Melody Sawfish

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Tijen Roshko Interior Design, Graduate Studies Winnipeg, Manitoba, Canada

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This project began with experimentation and creation of music; which involved the arrangement and performance of a completely original musical expression, titled “Absent Silence�.

This musical statement addressed the current issue of “iPod culture� and the increasing societal need to shut off and dominate our auditory surroundings. The expression of this concept was executed through the invigoration of two opposing binary components: “chaos� and “control�. Harsh industrial sounds posed as the abstraction of chaos, while a control was symbolized through a soft melody of round notes. The inspiration of this musical expression later informed the concept for the School of Music extension.

The School of Music extension facilitates a new Master’s program: Masters of Contemporary Music. This new program, located at 177 Dysart Road, currently the location of the Chancellor Hall, features the creation and performance of technologically based contemporary music, as well as research

Final Graphic Synthesis

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Basement Floor Plan

Ground Level Floor Plan

Second Level Floor Plan

dedicated to digital music media. The facility would operate primarily as an educational institute and research facility, and secondarily as a rentable venue for local artists/music educators. The local availability of these facilities would hopefully act to stimulate a cultural presence within Winnipeg’s music and art context, as well as provide a secondary income for the School of Music.

The final design of this facility, The School of Contemporary Music, is directly informed and inspired by the analysis and expression of music. This design focused in on three significant inspirations: Amplitude, ‘Character of Sound’, and Rhythm/Tempo.

The employment of these key musical aspects acted to inspire and sculpt the interior environments, to ultimately activate the 416

Auditorium Elevator Lobby Dressing Room Washroom Classroom Vestibule Main Entrance Storage Staff Lounge General Office Reception

Third Level Floor Plan

central concept of “Absent Silence�. The manifestation of this concept is discovered in the contrasting forms of "control" and "chaos". Where harsh linear forms initially combat the round soft gestures, they climactically unite in this facilities auditorium. The forms and volumes created within this school directly intended to embody music in space. This design sought to house structure and spontaneity in its emotive interiors in congruence with the expressive activities of the interior occupants. Ultimately these interiors aspire to facilitate inspiration, artistic creation, and education for both students and staff.

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Erin Jane Riediger

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Tijen Roshko Interior Design, Graduate Studies Winnipeg, Manitoba, Canada

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The "Interdisciplinary Arts and New Media Centre" is an enchanting atmosphere for collaborative creation. The historical facade is combined with new technology and a natural setting to create a sense of wonder in the visitor.

The site development was based on human geographer Jane Bennett’s concept of enchantment that comes from the beauty of contemporary technology, the everyday and natural settings. The proposed interdisciplinary arts and new media program will encompass these three methods of enchantment The proposed project will facilitate an interdisciplinary arts by combining the historical facade, of the existing Chancellor and new media masters program. Students from arts and Hall, with new technology and the natural setting to create a technology related disciplines including music, architecture, sense of wonder in the visitor. The west and south historical fine arts, dance, engineering, and film would attend the facades were maintained and combined with a new metal mesh new program. Innovation, flexibility and interdisciplinary skin. Pedestrian paths were added to encourage exploration collaboration are key goals of the facility. Independent of the natural environment in forms similar to those in the performance based projects proposed by the students would be original composition. Large stairs were added to the new the base of the one year masters program along with electives entrances to allow for sitting and impromptu performances. open to them by various faculties. The proposed building will Office space at entrance level is stacked with informal meeting have a partnership with arts and technology based faculties and collaborative space on the second floor. An alluring motif on the University of Manitoba campus as well as welcoming drawn from Apollo 3’s sonic sculpture acts as the compositional students from the dance and theatre programs at the University baseline that draws the visitor from space to space. It is boldest of Winnipeg to unify the post secondary arts education in the theatre because this space was representative of the throughout the city of Winnipeg. finale of the composition. $ %'! "' # "' % #% & " &'( # '(% "' % & $ " %, %'& " " * ! "'%

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Second Level Floor Plan

Ground Level Floor Plan

Theatre/Media Room Exit Entrance Vestibule Lobby Class/Rehearsal Room Office Washroom Elevator

Basement Level Floor Plan

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John deWolf

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Lynn Chalmers Interior Design, Graduate Studies Winnipeg, Manitoba, Canada

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This project explores branding including the development of a trademark. In developing a brand identity and identifying names, Marty Neumeier describes “The need for good brand names [to] originate with customers, and customers will always want convenient ways of identifying, remembering, discussing, and comparing brands. The right name can be a brand’s most valuable asset, driving differentiation and speeding acceptance.� 1 In his book, The Brand Gap, Neumeier identifies seven criteria for choosing a good name: distinctiveness, brevity, appropriateness, easy spelling, likability, extendability, and protectability. These become central to conveying and evolving a brand identity and trademark.

In choosing a name for a proposed hotel, the process simply started with an investigation of the word hotel. Motivation to find a name is influenced by the letterforms, in the word hotel, particularly the strong vertical and horizontal elements contrasted with the single curvilinear letterform.

This lead to developing an icon for the XO Hotel which embodies Neumeiers set of criteria. The brand is further investigated through the schematic design of the hotel in which the trademark is intertwined with the design.

SOURCE 1

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Marty Neumeier, The Brand Gap: How to Bridge the Distance between Business Strategy and Design: a Whiteboard Overview, rev. ed.

(Berkekley, CA: New Riders, 2006), p.85.

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Schematic Design of Lobby The median plane separates the cafe (The XO Deli) from the Hotel. The frontal plane divides the public area from the more private areas (the elevator lobby, kitchen, etc.).

Kitchen/Scullery Check-out/Coffee Washroom Storage Business Office Self-serve Coffee Cold Deli Seating Hot Deli Bar Reception

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Interdisciplinary Practices

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Dr. Susan Close

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Interior Design Associate Professor

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This study examines the relationship between design culture and contemporary photography by exploring a social aesthetic. Specifically it considers how photography engages with various areas of design culture including interior design, architecture, landscape architecture and urban planning. A current related publication is: Close, Susan. “Photography and Design Culture� Reading the Photographs of Alain Paiement and Richard Holden� In Eighty- Eight: Mieke Bal PhDs 1983-2011, edited by Esther Peeren and Murat Aydemir, Amsterdam: Amsterdam School for Cultural Analysis Press, University of Amsterdam, 2011. This essay considers how photography is a social practice used in design culture to provide insight into understandings about space and place. Evidence for this argument is drawn from analysis of a selection of images of the built environment made by contemporary Canadian photographers, Richard Holden and Alain Paiement.

Paiement’s photographs are studied as visual narratives that explore issues related to transitions in public and private space between the culturally constructed realms of the architectural interior. Holden’s landscape images are read in relation to ideas of place associated with the disciplines of urban planning and landscape architecture.

This analysis is based on concepts of mapping and framing.

It draws upon the methodology of cultural analysis to highlight connections between photographic practice and design culture. Such analysis is the outcome of preliminary steps in an exploration of the intersection of design culture with the cultural work of photography that discusses issues of social aesthetics present in contemporary photography.

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Traveling Concepts In Photography is an elective that combines practice and theory with the history of photography. This session, 12 graduate students, stemming from all departments within the Faculty of Architecture, travelled to Montreal and Ottawa to explore photography as a visual and actively creative aspect of art and design. Two cities, MontrĂŠal and Ottawa, were transformed into pop-up classrooms in which discussions on various aspects of design, culture and photography took place. Students were encouraged to develop their own concept and collection through explorations of galleries such as Parisian Laundry, La Filature and the Canadian Centre for Architecture (CCA).

Quickly, images of street performers, window reflections and underground sewers filled the lenses of digital and analogue devices.

A day was spent with highly noted Canadian photographer Gabor Szilasi, in which students were welcomed into his home to view original prints and discuss various aspects of his life and collections. This former Head of Photography at Concordia University, among other titles, inspired many students to reflect upon their own work and to further appreciate photography and its process.

In the end, each student compiled a set of images relating to a concept for a final pop-up exhibition that took place May 31, 2011 in the John A. Russell building. Several projections surrounded suspended photographs that provided visitors with a distorted map; an abstract tourist’s guide composed of small fragments of a massive city.

Stephanie McKichan Re-Photograph

Stephanie McKichan Re-Photograph

Stephanie McKichan Re-Photograph

Stephanie McKichan Re-Photograph

Stephanie McKichan Re-Photograph

Stephanie McKichan Re-Photograph

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Elaine Wai Yee Pang

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Dr. Susan Close Travelling Concepts in Photography Architecture, Graduate Studies

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Architecturally representing space cannot be done simply with one drawing, but is often more successful in a series that when seen together provide context in which the space can be situated. Designers are taught to create space, using tools like drawing and modeling, but what if photography could be used as a design tool? Informed by the notion of reflection, the creation of space and depth using photography through glass captures a rich context that is layered into a subject photograph. As a photographer it is important to be cognizant of the context included or not included within the photograph. The more layers created will results in the increase of information which begins to blur the objects creating a new space existing between the two realities.

