On November 7, the Daniels Faculty launched its new Architecture and Design Gallery with an inaugural exhibition: New Circadia. A crowd of hundreds showed up to explore the installation — a soft, cavelike environment lined with grey felt. Clara Venice was there, playing her theremin. Visitors lounged on specially designed pillows and soaked up the relaxing atmosphere.

If you missed the event, worry not: New Circadia will be open to visitors until April 30. Check here for gallery hours.

Below are a few selected photos from the launch event. To see more photos, visit our Facebook page.

Lorne Gertner, whose Lorne M. Gertner Fund provided support for New Circadia, with Adele Freedman and associate professor John Shnier:

Gertner (left) and Daniels Corporation executive vice president Niall Haggart (right), with Daniels Faculty dean and New Circadia co-curator Richard Sommer (centre):

Jennifer Morton, of Partners in Art, with hairstylist Bill Angst:

Aljoša Dekleva and Tina Gregorič are this year's Frank Gehry International Visiting Chairs in Architectural Design:

Designers Natalie Fizer and Emily Stevenson, of Pillow Culture. They co-curated New Circadia with Richard Sommer:

Philip Hastings and Valerie Gow, of Gow Hastings Architects, with Meg Graham, of Superkul:

Artist Joanne Tod, dean Richard Sommer, professor Kim Tomczak, and professor emeritus Lisa Steele:

Zainab Al-Rawi (MArch 2018), a member of New Circadia’s design and fabrication team, was responsible for exhibition research and design:

Kelly Smith, with Jacqueline Di Cara. They were representing the estate of Dr. James Drewry Stewart, which provided capital support for the Architecture and Design Gallery:

Allen Chan (left) and Matt Davis (right), both of DesignAgency, with Emily Masuda (centre) of Masuda International Associates:

Emily Masuda with assistant professor Charles Stankievech, professor An Te Liu, and Lorne Gertner:

Visitors to the public portion of the New Circadia opening admired a display of colourful time charts near the gallery's entrance:

There were lineups to enter the gallery, so some crowd management was necessary:

One Spadina's main-floor common area was filled with visitors:

Despite the hubbub upstairs, New Circadia remained tranquil throughout the night:

Clara Venice performed:

A few Daniels students suited up for the occasion:

Assistant professor Petros Babasikas held court. He's one of the creators of Oneiroi, a sub-installation within New Circadia where visitors can record descriptions of their dreams and listen to dream descriptions recorded by other people:

New Circadia will be on display until April 30:

Photos by Harry Choi and John Hryniuk.

On October 25, famed Canadian architect Douglas Cardinal and his wife, Idoia Arana-Beobide, visited the Daniels Building. Dean Richard Sommer led the couple on a tour of the Daniels Faculty's facilities, with stops in the Main Hall, the Graduate Studio, and the state-of-art Digital Fabrication Laboratory.

Cardinal, who is of Métis and Blackfoot heritage, is known for his work on buildings like the National Museum of the American Indian, in Washington D.C.; the Canadian Museum of History; and St. Mary's Church in Red Deer, Alberta. He is the recipient of numerous honorary degrees and awards, including the Order of Canada.

Here are a few photos of the visit.

Dean Sommer in the Daniels Building's south entrance with Cardinal, Arana-Beobide, and MArch students Kurtis Chen and James Bird:

In the Digital Fabrication Laboratory:

Peering through the building's east chapel:

Cardinal met professor Brigitte Shim:

And lecturer Alex Josephson:

And associate professor Robert Levit:

The whole tour group posed for a photo outside the building's south entrance:

Assistant professor Vivian Lee and her LAMAS business partner, lecturer James Macgillivray, recently designed the interior of Avling Kitchen and Brewery, a new restaurant and taproom located in Toronto's Leslieville neighbourhood.

The space, which had been used by a previous occupant to grow bean sprouts, was in need of a total refresh. Lee and Macgillivray's soothing interior colour palette and cleverly designed rooftop garden caught the eye of Frame magazine, which published a story about the project.

Frame writes:

A wide mural by artist Madison van Rijn was inspired by Canadian geography and the connection between humans and the Earth. Lee and Macgillivray hoped to achieve a feeling of lightness and inclusivity with a subdued palette: the pale pink that softens steel beams overhead is the same tone found in Van Rijn’s mural.

But it’s the restaurant’s layout that most strongly alludes to the farm-centred concept, with four quadrants organized around the central bar. "We had worked on agricultural projects before," says Macgillivray. "What had resonated with us, especially relative to the restaurant programme, was the notion of crop rotation – having different fields and rotating the crops though them to keep the soil healthy. We thought this was a fitting analogy for how the restaurant could place different groups of users, depending on the time of day and what they wanted at that moment."