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(e) Lawrence Bird !

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Architecture Instructor

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For many critics, the modern aerial image of Earth has reduced the landscape to an object of surveillance, control, and consumption: a condition Charles Waldheim terms “representational domestication.� 1 Today powerful new imaging resources like Google Earth might be said to push that image further in that same direction. But do they shift it instead towards accessibility and openness (with commensurate emancipatory potential), or toward interpretation and creation (as evidenced by artworks like Doug Rickard’s 2 and Jon Rafman’s, 3 gleaned entirely from Google Street View)? Do these resources, notwithstanding Waldheim’s caveats, have potential for design thinking in landscape, urbanism, and architecture, and specifically for the prairie landscape? These pages present the beginnings of an investigation into those questions.

Waldheim argues that to adopt a critical approach to the aerial image, designers need an understanding

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of work done on the image in other fields; there is no shortage of other fields and creative work to draw on. 4 Our understanding of the contemporary image is in flux; that image itself is a moving target, constantly changing along with the resources used to create and disseminate it. One thing we can say: images today form part of what Heidegger referred to as a technological enframing of human life (the Gestell). 5 While some have made use of Heidegger’s work to promote an anti-technological agenda, I prefer Bernard Stiegler’s understanding of Heidegger. 6 For Stiegler we have always been technological: mankind is defined by the use of tools, that is, of prosthetics. So contemporary technology is not about a post-human condition (for better or for worse) but a state fundamental to us, in which our humanity is and has always been negotiated with technical objects outside of ourselves. What might be different now is that our prosthetics today can seem all-encompassing; the aerial image is a graphic demonstration of that. We can see this condition of enframing at more than one level in figure 01, taken from Google Earth. The square-mile grid of prairie fields on display here is a result of modern systems of demarcating the world, dividing and owning land, and growing and distributing crops. It’s a 19th-century system, but it has a strange resonance with today’s imaging technologies. We might even say that the prairie surface seems pixilated. In fact it is: like the image representing it, the prairie is broken down into elements manipulable by a technological system. This strange congruence is our first clue of the affinity between our own landscape and the mediated image.

The second thing we notice in this image is how the prairie landscape undermines the grid, erasing and breaking it. This is more clear in the zoomedin view 02, which displays a tangle of loops, oxbows, and curves disrupting the grid. It seems to present a

simple dichotomy between artificial and natural, and as designers we might find inspiration in the wet and cyclical processes that oppose the hard and straight edge of the grid. But that common dichotomy is too simple; things are more complicated than that today.

This disruption is not only spatial but also temporal: the riverine knot represents a time frame of seasonal (and episodically cataclysmic) cycles of water, versus the grid which aspires to act “out of time,� trying (and failing) to preserve one pattern forever. Media resources have their own relationship to time, which cannot be reduced to a simple modern rationalization of the flow of life. Media objects are created in time (almost “just in time� – they do not exist until rendered active by a CPU) and evolve over time (like a wiki); they carry information which is potentially eternal, but which can decay over time with their media substrate, or can be zeroed-out in an instant.

Media systems all have clocks, and record their activity over time in logs and archives. Google Earth can be understood as one such archive, and one that records not just changes in the physical environment but also developments in the imaging systems recording that environment, changes related to technology and politics.

The Time Slider function, for example, reveals the evolving resolutions and extents of aerial imagery taken in different years (Fig 03, Fig 04). Because different places came under the eye of a satellite at different points in history, the mapping of the prairie landscape in these images is uneven.

This unevenness invites a closer view, and the series of successive zooms (Fig 05 - Fig 08) examine one area of figure 04.7 They make apparent the rifts between different images of the prairie, but they also provoke a dialogue between those images – and the prairie itself. The digital image becomes its own form of landscape, with almost material qualities. "' % & $ " %, $% ' & e & $

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For example, figure 06 presents variable territories of pixilation that create a counter-landscape, an alternative prairie. In figure 07 the pixilated image seems to blanket or block the earth, achieving a material presence that speaks mutely alongside the complexity of the left side of the image, an earth marked itself by the technological working of the plow. In figure 08 it goes even further, becoming an opaque swath, a seam between higherresolution images, inviting shifts and displacements.

What lies in the shrouded space between upper and lower images? What occurs out of sight along the road between them, shifted just slightly to one side somewhere along the way?

Such effects are not only a result of historical anomalies.

Figures 09-13 take us through another succession of zooms. As we approach the earth’s surface, a cloud becomes transparent – but only half of it. The result is the revealing of two contradictory worlds in the same space: both/an opaque white cloud, and the revealed prairie. As we continue to zoom in, the edge between these worlds takes on a quality somewhere between a knife-edge and fog. If we continue until just before the image swoops 430

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into Street View, the whiteness of the cloud generates a hieroglyph-like display of pixilation: has the image been transformed into text?

For me such disruptions in the aerial image introduce the potential of fiction and imagination into the technologized aerial image. They underline the fictive dimension of representation – no image is precisely what it pretends to represent, all images have a narrative aspect, all involve distortion. These breaks are also about the failure of technology’s promise, now over two hundred years old, of a transparent, complete and seamless mapping of the world. Imaging infrastructures seem to have built into them the shadow of any technological system: systems whose purpose is to function (not to suggest that this is technology’s only purpose) inevitably imply the condition of not functioning, of breaking, of going off the rails. This gap between the promise of technology and what it actually delivers is the basis of much exploration in machine aesthetics and media art. While these imaging systems, or more technical forms of GIS, can be useful or even crucial to the success of design projects (especially at the large scale), they are not error-free, they have their limits.

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wants. 9 The image is not simply a passive object for our consumption, any more than the prairie is: rather, it lives.

The introduction of agency to the image overturns any notion of “representational domestication.�

These images are not tamed; instead, they become wild.

Andreas Broeckmann has referred to a transgressive disruption of codes as the wild in media. 10 For him this is about the excess, and the animation, of our technological culture: the infusion of spirit and breath into the machine.

Understood this way, we can see the mediated image acting as that water-based temporality, that other form of wild, acted upon the mile-square grid. 11 Another affinity between the prairie landscape and the mediascape. This is The art theorist Georges Didi-Huberman was preoccupied the new complexity replacing the old dichotomy of artificial by works which move back and forth between being signs and natural. As that polarity breaks down, we can start to see the wild everywhere: in the grid, in the code, in of something else and being compelling phenomena in themselves, raw flashes of splashes of colour and texture. the prairie, in the city. This is good to know. Built into any system is its own undermining. There is always an escape.

To me this is exactly what is implied in the aerial images that break down in response to our engagement. 8 They cease to be copies of the world; they become worlds in their own right. In this condition a picture becomes not merely something we look at, but rather, something that looks back at us, ce qui nous regarde, a thing which we confront rather than observe. And in this lies another form of agency: of the image itself. W. J. T. Mitchell speaks of something similar, the desiring image, an image that We continually push those limits because we are not passive consumers of images: we have agency. Figures 14-20 were recorded after a jump into Ground Level View, that is, when the system starts to react as though we were a body moving over the land. We see the aerial image mapped over the topography of the Earth, and as we move over or through it, it breaks up: curlicues whip over aching voids, structures collapse and melt into smears of unrecognizable photographic fragments.

Through our action, the motion of a technologized body (a cyborg) through space, the image becomes something other than simply what it represents.

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NOTES: 1

“Aerial Representation and the Recovery of Landscape,� In Recovering Landscape: Essays in Contemporary Landscape Architecture, ed. James Corner, New York: Princeton Architectural Press, 1999, 121.

2

http://www.dougrickard.com/

3

http://9-eyes.com/

4

See for example Elsewhere/Mapping, ed. Janet Abrams, Minneapolis: University of Minnesota Design Institute, 2006.

5

Martin Heidegger, The Question Concerning Technology, New York: Harper, 1977.

6

Bernard Stiegler, Technics and Time, 1: The Fault of Epimetheus, transl. Richard Beardsworth & George Collins, Stanford: Stanford University Press, 1998.

7

These were achieved in Google Earth.

8

Georges Didi-Huberman, Confronting Images : Questioning the Ends of a Certain History of Art, University Park, Pa.: Pennsylvania State University Press, 2005.

9

W.J.T. Mitchell, What Do Pictures Want? The Lives and Loves of Images, Chicago: The University of Chicago Press, 2004.

10

Andreas Broeckmann, “Playing Wild!� In Sarai Reader 06: Turbulence, eds. Monica Narula et al., Delhi: Centre for the Study of Developing Societies, 2006.

11

Not coincidentally,14-20 were recorded at the edge of one of the prairie’s riverine areas.

A film/projection based in part on the concerns of these images can be found at http://vimeo.com/50751942

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Crafting Assemblies and Mediating Technologies instructors: deborah scott + jason hare

This inter-disciplinary summer studio research and explores the relationship in the hand craftsmanship and digital fabrication in construction processes

Defining a table‌ What is it? Why do we need them? What elements are required to define it (spatial and form, condition, culture, function and meaning, political‌)? Are they intimate - why?

Consider the architectural relationship, how it uses space and pre-existing forms- how much a part of the architecture is it- where is this new assignment of space, function and form? Can you re-define these definitions and conditions - should you? The body is an essential part of the process - either through the transference that occurs in making the objects, its proportional and scale considerations and potential conceptual motivations including function, all become part of the conversation. How do you navigate the desire for self-expression and individuality while being sensitive to universality - should you, is it relevant in your/ our given context? What is the context?

The design and construction of an original table form uses the conceptual impetus of intimacy. These table forms will explore the critical relationship of concept to material and technological choices, which every designer or design group faces when moving into the physical act of construction.

The timing in which we enact certain tools and materials, play a vital role in the inception of concept and form. To begin to comprehend the array of potential techniques that generate form, one must invest intimately in the physical assemblage and fabrication of that form.

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Renee Struthers

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Deb Scott Environemtal Design, Year 4 Interior Environments

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Concrete is a composite material known for specific properties.

Solidity, mass, timelessness, and strength are typical symbolic associations of concrete. Where as its high compressive versus tensile strength, shrinkage with time, durability and fire resistance are a few of concrete’s formal material properties.

Material, in this case concrete, is the dominant aspect of the design. Due to a lack of experience in working with concrete and its specific structural characteristics, process is the secondary driving force in the design and through process, the overall form was realized through a iterations in predetermined formwork.

Through the process of investigation, Glass Fiber Reinforced concrete was decided on to be used for the full scale form. It’s properties of strength surpass that of regular concrete due to a n addition of latex, and a hardener as well as the microfibres themselves. In addition, the GFRC mix allows for a lighter end product due to the possibility for thinness of the table, as well as the lighter properties of the mix proportions.

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What is a Tool?

Tools can be based in both hand process and technology. A tool is an extension of the hand in many instances, allowing for a certain refinement that could be difficult without the tool. Both 21st and pre 20th century tools were explored, and consequently utilized in the making of the “intimate table�. The CNC router translates digital information to imitate a process that by hand can

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Structural Findings

be lengthy in time, and less accurate.

The CNC router was used for the concrete formwork. The lines that the machine left behind on the formwork are celebrated in the design, and become an interesting pattern on the underside of the table. Hand tools were used on the table top, including a hand carved mallet, used to smooth the surface of the concrete along with various trowels.

A structural failure occurred with the movement of the form when finishing the surface after it was de molded. A hairline crack goes across the table width-wise creating a failure in the form. Possible reasons for the failure include the thinness of the material in the particular area of the crack, the mass ratio between the footing and the tabletop in the area, as well as not allowing the piece enough

time to cure before de molding and manipulation. Solutions to the issue include increasing the thickness of the material in that one area, reinforcing with a wiremesh, creating a flat plane tabletop in the area rather than a curved surface, and finally, allowing the piece a longer curing period before de molding.

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A table warrants varying definitions depending on the individual who is defining it. The table for this design is thought of as an object around which social contact occurs. The scale of the table allows individuals to congregate around it in a more or less intimate manner, sharing in the makers own intimacy with the piece, evident through the hand formed table top. The horizontal surface, the quintesential essence of the table, allows for objects to be place in certain areas. The cavities in the table top allow for continued intimacy with the piece in the changing of the contents of the cavities.

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Meaghan Juliana Kusyk

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Deb Scott Environmental Design, Year 4 Architecture

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I want to design a table through use of the CNC/laser in combination with pre-20th century technologies, perhaps looking to Inuit/Sami tools used for working with bone and antler (50/50 approach) I want to begin to understand/learn and be attentive to the incredible nuances that are inherit in bones‌ I am fascinated by its intimate nature and how mind-blowing the bone is at efficiency and its ornate nature, the form unparalleled to its function. I have no intention to imitate the assemblage of bones, but rather be inspired by its nature and use this to rethink ‘table’. I believe how the bones connect and relate to each other is where my main interest lies.. as well as testing/playing with the possibilities of the material itself. Hopefully this testing/ playing will led to unexpected nuances of the material to help guide the decisions. I would also like to utilize the cnc/lazer technology in a precise manner (3d scan bones - rhino - rhino CNC) to be thoughtful in the joint/connections intended. There are many material qualities of the bone i find extremely exciting‌. especially its surface how it can be transformed to polished white

and its ability to soak up tea into its cracks. Also the spongey woven bone within seems to hold a lot of potential in regards to how it could be manipulated for different function. I am drawn to ideas of using it to drain/strain tea. As for function, right now I see it as a tea party table for two. An intimate and partly prescribed ritual with a set of specific tools for the table to accept and accommodate. It interests me how maybe an intriguing conversation between the bone china and the table made from bone could transpire. Thinking of the traditional tea set: The decision of a tea party table helps make the decision of how the users will interact with it functionally as well as intimately.

Perhaps the table has the ability to cradle or hold each piece of the tea set in an untraditionally way, perhaps dictated by the form of the bone. Maybe the relationship between the table and the ‘tea set tools’ could redefine the rituals traditionally associated with ‘the tea party’ as well as the relationship between the object,table, person.. Other ideas come to mind in regards to the specific polite etiquette expected with a tea party, the relationship

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of touch to the teacup and saucer as well as the act of pouring the tea and how the table is set... A tea-party table decision allows me to make decision about heights, surface area needed, position of table legs to accommodate people legs etc.. Through testing with the CNC and laser cut with bone I have numbers ways to draw and carve out the bone as well as burn and etch. .

It would be most exciting if I could utilize the bones internal woven structure for some sort of drainage/filter system or some form of tea diffuser. And perhaps the tea could be steeped and drained through the table, in this process staining the bone, celebrating the use of the table visually perhaps?

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another place and culture part one: instructor's perspective !

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Kelley Beaverford

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Interior Design Associate Professor

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Service Learning in the Global Community (SLGC) is a course offered by the Faculty of Architecture, University of Manitoba, Canada. Students live for approximately five weeks in a low-income community overseas. Working alongside their hosts, students and faculty members design and build small buildings. Each project, identified by the community, responds to a genuine need such as equal access to education, eradication of poverty or preservation of culture.

design-build studio. A closer look will reveal an emphasis on cross-cultural competencies within the context of design education. Readings, seminars and written assignments support the learning experience by encouraging participants to reflect on what it means to work overseas. To illustrate this point, Ryan Coates has agreed to share a journal entry on his experience as a design student in another place and culture.

Since 2005, 58 students, 7 faculty members and hundreds of community members have worked on the following projects: 1. School Library, Ghana (to be completed in 2013) 2. Bo-Tree Complex: Community Hall and Buddhist Shrine, Sri Lanka (2011) 3. St Anne’s Boarding School Kitchen, Study and Dining Hall, Ghana (2010) 4. Katebo Primary School, Uganda (2009) 5. Deydinler Friendship Park: Tea house, Park and Playground, Turkey (2007) 6. Deydinler Bath House, Turkey (2005) At first glance, this course may look like a traditional

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another place and culture part two: student's perspective !

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Ryan Coates

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Sri Lanka, 2011 Environmental Design, 2011 Landscape & Urbanism

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In the third seminar, the discussion led to the question of what skills do designers need in an international context?

The one quality that kept repeating in my mind was the quality of humility and how important it is in the context of international development, conversation or design. I think that it is the most important quality to have when travelling and immersing oneself in another place and culture.

Every day I was humbled by some aspect of the journey I was on, whether it was an event on site or at home.

Something as simple as convincing the villagers that we Canadians actually knew how to swim was a humbling experience. It was a process of letting them to see that we could first swim, and then slowly coaxing them into letting us cross the river’s current, getting comfortable with our abilities, not just jumping in and ignoring them. It was a situation where we had to be assertive of our capabilities while at the same time understanding and accommodating to their preconceptions and concerns for our well-being.

This type of exchange was prevalent throughout the job site as well in a more meaningful way.