Read the full article here.

And here are a few more images of the space, starting with a section of the building:

A view into the dining room, towards the brewing tanks:

The brewing area:

The rooftop garden:

Photographs by Felix Michaud.

Earlier this week, a group of graduate students from the Daniels Faculty's architecture and urban design programs gathered in the main hall at One Spadina for the Faculty's annual Student-Professionals Networking Event.

Through a series of "speed networking" sessions, students were able to make connections with established design professionals, who may one day be their employers or colleagues.

Representatives from 24 local architecture and design firms were in attendance. They engaged students in conversation about the realities of transitioning from school into professional life.

Dean Richard Sommer and Shane Williamson, director of the Master of Architecture program, welcomed participants:

Students gathered around tables for group conversations with guest professionals:

The two-hour event was followed by an informal reception with light refreshments and snacks:

The event was made possible through the generous support of the Ontario Association of Architects, represented by VP Regulatory Mélisa Audet. The OAA’s mandate is to develop and uphold standards of skill, knowledge, qualification, practice, and professional ethics among architects, and to promote the appreciation of architecture in broader society. We thank the OAA for its continued support of the Daniels Faculty. And we also thank the design professionals who committed their time in support of our students in the architecture and urban design programs.

The firms represented at the 2019 Student-Professionals Networking Event were:

• Adamson Associates
• architectsAlliance
• Bousfields Inc.
• Brook McIlroy Inc.
• Concord Adex Inc.
• CS&P Architects Inc
• DesignAgency
• dkstudio
• DTAH
• Dubbeldam Architecture + Design
• exp
• Forrec Ltd
• Giannone Petricone Associates
• Hariri Pontarini Architects
• IBI Group Inc.
• KPMB Architects
• Moriyama Teshima Architects
• SvN
• Stantec Architecture Ltd.
• superkül
• The Daniels Corporation
• Williamson Williamson Inc.
• WZMH Architects
• Wonder Inc.

Sessional instructor Marcin Kedzior, who is also director of the Willowbank Centre for Cultural Landscape, will be a participant in Modern Horzions' "Rhythm, Duration, Presence" conference on October 25th. He'll be lecturing on the cultural landscape of Kensington Market, a lively and eclectic neighbourhood in downtown Toronto.

During the early part of the 20th century, Kensington was the centre of a thriving eastern-European Jewish community, but subsequent waves of immigrants from Central America, Asia, and the Caribbean have transformed the area into a multicultural mix. Kensington's secluded, pedestrian-friendly retail strip has made it a frequent site of street festivals and other public celebrations.

"My talk is about this idea that it's not just the physical architecture of a neighbourhood that's significant," Kedzior says. "What matters is the mixture of tangible and intangible elements — the intangible elements being things like rituals, habits, performances, and festivals. Kensington Market seems like the perfect place to think about the way these intangible elements are foregrounded."

Kedzior's lecture will be open to the public, and admission will be free of charge. It will take place in room 206 at the University of Toronto's Victoria College (73 Queen's Park Crescent) on Friday, October 25 at 2:30 p.m.

Photograph by Dick Darrell, from the Toronto Star Archives.

In 1967, when Barry Sampson enrolled as an undergraduate student at the Faculty of Architecture, Urban and Regional Planning, and Landscape Architecture (as it was then known) he couldn't have imagined that the school would be a near-constant presence in his life for the next five decades.

In 2018, Sampson retired from his post as a professor at the Daniels Faculty, but his time at One Spadina isn't over. On Thursday, October 24, he'll deliver this year's George Baird Lecture, during which he'll explore a series of questions related to the work of Baird Sampson Neuert Architects, where he has been a partner since 1981. The lecture is free to attend and open to the public, but online registration is required for admission. Tickets are available here.

Sampson's professional career began around the time he earned his Bachelor of Architecture in 1972. That's when he and classmates Bruce Kuwabara, John van Nostrand, and Joost Bakker approached one of their professors, George Baird, with an offer.

Barry Sampson.

"These four people came to me and said they wanted to join my office, which was at that point a one-person office," Baird, who is now a professor emeritus at the Daniels Faculty, recalled recently. "I said, well, I'm flattered, but I don't have the volume of work to support a staff, let alone a staff of four. And then they said, 'Well, we understand that, and we don't expect to get paid.' Which came as an even bigger shock to me."

Sampson had left an impression on Baird. "Barry was talented, he was hardworking, and he was very socially engaged," Baird says. All four of the young architects soon joined Baird's firm and began drumming up business, drawing paycheques when there was money to be had.