Since we are students of Architecture, Landscape Architecture and Interior Design, in a developed country, moving into a situation where we still are students but feel as though we somehow know more can be a very difficult transition. I think it showed how tough that was on everyone but also how well everyone was able to humble themselves to the process by the fact that there was no confrontation regarding the differing cultural building practices. I personally found it trying at times to be in a situation where I thought I knew better than some of the locals as to how to go about doing things, the landscape plan being the most obvious example of this.Â

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A simple drawing that seemed to show so little was in reality so descriptive of the process and so full of ideas and really just alive once I understood what it meant. At first glance I thought there was no consideration of anything and it felt like a very weak design, it was only once I checked myself and remembered that I am a student here, not a designer, that I began to let the details and intricacies of the drawing percolate. Once I understood what it communicated to the people who would build it, it became quite an amazing drawing. I had to humble myself to the process, accept that I did not fully understand and then engage with it to gain insight. I think the most important realization is that I did not know better, I just knew different. Humility is about realizing that you know different things than other cultures and some of it can be helpful but that doesn’t mean everything is right. As a designer in an international context, it is important to remember that you should be understanding and appreciative of other cultural values and practices. While there are qualities of the design drawing that worked in the village, it would not hold up in Canada, so you have to be aware of these differences and be able to understand which aspects to bring to and take from one culture to the next. Always though, to strive to be a humble designer, an understanding and sensitive designer will be an invaluable asset no matter where I end up.

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The Octagon A martial artist must defeat a plan by ninjas to create a worldwide training camp for terrorists.

Headhunter The Assessment Weekend A motley group of business students in Berlin, Germany sign up for Takahashi Corp.’s assessment weekend, hoping to land one of the coveted spots with the consulting company. Under the watchful eye of a company psychologist, the team-working and improvisational skills of the aspirants will be put to the test in a survival-type situation. But nothing goes according to plan . . .

Wrong Turn 2: Dead End A group of reality show contestants find themselves fighting for their survival against a family of hideously deformed inbred cannibals who plan to ruthlessly butcher them all.

KISS Meets the Phantom of the Park The tale of rock band KISS and their efforts to thwart a diabolical plan by mad scientist Abner Devereaux . . .

Carnosaur A brilliant geneticist, Diane Ladd, plans to expose a lethal virus to every human being on the planet. Her objective— to destroy humankind in favour of her new strain of prehistoric dinosaurs. Two people stand in the way of her diabolical plan, a cynical night watchman and a lovely idealistic environmentalist. The two must overcome their differences long enough to uncover the scientist’s scheme and fight her carnivorous creations in a desperate battle against the extinction of the human race.

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Female Female Prisoner Prisoner #701: #701: Scorpion Scorpion After Afterbeing beingcruelly cruellyset setup upand anddeceived deceivedby bySugimi Sugimi(Natsuyagi (NatsuyagiIsao), Isao),aaconnivconniving ing and and crooked crooked detective detective she she had had whole-heartedly whole-heartedly fallen fallen in in love love with with (and (and subsequently subsequentlylost losther hervirginity virginityto to .....), .),Matsushima Matsushima Nami’s Nami’s desire desirefor forrevenge revenge knows knows no no bounds. bounds. Her Her failed failed attempt attempt at at stabbing stabbing Sugimi Sugimi on on the the steps steps of of the the Tokyo Tokyo Metropolitan Metropolitan Police Police Headquarters Headquarters results results in in her her doing doing hard hard time time in in aa female female prison prison run run by by sadistic sadistic and and horny horny male male guards. guards. To To Sugimi’s Sugimi’s surprise, surprise, Matsushima Matsushima refuses refuses to to testify testify against against him him and and his his connections connections to to the the mob, mob, and and now now the the sheer sheer fact fact that that she she knows knows such such secrets secrets makes makes her her aa liability. liability. So So Sugimi Sugimi and and the the Japanese Japanese mafia mafia orchestrate orchestrate aa plan plan whereby whereby Matsushima Matsushima will will succumb succumb to to an an “accidental” “accidental” death death in in prison. prison. They They enlist enlist the the help help of of Kagiri, Kagiri, another anotherfemale femaleinmate inmatewith withties tiesto toboth bothSugimi Sugimiand andthe themafia, mafia,thus thustheir theirforformidable midable plan plan isis quickly quickly set set in in motion. motion. Little Little do do they they realize, realize, however, however, how how hotly hotly Matsushima’s Matsushima’s desire desire for for revenge revenge burns burns within within her. her.

Dead Dead or or Alive Alive Hanzaisha Hanzaisha As Asthey theyplan planan anall-out-assault all-out-assaulton onthe theremaining remainingChinese Chineseand andJapanese Japanesemafia mafia kings, kings, only only Detective Detective Jojima Jojima (Aikawa (Aikawa Sho) Sho) stands stands between between them them and and comcomplete plete domination. domination.

Curral Curral de de Mulheres Mulheres Young Young women women in in the the Amazon Amazon are are kidnapped kidnapped by by aa ring ring of of devil-worshipers, devil-worshipers, who who plan plan to to sell sell them them as as sex sex slaves slaves ......

Queen Queen of of Outer Outer Space Space Three Three American American astronauts astronauts are are on on the the first first manned manned mission mission to to Venus, Venus, and and when when they they arrive, arrive, they they find find the the planet planet to to be be inhabited inhabited solely solely by by women women with with high highheels heelsand andshort shortdresses. dresses.Unfortunately, Unfortunately,they theyare areimmediately immediatelyimprisoned, imprisoned, 374 374

06440 57 0

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an even more sinister plan an an even even more more sinister sinister plan plan

for for the the queen queen who who rules rules Venus Venus hates hates men. men. Suspecting Suspecting the the astronauts astronauts to to be be spies, spies, she she now now plans plans to to destroy destroy the the Earth.

Earth. So So now now it’s it’s up up to to the the three three men men (and (and some some friendly friendly Venusians) Venusians) to to overthrow overthrow the the wicked wicked queen queen and and save save the the Earth.

Earth.

Design Design for for Scandal Scandal To To save save his his job, job, newsman newsman Jeff Jeff Sherman Sherman offers offers to to help help his his boss boss get get out out of of aa swingeing swingeing alimony alimony settlement. settlement. But But his his devious devious plan plan to to compromise compromise Cornelia Cornelia Porter, Porter, the the judge judge on on the the case, case, while while she she is is on on holiday holiday at at Cape Cape Cod Cod soon soon proves proves to to be— be— well—too well—too devious! devious!

The The Silencers Silencers In In this, this, the the first first Matt Matt Helm Helm movie, movie, we we see see Matt Matt Helm Helm coaxed coaxed out out of of semisemiretirement retirement by by an an attractive attractive ex-partner. ex-partner. It It seems seems that that the the evil evil Big Big O O organization organization has has aa nefarious nefarious plan plan called called “Operation—Fallout.”

“Operation—Fallout.” IfIf this this plan plan comes comes to to fruition, fruition, Big Big O O will will explode explode an an atomic atomic bomb bomb over over Alamagordo, Alamagordo, NM, NM, and and start start WWIII. WWIII. Only Only Matt Matt Helm Helm can can stop stop them. them.

The The Light Light at at the the Edge Edge of of the the World World Pirates Pirates take take over over aa lighthouse lighthouse on on aa rocky rocky island. island. They They then then execute execute aa devious devious plan plan to to cause cause ships ships to to run run aground aground ......

Indiana Indiana Jones Jones and and the the Temple Temple of of Doom Doom After After arriving arriving in in India, India, Indiana Indiana Jones Jones is is asked asked by by aa desperate desperate village village to to find find aa mystical mystical stone. stone. He He agrees, agrees, and and stumbles stumbles upon upon aa secret secret cult cult plotting plotting aa terrible terrible plan plan in in the the catacombs catacombs of of an an ancient ancient palace. palace.

Tick Tick Tock Tock Rachel Rachel plans plans with with her her partner-in-crime partner-in-crime Carla Carla to to murder murder Rachel’s Rachel’s wealthy wealthy husband husband for for his his money money through through aa complex complex plot plot of of blackmail, blackmail, seduction, seduction, and and brutality brutality involving involving aa cowboy cowboy named named Travis Travis who who may may or or may may not not be be on on to to the the ladies ladies plan. plan.

Raqeeb Raqeeb A A diabolical diabolical plan plan is is hatched hatched between between Sunny Sunny and and Sophie Sophie to to kill kill Remo Remo by by natural natural means, means, by by just just threatening threatening him him by by fake fake bullets, bullets, so so that that he he dies dies in in an an asthmatic asthmatic attack, attack, so so that that no no suspicion suspicion is is raised. raised. And And Remo Remo is is killed killed by

by Sunny, Sunny, not not by by asthma, asthma, but but by by the the gun. gun. The The bullets bullets were were real, real, indeed. indeed. Are Are there there any any other other meanings meanings behind behind the the scenes scenes more more dark dark than than this? this?

Internet Internet Movie Movie Database, Database, Plot Plot Summaries Summaries

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INTERDISCIPLINARY "' % & $ PRACTICES " %, $% ' & " ) " !#% & " &' % $ | AN EVEN MORE SINSTER PLAN "

071 451065

O9.0 !

Appendix

452

453

appx Beukens, Robin

city

376

fisher river cree nation

Bird, Lawrence

#

Aa

322-325

Aguirre, Mari

400

Amiot, Volodymyr

arch

armature for the pressurized body & bath house

Araji, Dr. Mohamad T. academic-practice alliance

larch

320-321 l+u

291 305

Bosowec, Christina

id

393

analysis of a plant fossil

id

revery, iteration 2

304

laguna reflectere

377

Allen, Alexandra

l+u

Bobrowski, Lee Ann

city

swan lake first nation

Black, Katie

rowing through providence

126-129 132-135

Albuquerque, Diogo

288-289

Blick, Amanda

arch

superficial city/urban playground hot hut

l+u

green core

untitled

larch

shifting the grid

shifting ground

428-433

Bishop, Tayler

Abolit, Lia

Appelhans, Kira

inds guest

(e)scape

Boucha, Rosalyn

id

388-389

flower of light

111-113

Briggs, Mallory

arch

126-129 132-135 144-145

superficial city/urban playground hot hut de-programing space

larch guest

354-365 envd guest

036-039

Budyk, Andrew

arch

202-205

hollavallagardur library

Araya Cรกceres, Ronnie hanging hosterly

arch guest

172-173

Bul-Lalayao, Carmela

l+u

277

fortress garry

Assi, Jamal now i can

envd

011

Burke, Chris

arch

electromagnetism at kottbusser tor, berlin

Ataee, Ashkan dwelling

Atkinson, Jenna notational map

Bb

Baptist, Dr. Karen Wilson the national september 11 memorial

Beauvilian, Chris swan lake first nation

Beaverford, Kelley another place and culture

Bell, Brent gamla hofnin: fishermen clubhouse

Bell, Britney fragmented memory

Bergem, Brandon prosthesis institute

Bergen, Bree from production to reception

454

$$ " + #"'% ('#% " +

228-229

envd

040

Butterworth, Michael untitled search house

envd

020 l+u guest

Cc

Cheng, Becky diary

284-285

Chon, Jae-Sung city

a postscript: migrating landscapes

377

Close, Susan Dr. inds guest

photography and design culture

442-445

Coar, Lancelot arch

208-211 l+u

300 arch

106-107 arch

114-115

arch

072-073 085-087 id

386 ml guest

064-065 inds guest

424-425 ml + arch guest

emergent architectures of frozen landscapes 060 swarm 170-171

Collinson, Jill garden hill first nation

Connery, Chad pickle house queensboro proceptive softscape

city

376 ml + arch

057 116-123 156-157

appx Conrad, Brooke fold-a-house

Cook, Colby infill

Crawley, Erin superficial city/urban playground hot hut

Dd

Darling, Hailey vertical planes

David, April superficial city/urban playground hot hut escapism & legacies

De Mesa, Omar notational maps

Del Buono, Jeff superficial city/urban playground hot hut transitions

deWolf, John xo hotel

Diakovska, Daria interdependence

Dolick, Paul superficial city/urban playground hot hut softscape

ml

062-063

Ff

Fan, Yajiao Jessyca

401 405

Ferreira, Jonathan

envd

l+u

272-273

warmth

pinhole camera

126-129 132-135

Flores, Jasper lead our footfalls fortress garry infrastructual symphonics

arch

224

Fossum, Lori superficial city/urban playground hot hut

arch

126-129 132-135 146-151

Friesen, Joel dereliction fold-a-house

envd

021 arch

126-129 132-135 143 id

420-421 arch

225 arch

126-129 132-135 156-157

Gg

Gairns, Steve north of habitual

Gamborg & Magnussen

envd

018

competing geometries

l+u

296-297

untitled satellite

Duerksen, John reinhabiting a lost landscape

Ee

Eckton, Neil sweat and leisure

Eidick, Kevin infill

Eidick, Ryan swan lake first nation

Ellis, Rosemary untitled

Esposito, Rayna fold-a-house

id

396-397 404 arch guest

192-199 l+u

290 l+u

272-273 city

377 arch

183-185 ml

062-063

265 277 280-281 arch

126-129 132-135 envd + ml

034-035 062-063 arch

163-165 arch guest

174-175

Garcia, Thom Jeffrey

envd guest

in what language do we build?

Geen, Jillian age-friendly manitoba communities

GĂŠrard, Albert augmentation

Gigliotti, Tina Gilmore, Ryan Gilmour, Chris they will arrive one day

Duek, Sean

l+u

the still life project

age-friendly manitoba communities

Dubyna, Adam

030

arch

theatre nyc

Duan, Tony

id

cyclops pcc main structure

Gomes, Evan dwelling/precinct

Goodman, Krista bridging the gap

Granke, Jon superficial city/urban playground hot hut

Gratton, Roxane green core what's up, what's down

Gray, Andrew ports of entry chance engines

Gray, Matt fortress garry $$ " + #"'% ('#% " +

006-009 city

371 envd

010 arch

108-110 city

371 ml

058-059 l+u

264 l+u

278-279 arch

126-129 132-135 l+u

288-289 308-309 arch

242-245 246-249 l+u

277 455

appx Gray, William school of contemporary music

Gushuiak, Calee superficial city/urban playground hot hut

Hh

Hammond, Taylor superficial city/urban playground hot hut

Hanson, Kate pinhole camera

Hare, Jason migrating (bounded) landscapes

Harris, Dylan age-friendly manitoba communities

Henderson, Alexander age-friendly manitoba communities

Hicks, Beth superficial city/urban playground hot hut

Hildebrand, Jonathan garden hill first nation

Hill, Peter spatial doppelgänger

Hillier, Thomas started, but never finished

Himmerich, Stephen aubrey waterworks liquid landscapes

Hong, Sangwoo age-friendly manitoba communities

Horton, Krysti age-friendly manitoba communities

Hoseini, Mojtaba a hungry little building

Hunt, Nicole superficial city/urban playground media tower hot hut

Hur, Hea Lan

456

arch envd

020 032

notational map image-ination

arch

Jolly, Matthew

ml

021

Jones, Emily

018 061

envd

notational maps

envd

id

movement through form, form through movement seasonal abandonment

Kk

Kaspersion, Kory they will arrive one day

387 392 ml

058-059

city

371

Kent, Keegan sweat and leisure

l+u

290

city

371

Kirkland, Stephanie

l+u

hydro corridor

268-271

Klassen, Stefan

envd

arch

126-129 132-135

the sustainable family

Komoly, Kristina

city

376 l+u

276

Kotak, Caitlin

city

an even more sinister plan

Kroeker, Kailey

l+u

298-299 306-307

pal's supermarket

Krul, Curtis rowing through providence

city

ml

062-063

Kovitz, Rob

250-261

041

fold-a-house

sapotaweyak cree nation

arch guest

377 inds guest

446-451 arch

178-182 larch

320-321

371

Krylov, Alexander boat

city

371

Kusyk, Meaghan Juliana the queensboro hybrid fur couture house tea for three

arch

160-162

Kuzdub, Kristen

arch

126-129 130-131 132-135 l+u

Ii

Inglis, Caroline

arch

Jj

Jameson, Tiffany

$$ " + #"'% ('#% " +

Jelinski, Brennan

126-129 132-135

277

pixel

arch

230-231 232-233

optical bench with two armatures interference of light

126-129 132-135

fortress garry

corridor

Janzen, Kyle

id

415-417

188-189 id

391

pinhole camera

Ll

Lafond, Rachel pinhole camera fold-a-house

Landrum, Lisa architectural theory in drama + philosophy enigmas in the city

Landrum, Ted enigmas in the city

arch

075 arch + inds

104-105 439-441 envd

018 envd + ml

019 062-063 arch guest

212-217 238-241 arch guest

238-241

appx LaRocque, Taylor shifting the grid riverwalk

Larsen, Robyn inversion of space moment, memory and architecture

Larson, Chris sapotaweyak cree nation past, present and potential

Lawlor, Tatum pinhole camera (re)turn

Mbadugha, Marie Cecile

larch

322-325 332-335

swan lake first nation

McCormick, KC theatre within

arch

074 090-093

McCrea, Victoria void space warmth the life and dwelling of arthur peary

city

377 378-379

McKichan, Stephanie field studies

envd

019 033

McRae, Kelly age-friendly manitoba communities

Leckie, Aaron age-friendly manitoba communities

city

Miller, Alexis

371

swan lake first nation

Leydier, Chris warmth (re)turn fold-a-house

Levesque, Marie mine waste landscape

Li, Shengxu fisher river cree nation

Liang, Chengru screaming building & urban fabric

Linney, Andrea

larch

376 l+u

superficial city/urban playground hot hut hospedaria dos Imigrantes

Loewen, Neil fortress garry

Lucyk, Landon section dwelling

Marques, Ryan analysis for a house

Matiyku, Anca pickle house

Maya Meneses, Fernando adaptation

fragmenting the landscape

Nn

310-311

Nocente, Andrew station

Norman, Meghan

l+u

arch

Loewen, MacKenzie

Morgan, Lauren

city

Liu, Piao

a drop of green in a sea of grey

augmentation unfamiliar pinhole camera image-ination

377 arch

190-191 envd

014-015 028 048-049 larch

326-327 city

371 city

377 envd

012 016 019 032

336-337

291

Loeb, Danielle

Mitchell, Breanna

026 033 062-063

laguna

a blink of filming.