Kuwabara, van Nostrand, and Bakker eventually drifted away and found success elsewhere. Sampson himself left for a short period of time to live and study in Paris. But when he returned to Canada he rejoined Baird's firm. In 1981, he became a partner. For the next decade — prior to the addition of a third partner, Jon Neuert — the business was known as Baird Sampson Architects.

Sampson's work has always been characterized by technical mastery and an abiding concern for environmental performance. Baird Sampson's design for Cloud Gardens, an urban parkette near Bay and Adelaide, completed in 1993, earned rave reviews for its planted terraces, artificial waterfall, and tropical greenhouse — all wedged into one of the densest parts of downtown Toronto.

Sampson himself traces the environmentally conscious tendency in his work to a slightly later commission: the Niagara Parks Butterfly Conservatory, completed in 1996. The structure seamlessly incorporates an 11,000-square-foot central conservatory where plants, butterflies, and visitors can freely intermingle. "We had to deal with the biology of critters," Sampson says. "We had to both understand their biology and provide environments that were conducive not only to their survival, but also their performance as butterflies. That made us dive much deeper into the interrelationship of environmental systems and architectural systems than would be normal for an architectural practice. It started us on the track to what I could call 'bioclimatic design': buildings that are responsive to climate and also to the biology of inhabitants."

Under Sampson's influence, the firm's commitment to energy-conscious design grew stronger over time. Thomas L. Wells Public School, completed in 2005, incorporates passive heating and cooling systems and durable, high-quality materials to minimize the building's environmental footprint. The project earned a LEED Silver certification.

Another building that benefitted from Sampson's touch is the one he most recently taught inside: the Daniels Faculty's new home at One Spadina Crescent, completed in 2017. As the dean's special advisor, Sampson was a key point of contact between the building's designers, its builders, and university staff. Along with Dean Richard Sommer, Sampson advocated for the preexisting 19th-century building's former coal pit — which was originally supposed to be remediated, filled in, and sealed off — to be retrofitted into a usable space for the faculty. That space now houses the Daniels Faculty's Architecture and Design Gallery, which will have its grand opening on November 7.

Substantial though Sampson's contribution to Toronto's built form may be, he has another legacy: the mark he left on generations of architecture students, who benefitted from his extraordinary technical expertise. In 1999, he developed the faculty's comprehensive building studio program, which is considered the most technically demanding of the graduate-level studios. He continued teaching the studio until 2015. "As an educator, he's very systematic, methodical, and patient," Baird says.

Exterior and interior of the McEwen Graduate Study and Research Building at York University's Schulich School of Business, designed by Baird Sampson Neuert Architects. Photographs by Tom Arban.

Sampson will continue at the Daniels Faculty as a professor emeritus, and he remains an active partner at Baird Sampson Neuert Architects, where he recently completed a major commission: the McEwen Graduate Study and Research Building at York University's Schulich School of Business. The building bears all his hallmarks: it's a bold but disciplined design that manages to beguile the senses with bright, open spaces while remaining ruthlessly energy efficient. "When we're out there, people will stop us, and they will just, without prompt, talk about how much they enjoy the building," Sampson says. "It makes us feel good as architects to have people spontaneously bring that sort of thing up."

Although the future of his architectural practice is bright, Sampson admits that life outside the university has required adjustment. "I miss talking to students," he says. "I really enjoy their engaged attitudes towards the world."

The Daniels Faculty is collecting donations to support a public commemoration of Sampson's time as an educator. Anyone interested in contributing can do so online.

Mezcal, a type of alcoholic spirit made from agave, has become a favourite at high-end cocktail bars around the world. With urbanites buying the stuff by the crate, mezcal production has become the basis for a thriving export industry in rural areas of Mexico that have been fermenting and distilling agave juice since the colonial era.

But mezcal production results in a considerable amount of waste: each litre of finished mezcal leaves behind 13 litres of an acidic liquid known as vinaza, which, when disposed of improperly, can contaminate local aquifers.

For her 2019 option studio, "Adobe Bricks, Mezcal and the Arid Landscape of Oaxaca's Central Valley," Sessional Lecturer Elisa Silva led third-year Master of Architecture students on a trip to the Central Valley of Oaxaca, Mexico, where they visited working mezcal distilleries, or palenques. There, they got some hands-on experience with a novel way of disposing of vinaza: combining it with a fibrous agave residue known as bagazo to make traditional adobe bricks for use in local construction.

The brick-making technique, refined by architect Alejandro Montes of COAA, produces blocks of adobe that are stronger and more earthquake-resistant than adobe bricks made from other materials.