Mm

envd + ml

city

sapotaweyak cree nation

Normand, Scott pinhole camera untitled fold-a-house

088-089

arch

206-207 envd

022 city

377 envd + ml

018 027 062-063

l+u

315

Oo

arch

126-129 132-135 139-141

arch

070-071 078-079 arch

186-187 ml

057 envd

fold-a-house

Ortiz Barragan, Luis Miguel superficial city/urban playground hot hut winnipeg's calle del embudo

l+u

277

Oberlin, Stephen

Pp

Paradis, Ryan sapotaweyak cree nation

Paton, David

ml

062-063 arch

126-129 132-135 136-138 city

377 l+u

new victoria park

301

Peters, Catherine

envd

notational map warmth

Plain Projects fast food

020 025 l+u guest

282-283

013

$$ " + #"'% ('#% " +

457

appx Pollock, Aaron elevation dwelling

Pollock, Danielle

Rr

age-friendly manitoba communities

spmb softscape

city

368-370 371

Stankewich, Shawn an ecological pilgrimage

Quark, Nina dwelling fold-a-house

envd + ml

Rautenberg, Joyce

Stelman, Elyssa Straub, Dietmar

ml

Struthers, Kristen

emergent architectures of frozen landscapes

rhizomic thresholds

Rutherford, Theodora blocks of time

Sajdak, Darko (re)turn

Schellenberg, Evan lighted way slinky hut dereliction bow tie house fold-a-house

Sherk, John (re)turn fold-a-house

Shields, Jason

Struthers, Renee

id

418-419

antler luminaire black door hostel union cafe concrete table

arch

082-084 arch

234-237

Tt

Thompson, Trent encapsulation

Thurmayr, Anna

id

390

time for experiments!

envd

Tkachyk, Ryan

033

notational maps

envd + ml

Tremblay, Evan

023 031 034-035 050-051 062-063

371 city

371 arch guest

156-157 larch

342-347 envd

017 029 045-047 arch

094-101

doppelscape spatial doppelgänger

Trendota, Matthew superficial city/urban playground hot hut

larch guest

328-329 larch

326-327 340-341 ie + inds

402-403 408 409 436-438 arch

222-223 l+u guest

292-293 envd

021 l+u

274-275 276 arch

126-129 132-135

envd + ml

033 062-063

Twerdun, Tanner dereliction tumbling house fold-a-house

id

394-395

Silva, Andre

ml

$$ " + #"'% ('#% " +

field studies capture + disperse: gardens by gas

060

self design

they will arrive one day

i spy with my little eye...

l+u

Rey, Dominique

Rubio, James

city

376 314

hybrid

catocala relicta - the forsaken

city

i love new yo

Roedel, Courtnei

arch

220-221

371

Rempel, Lea

interdisciplinary arts and new media centre

untitled untitled untitled

city

age-friendly manitoba communities

Riediger, Erin Jane

Stasiuk, Sarah

040 062-063

garden hill first nation

458

Speirs, Liam

376

Rempel, Laura

Ss

age-friendly manitoba communities

city

fisher river cree nation

Qq

Spakowski, Andrea

019

Pritchard, Jennifer

winnipeg, city of memory age-friendly manitoba communities

the 177 project

envd

pinhole camera

Prokopanko, Adam

Smith, Graeme

arch

076-077 080-081

058-059

Uu

Umali, Tracey superficial city/urban playground hot hut

envd + ml

034-035 044 062-063 arch

126-129 132-135

appx Vv

Van Dorp, Mark superficial city/urban playground hot hut deck de camarĂŁo

van Vliet, Dr. David rephoto project, marville's paris

Vasconcelos, Melissa new music school

Ww

Wai Yee Pang, Elaine reflecting space

Wallis, Heather satellite trek and grind

Waplak, Ivanka fold-a-house

Washchyshyn, Johanna fisher river cree nation

West, Mark current research and construction at c.a.s.t.

Whitmore, Amy field studies

Wiens, Helene satellite

Wiese, Kim in what language do we build?

Wight, Dr. Ian praxis + ethos + poiesis

Wilson, Megan rowing through providence

Wojnarski, Kelly sinister cine-scape

Woolison, Garth image-ination hooligan's brewhouse

Workman, Trent assemble + disperse

Xx

Xoumphonphackdy, Souk

Yy

Yablonowski, Jenn

superficial city/urban playground hot hut architecture as infrastructure

corner hut

Yiu, Gordon superficial city/urban playground hot hut

arch

126-129 132-135 142

Zz

Zhang, Haojing pcc main structure

ie

405

city guest

380-383 id

412-414 inds

426-427 id

404 406-407 ml

062-063 city

376 arch guest

166 -167 larch

326-327 id

404 envd guest

006-009 city guest

372-375 larch

320-321 larch

348-353 envd

032 042-043 larch

338-339 arch

126-129 132-135 152-155 envd

024 arch

126-129 132-135

$$ " + #"'% ('#% " +

459

appx #

guest contributors Kira Appelhans is a landscape architect who fell in love with printmaking while studying for a Masters of Landscape Architecture at the University of Pennsylvania. Her current work, which she began with a fellowship at the MacDowell colony, explores natural processes at the scale of the landscape and copper plate.

Kira was a participant in the Rising Currents design workshop and subsequent exhibition at the Museum of Modern Art, New York in 2010.

Kira has taught in the Masters of Landscape Architecture program at the University of Pennsylvania and University of Texas, Austin and is currently on the adjunct faculty at Parsons, The New School in New York. Kira’s writing and work has been published in several magazines including Topos and A+T (Spain).

She works as a landscape architect for offices in New York and Nashville. You can see more work on her website working-earth.com.

specialization in higher education curriculum, and a Ph.D. in landscape architecture. Wilson Baptist's research probes the epistemology of experience within landscape architecture with a particular emphasis on memorial landscapes.

Kelley Beaverford is the founder and director of Architects Without Borders Canada (AWB), an organization focused on creating socially empowering environments. Kelley’s work investigates cross-cultural design with an emphasis on design for the other 90%. She holds a Bachelor of Interior Design from the University of Manitoba and a Masters of Architecture from the University of Calgary.

practice S.T.U.F.F. (Studio for Transformative Urban Forms and Fields) to reflect his research interests and trans-disciplinary practice. JaeSung Chon, together with 5468796 Architecture, served as curator and commissioner of the 13th Canadian entry to the Venice Biennale, in 2012 - Migrating Landscapes.

Susan Close is an Associate Professor in the

Faculty of Architecture and a Senior Fellow at St. John’s College, both at the University of Manitoba in Winnipeg, Canada. Close’s book Framing Identity: Social Practice of Photography in Canada (1880-1920) (Arbeiter Ring Publishing 2007) addressed how Canadian women at the turn of the twentieth century used photography as a social practice to establish identity. Close’s study takes into account key concepts and practices drawn from cultural analysis and issues related to identity, gender, post-colonialism, tourism and travel as a way to analyze her subject matter. This book is based on the her Ph.D. dissertation completed for the Amsterdam School of Cultural Analysis, University of Amsterdam in 2005 and funded by a Social Science and Humanities (SSHRC) Doctoral Fellowship. It was short listed for three Manitoba Book Awards in 2008. Close is also a photographer with work held in national and international collections. Her current teaching relates to her research interests and includes interdisciplinary courses on photography and theory.

Lawrence Bird was raised in Winnipeg but spent two decades abroad studying, teaching, and practicing. He has a professional degree in architecture (McGill, 1991), a master’s in Dr. Mohamad Araji’s education was received in urban design (London, 2000), and a Ph.D. in Lebanon and USA; with M.Arch from University architectural history & theory (McGill, 2009). of Arizona and Ph.D. in Architecture from His postdoctoral project Beyond the Desert University of Illinois at Urbana-Champaign. of the Real, completed at the University of He is a licensed architect in the Middle East, Manitoba, will be published in 2013 as part of a LEED AP, a member of the USGBC, and the volume Emerging Landscapes, by Ashgate currently in the process of licensure in North press. He has taught at the University of America. As a practitioner, Dr. Araji haws Manitoba, McGill and Kanazawa International worked at leading architecture firms in USA Design Institute (Japan), and practised in a and Canada. His experience at Smith+Gill number of environments including Pentagram involves the Chicago DeCarbonization Plan, the Design, Bohlin Cywinsky Jackson, and London 103% surplus-energy Masdar Headquarters, School of Economics Cities Programme. He and the world’s next tallest building, currently practices architecture and urban Kingdom Tower, currently under construction. design and pursues interests in film and visual Such landmarks seek the design of highart.