The studio's trip to Oaxaca brought students to Ejutla, a rural region about 80 kilometres south of Oaxaca's urban capital, where they witnessed the mezcal-making process before getting their hands dirty making bricks. Now that Silva's students have returned to Toronto, they'll begin developing design concepts for buildings constructed out of those same agave-derived bricks.

Here, some photos of their travels, with commentary from Silva.

"Some students went to Monte Albán, which is a pre-hispanic Zapotec ruin," Silva says. "Monte Albán is a pretty impressive site. It's on the top of a mountain. No one quite understands how they made it absolutely flat like that."

"This is the cathedral in the city of Oaxaca."

"The students had a night on the town in the city of Oaxaca. This is the main square."

"This is Oaxaca's Central Valley. It's arid. The dry season typically goes from September all the way through the new year, and it doesn't start to rain again until June. The landscape will get pretty brown because of the scarcity of water. And there's progressive deforestation because of grazing, and because of the use of wood for fire, which is the main source of energy for locals. Things that grow here include agave, cacti, and some indigenous species of oaks and pines."

"We're in the town of San Martin Tilcajete, at the studio of Jacobo and María Ángeles. Over the years, they've grown this place into an art complex where they teach people and produce alebrijes, which are these animal figures that are carved out of wood from copal trees, then heavily painted in very intricate patterns.

"We stopped to see the place, and then everyone was hungry. We're eating gemelas. It's basically a long tortilla filled with ground black beans, Oaxaca cheese, and hot sauce. And it was all produced locally."

"This was taken at a palenque — a place where mezcal is produced. The maestro — the owner of the palenque — is called Félix. This is a big oven, lined with volcanic stones and encino pine, which is the type of local pine wood that you can see here in the foreground. The wood is heated up, and then they put the agave piñas in there and cover the whole the thing with earth. The piñas will cook there for about five days. After that, they are shredded into fine pieces, either with a stone wheel that's pulled by an animal or with a mechanical grinder."

"This, at Félix's palenque, is a double distillation vessel that is typical of the region. Mezcal starts as a fermented liquid called pulque — like a beer made of agave, with a very low alcohol concentration. Each of these boxes is a wood oven. The fire heats the distillation vessel and evaporates and condenses the pulque until it's about 50 to 55 per cent alcohol by volume."

"The man on the left is Herminio Coronado, the maestro at a mezcal palenque in Agua del Espino, a town in Ejutla. His palenque was our ultimate destination, where we made our adobe bricks. I'm on the right. We had already made some bricks when this photo was taken, which is why my feet are covered in mud."

"The mezcal production process leaves behind a fibrous waste product called bagazo. Here, we're breaking down and measuring some of it for use in our adobe bricks. The person standing up is Alejandro Montes, who showed us the adobe-making technique. The kid on top of the mountain of bagazo is Herminio's son Gabriel."

"The bagazo here had been accumulated over time as Herminio produced mezcal, so we needed to separate the fibres of it so that they weren't all clumped together. The adobe mixture is 10 parts earth, three parts bagazo, and three parts of the liquid, vinaza. The students here are Lori Chan, Ivee Wang, and Thomas Kim."

"Thomas Kim and Ted Marchant are shovelling earth that was collected for our adobe-making project into buckets."

"Here, Paulina Aviles Parra and Maria Cortes Herrera are filling a mould with the adobe mixture. You have to level it off at the top, and then you use the two side handles to pull it up evenly."

"We were able to make about 60 bricks during our first day and 150 the following day before it started to rain and we weren't able to make any more. The virtue of this process is that it doesn't waste scarce water supplies. At the same time, it helps keep the harmful vinaza liquid out of the environment. Once the bricks are made, they need to dry in the sun for about three weeks before they can be used."

Photographs by Thomas Kim and Stephanie Tung.

The University of Waterloo School of Architecture's Rome program, founded in 1979, enables students to spend a term in the Italian capital, one of the world's great centres of architectural heritage. Starting on October 17, Roma XL, an exhibition curated by Sascha Hastings, will show off some of the extraordinary student work completed as part of that program, juxtaposed with professional work created later on by the same people.

And some of that student work belongs to practitioners who now teach at the Daniels Faculty.

Among the contributors to RomaXL's collection of Rome-inspired student drawings are Daniels Professor Brigitte Shim, Lecturer Alex Josephson, and Adjunct Lecturer Lisa Rapoport. Another Daniels faculty member who will have work on display is Associate Professor John Shnier, who attended Waterloo prior to the establishment of the Rome program, but later lived and worked in the city after winning the first Canadian Prix de Rome in 1987. While he was in Rome, he developed a relationship with the Waterloo program.