Lancelot Coar is an assistant professor in the performance, energy-efficient, sustainable Department of Architecture at the University architecture meeting optimal ecological Jae-Sung Chon teaches in the Faculty of of Manitoba and is a researcher at the Centre solutions. Part of Dr. Araji’s scholarly teaching Architecture’s Environmental Design program. for Architectural Structures and Technology and research was earlier fulfilled at the He is currently acting as the studio chair (CAST). At CAST, his research interests are Smart Energy Design Assistance Center, the of the second year design studio. He has centred on exploring the unexpected potentials Building Research Council and the School been teaching at the University of Manitoba of the dynamic properties of building materials; of Architecture at the University of Illinois. since 1996, and has taught around the world this work has led to the development of He has taught at Abu Dhabi University including studios in Seoul, Berlin and London. building systems incorporating a range of and lectured at several other American He studied architectural engineering, housing materials including fiberglass, ice, wax, fabric, universities. Dr. Araji received a number of and he is currently working on a research PhD wood, and plaster. Since 2007, Lancelot has design/research related awards, grants, at the Urban Laboratory at University College also led a design studio situated within the fellowships and scholarships. He regularly London, exploring the relevance and utility of community of Clearwater, Manitoba in order to publishes papers at leading refereed journals post-humanist discourse within the domains help students explore architecture as a practice and conferences. of urban ecology and postwar infrastructures. of consequence and collaboration outside of the Jae-Sung Chon has maintained a design studio setting. These studios have resulted in Karen Wilson Baptist is an Associate Professor practice since 1995, collaborating with a range the deconstruction of five century-old buildings in the Department of Landscape Architecture of partners. He was the founding partner of and the creation of five new structures using where she teaches design studio, theory and both DIN Projects and OS1 Design Inc. His work the reclaimed material, for the community. design research. Her educational background has been recognized in numerous publications He has a B.S. in both Civil Engineering and includes an undergraduate honours degree including AZURE, DWELL, Canadian Architect Architectural Engineering, and has an M.Arch in Fine Arts, a Masters in Education with a and Western Living. He initiated a collective from University of California, Berkeley.

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John Duerksen is a recent graduate of the Master of Architecture program at the University of Manitoba. He also holds a Bachelor of Environmental Design from the same faculty. Throughout his studies, John has acquired an interest in adaptable and performative architecture, which was emulated in his final thesis. John lives in Steinbach, 60 kilometers south of Winnipeg with his wife and two sons and has spent much of his life in the lake country of both Manitoba and Ontario. The rural setting has become a desired canvas on which John hopes to study the sensitive and reactive characteristics of architecture. John is currently interning at Peter Sampson Architecture Studio in Winnipeg.

Thomas Hillier was born and raised in the always-sunny County of Dorset in the South of England. In 2008 he graduated with a distinction in the Masters in Architecture at the Bartlett School of Architecture (UCL) under the tutorship of Professor CJ Lim and Bernd Felsinger. His architectural interests go beyond the built environment to include art, design, spatial story-telling and installations with a particular interest in how literature can be translated into urban and architectural space. He attempts to look at architecture from a different perspective, using unorthodox narratives and programmes to create original and often surreal observations. His work has been published and exhibited worldwide, with exhibitions at the RAW Gallery in Canada, the Wind Tunnel Gallery in LA and the Museum of the Image in the Netherlands. Alongside his own practice Thomas works with award winning London based firm Hawkins\Brown and teaches architecture at both, London Metropolitan University and Central St Martins.

Bachelors degree in Architecture from Carleton University and a post-professional Masters and PhD in the History and Theory of Architecture from McGill. She is a registered architect in Manitoba and New York State, having practiced in New York City for seven years. Lisa has presented her research at numerous international conferences. Her publications include two forthcoming book chapters: “Performing Theoria: Architectural Acts in Aristophanes’ Peace� in Architecture as a Performing Art; and “Ensemble Performances: Architects and Justice in Athenian Drama� in Architecture and Justice: Judicial Meanings in the Public Realm.

Plain Projects is a multidisciplinary firm specializing in landscape architecture and environmental design. We create beautiful Gamborg & Magnussen dissects the ideas and evocative places, integrating progressive contained in the still life painting, with the design with the urban framework. Through intension to create beautiful architecture. a process of exploration, inquiry, and Karen Gamborg Knudsen, born 1978 and collaboration, our work responds to the Kasper Magnussen, born 1977, founded intricacies of site and situation. We believe Gamborg & Magnussen in 2008. Based in interventions in our landscape should be Copenhagen and Zßrich. They are educated Rob Kovitz is creator of Treyf Books, book timeless, innovative, and inspiring. Through a from The Royal Danish Academy of Fine Arts, projects that consist of texts and images careful understanding of inherent landscape School of Architecture in 2005 / 2006. collected from various sources and qualities, we create spaces that educate recombined through a highly subjective Thom Jeffrey Garcia is a sessional instructor process of editing, ordering and juxtaposition. and invigorate. We draw on our extensive experience to implement bold, sustainable, at the Faculty of Architecture, University In addition to According to Plan, his current and fiscally responsible designs to meet of Manitoba. He has instructed in graduate bookwork-in-progress, he has published five our clients’ needs. Liz Wreford Taylor is the studios in the Interior Design Department as previous bookworks including Pig City Model Principal of Plain Projects and has more well as various levels in the Environmental Farm (with Princeton Architectural Press, than ten years of experience as a landscape Design Program. For many years he has 1992), Room Behavior (with Insomniac Press, architect and designer. Prior to establishing been an educator in the ED2 foundation 1997), and, most recently, Ice Fishing in Plain Projects, Liz was a registered Landscape year. Jeffrey has a professional Bachelor Gimli, an 8-volume, 4750 page appropriation Architect in the state of Washington, working of Interior Design degree from the U of M. epic that was ten years in the making (Treyf for five years at Murase Associates, a His body of work includes exhibit curation, Books, 2009), as well as various short landscape architecture firm and public art display design, graphic design, and industrial magazine and online projects at www.treyf. studio in Seattle and Portland. Liz is also design. Previous to teaching he worked com. A graduate of the University of Waterloo influenced by her experience working as for Plastic Buddha Design Inc., focusing on School of Architecture in 1989, he was a landscape architect in Perth, Western research projects and special commissions. also a founding partner of the design-build Australia, and at the Living Prairie Museum’s The company and various works have been practice Small Building Company in Toronto tall grass prairie preserve in Winnipeg. She is published in Wallpaper*, AZURE, and Frame. and Gimli  from 1991-1999, and has been a They exhibited across Canada and in New sessional teacher at the University of Manitoba currently a sessional instructor in the Faculty York (ICFF), Milan (Salone Internazionale del Faculty of Architecture off and on since 1998, of Architecture at the University of Manitoba.

Mobile), and Tokyo (Tokyo Designers Block). currently teaching  the University 1 courses Jeffrey is currently a partner at STUFF (Studio History of Culture, Ideas and Environment 1+2. RAW:Gallery situates itself within the interstices of art and architecture, where for Transformative Urban Forms and Fields), a both mediums explore space. On the ground newly formed network practice and think-tank. Dr. Lisa Landrum has been an Assistant level the exhibitions that RAW:Gallery often In 2011, he was the recipient of the prestigious Professor in the Department of Architecture explore are those pertaining to the materiality Carl Nelson Teaching Award, a recognition at the University of Manitoba since 2008, of the gallery itself, site specific drawings, historically bestowed to full time instructors. having previously taught at McGill University installation and sculpture all serve to probe His personal research focuses on the role of in Montreal, Carleton University in Ottawa, notions of space. On a broader level, the social history and spatial-experiential semiotics Norwich University in Vermont, and at in multivalent expressions and the impact on international summer workshops in Rotterdam exhibitions are chosen and linked together with a conceptual thread running throughout. phenomenology, genius loci, and place-making. and Helsinki. Lisa holds a professional $$ " + ( &' #"'% ('#%&

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Whether they are essays in craft, materiality or projects that probe ideas surrounding the body and technological intermediaries all serve to further a larger essay in RAW:Gallery’s programming. There have been 15 major exhibitions at RAW:Gallery to date, over 15 formal events and numerous ad hoc programming and external projects. spmb (São Paulo-Manitoba) practices in the interstices between art and architecture. Karen Shanski and Eduardo Aquino collaborated for the first time teaching together in 1998, triggering a practice that generated more than 50 projects in the past decade. spmb’s main area of the practice is public art, but expands into education, landscape design, furniture, public spaces, urban design, research, publications, and exhibitions. spmb values collaborative processes and community-oriented projects, which means that ideas develop from dialogic means in order to achieve innovative thinking and ground breaking directions. As artists and architects we are familiar with the conventions of collaboration with clients, other designers, engineers, city officials, and fabricators, giving us the ability to manage technical specifications of large scale projects and to produce/present all deliverables in an effective, professional and timely manner. We are aware as public artists that we are a part of a larger organizational structure, and we understand that to practice in the interstices of art, architecture and public space means that we do not default to subjective/individualistic primers, but we place collaboration as a major force of the process.

architect, he is full member of CSLA/MALA in Canada. Dietmar is Stadtplaner (Urban planner/ designer) and he is enrolled by the Bavarian Chamber of Architects, Germany. Dietmar is principal partner of Straub Thurmayr Landscape Architects and Urban Designers.

Anna Thurmayr (TU Munich) began her professional career in green roof design 18 years ago and has since acted as design and project manager on several high profile projects. She is a principal partner of Straub Thurmayr Landscape Architects and Urban Designers and is currently teaching in Landscape Architecture at the University of Manitoba, in Winnipeg. Her research interests, derived from the wide range of projects she has undertaken, are ‘the visual language of landscape architecture’, ‘roof gardens’, and ‘materials in northern climates’. Anna is a Full Member of both the Canadian Society of Landscape Architects (CSLA/MALA) and the Bavarian Chamber of Architects in Germany.

Kim Wieseis currently teaching in the Environmental Design Program at the ED2 Level. She has professional degrees in Architecture and Interior Design, 15 years of fashion design and marketing experience, and over 15 years of architecture and interior design projects completed to date. Several years of work experience in Stuttgart, Germany, the organization of numerous foreign trips and studios including a Master of Architecture Design Studio in Berlin, associated with Prof. Peter Berten at the TU, and the yearly Undergraduate Chicago Field Trip for the Environmental Design program at Dietmar Straub started his professional the University of Manitoba. She is currently career in participating in design competitions, a partner at the newly formed STUFF thinkdeveloping landscape architecture designs tank interested in practicing design in the and teaching at several German Universities. broader contexts of the environment. Kim In 2007 he moved from Germany to Winnipeg. bases her research in addressing the theory He is currently teaching at the University and practice of the communication of design of Manitoba. Dietmar’s long-standing and ideas in relation to creating, making and still active professional practice, his broad communicating. Specifically in finding the knowledge of contemporary and historical appropriate visual hierarchy of words and landscape architecture, his passion for images to match the content of representation, materiality, technology, and also for engineering publication and presentation as well as an and art create the base of his design. “My dad examination of the theories and practices taught me to prune trees. My Mum and my fundamental to the representation and analysis grandma knew how to bake fantastic apple of architectural space, and in understanding pies. We all have respected the birds and their the issues of representation as related to the nests in the apple trees. I got some of the design process, specifically as a means to best lessons in my early childhood�. Dietmar make design decisions. is a gardener, he holds an apprenticeship in landscape contracting. Dietmar is a landscape 462

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Ian Wight is an Associate Professor of City Planning, having joined the Faculty in 1994. A professional planning practitioner for the first half of his career, he has been long-associated with the City Planning program’s Professional Practice capstone course. Lately, reflecting the design school setting, this has been run more as a professional-self-design studio.

During recent leaves he has been thinking about ‘evolving professionalism beyond the status quo’, in the context of contemplating ‘the education of the agents of the next enlightenment’. Where is the leading/learning edge in professional education?

David van Vliet, M.E.Des, PhD., MCIP is a professor in the Department of City Planning teaching in the graduate program and Landscape + Urbanism Environmental Design undergrad program. His research interests include: engaging the propositions, principles and practice of sustainable community planning and design, with long experience documenting and assessing innovative demonstration projects, and in creative urbanism, questions of institutional change and ideation in planning, contemporary and historical. He is a member of the International Intervision Institute and member of the IFHP Working Group on Climate Resilient Cities. He is director of the Winnipeg & Region GreenMap project, and the Winnipeg Rephoto Project Mark West received his practical education working as a builder, and his professional architectural education at The Cooper Union for the Advancement of Art and Science, where he graduated in 1980. He has studied postprofessionally in the areas of cultural studies, at The University of California Santa Cruz, and architecture at Carleton University. He has taught architecture at a number of universities throughout North America since 1981, while working as an artist, inventor, and independent researcher. His inventions of flexible formworks for reinforced concrete construction have been central to establishing this as a new field of architectural and construction research. He is the Founding Director of C.A.S.T., the Centre for Architectural Structures and Technology, at the University of Manitoba (Winnipeg MB) where he is an Associate Professor of Architecture.

His work merges the disciplines of sculpture, architectural design, structural engineering and drawing, and has received wide recognition through publications, awards, lectures and exhibitions in North America, Asia, and Europe.

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All imagery is accredited to their respective contributors unless otherwise noted below.

2012 FAUM Exhibition Event photography, Pages i - ii, iii - iv, v - vi, vii - viii, ix - x; 238-239, 000, 000, 000, 000, MacKenzie

Loewen; Page 007, Brandon Bergem; Page 037, AS+GG Architecture; Page 052-056, Lisa Stinner-Kun; Page 057, right, Grajewski Fotograph Inc.; Page 059, top left, Grajewski Fotograph Inc.; Page 060, left, Brandon Bergem; Page 061, left, Grajewski Fotograph Inc.; Page 062, top left, Group: Brooke Conrad / Rayna Esposito / Kristina Komoly / Ivanka Waplak; Page 061, top and middle right, Jae-Sung Chon; Page 070-071, Landon Lucyk; Page 070-071, Landon Lucyk; Page 102-103, Evan Kallusky; Page 124-125, April David; Page 132-135, sans illustration, Mackenzie Loewen; Page 132-135, illustration, Paul Dolick; Page 132135, illustration, Paul Dolick; Page 156, Jacqueline Young courtesy of the RAW: Gallery of Architecture & Design; Page 158-159, Steve Gairns; Page 166, Courtesy of Smith Carter; Page 168-169, Christy Gonis; Page 176-177, Ryan Marques; Page 200-201, Lauren Morgan; Page 218-219, Katie Black; Page 226-227, Kyle Janzen; Pages 250-251, 258-259, Jacqueline Young courtesy of the RAW: Gallery of Architecture & Design; Page 266-267, Stephanie Kirkland; Page 294-295, Stephen Himmerich; Page 302-303, Katie Black; Page 318-319, Group: Curtis Krul, Megan Wilson, Amanda Black; Page 294-295, Taylor LaRoque; Page 398399, 410-411, Brandon Bergem.

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About

Acknowledgments

The Warehouse Journal is an annual publication from the University of Manitoba Faculty of Architecture. It is devoted to the critical pursuit of design discourse and the greater application to various collective communities. It attempts to reflect, engage and extend the ideas inherent within the various departments that fall within the interdisciplinary vision of the Faculty. It welcomes outside contributors in the form of critical review and exchange of ideas presented. Warehouse is a forum for the exploration of living, designing, and education on the prairies.

Warehouse Volume 21 was made possible by

Warehouse Journal is not-for-profit publication is produced by students highlights the design concepts developed within the Faculty during the previous academic year. Founded in 1991 by a group of students who wanted to showcase the strength of student work following a dormancy in publication at our school that lasted since the 70’s - it set forth by a mandate for being a medium in which to foster and disseminate discourse, critique, and directives held by a wealth of creative disciplines and interdisciplinary practices. Each year, newly chosen editors bring a unique curtatorial and graphic arts direction. Thus its format, scale, and scope have developed over the years reflecting the changes and advancements of both our Faculty, the world around us, and the ever evolving practices of design.

The Faculty of Architecture Technology Fund.

For Further information on the Warehouse Journal, see: www.warehousejournal.org

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The Dean's Office, Faculty of Architecture, University of Manitoba.

The Partners Program Faculty of Architecture, University of Manitoba.

The Faculty of Architecture Endowment Fund.

Donovan Bergman of the Friesens Corporation.

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Editorial Office

Warehouse Journal 319 John A. Russell Building Faculty of Architecture University of Manitoba Winnipeg, Manitoba, Canada R3T 2N2 T. 1-204-474-7288 E. warehousejournal@gmail.com

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Art Direction

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Right and Permissions All Rights Reserved. No part of this publication may be reproduced in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise without the written permission of the copyright holder(s) Every reasonable attempt has been made to identity the appropriate owners and authors of the material. In individual cases where this has not been possible, we request copyright holders to contact the Warehouse Journal. Errors or omissions will be corrected in the event of subsequent reprints and editions. © 2012 Warehouse Journal © All Contributors © Nicole Hunt and Brandon Bergem

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Annual Vol. 1, no. 1 (Oct. 1992) ISSN 1708-5888 ISBS 978-1-894586-36-8

1. University of Manitoba, Faculty of Architecture--Periodicals 2. Architecture-- Study and Teaching-- Manitoba--Winnipeg 3. Architectural Dsign--Study and Teaching--Manitoba--Winnipeg--Periodicals 4. Architecture Modern--20th Century--Periodicals 5. Architecture, Modern--21st Century--Periodicals I. University of Manitoba, Faculty of Architecture.

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