Image: House for Piranesi, monotype by John Shnier (1988).

"Rome has continued to affect the way I think about contemporary practice," Shnier says. "and, perhaps more importantly, how I think about how I create relevant pedagogy here at Daniels." Professor Shnier has taken Daniels students to Rome as part of his option studios.

Hastings, the curator, believes that time spent in Rome had a similarly profound impact on many of the architects who contributed work to the exhibition. "Three months of being in a place like that opens up students' eyes, helps them find direction in their own practice and in their own thinking," she says. "For some of them, it may be the first really big international trip they do."

Roma XL will take place at the Istituto Italiano di Cultura (496 Huron Street), beginning October 17 and ending November 1. There will be an opening reception on October 16 at 6:30. For more information, and for hours, visit the Istituto Italiano di Cultura's website.

Sidi Harazem, a thermal bath complex located just outside of the Moroccan city of Fez, has fallen on hard times. The 1960 facility, designed in the Brutalist style by French-Moroccan architect Jean-François Zevaco, fell into disrepair before being subjected to a halfhearted renovation that attempted to hide — rather than accentuate — the austerity of its concrete construction.

In 2017, a team led by Daniels Faculty associate professor Aziza Chaouni won a $150,000 (U.S.) Keeping it Modern grant from the Getty Foundation to fund the development of a plan to restore Sidi Harazem while addressing the needs of the local population and ensuring the complex's long-term sustainability. On Tuesday, the project made the New York Times.

The Times writes:

In 2001, on a visit home, Ms. Chaouni went to Sidi Harazem for a swim and was horrified by the renovation. As an Aga Khan Fellow at the Harvard Graduate School of Design, she studied the architecture of tourism in post-independence Morocco, including work by Mr. Zevaco [...] Armed with that knowledge, she approached the [the Moroccan pension fund] CDG, convincing Rachid Karkari, the official in charge of Sidi Harazem, that their duckling could — with proper intervention — turn back into a swan.

“We were amazed by the splendor of the plans drawn by Zevaco,” said Mr. Karkari, pointing to the architect’s rendering of the thermal station entrance. In that drawing, called “The Signal,” plants and people climb up a hillside defined by ridges of concrete architecture, a building that rises up and spreads out at the same time. “We hope, through this project, to restore the image of Zevaco’s work so that it regains its former glory.”

Chaouni developed her conservation management plan for Sidi Harazem with her office and with the assistance of Daniels Faculty students Li Cheryl Li, Yi Zhang, and Treasure Zhang. Daniels students Francis Ted Marchand, Avery Clarke, Saaraa Premji, David Alba, and Muyao Zhang performed research and worked on a seminar that gathered international experts at Sidi Harazem.

Read the rest of the New York Times article about Chaouni's work here.

Photograph of Sidi Harazem by Andreea Muscurel.

The Jordan Valley is located in one of the world's most disputed geographical areas, sandwiched between Israel, the occupied West Bank, and the western border of Jordan. Although the valley is riven with political strife, it's also an important agricultural region and a home to many Jordanians, Israelis, and Palestinians.

For (Re) Revisiting the Valley Section, a project now on display at the Seoul Biennale of Architecture and Urbanism, assistant professors Fadi Masoud and Victor Perez-Amado were invited to contemplate new urban forms and housing typologies that are sensitive to the landscape conditions on both sides of the Jordan Valley. Their project is a response to the Biennale's theme, "Collective City."

"The Jordan Valley is very rich in culture," Perez-Amado says. "It's very rich in history. There's already a strong tradition in agriculture there, but the buildings and the infrastructure are separated from the actual landscape and are at odds with it. Furthermore, as populations grow there's a need to provide more housing. We were looking at the potential of the landscape and its topographic conditions as the basis for urban development and decentralized infrastructure, regardless of man-made political divisions."

Masoud and Perez-Amado propose a series of new housing typologies that take the Jordan Valley's geographic and environmental context into consideration, while also referencing the traditional courtyard architecture of arid regions in the Middle East.

Section of a five-person courtyard home in the Jordan valley, as conceived by Fadi Masoud and Victor Perez-Amado.

Each housing type would be integrated into the slope of the valley, which would preserve soil for agriculture. Every home would have a central courtyard that would be planted with vegetation, to retain moisture. Systems of windows and louvres would allow each courtyard to act as a passive ventilation system.

Each home would also be equipped with a system for collecting rainwater—both from courtyards and rooftops—in cisterns. Grey water would be preserved for use in irrigation farther down the valley. This would address problems with water distribution in the valley's dry middle section. "Every drop of water counts," Perez-Amado says. "So we're trying to collect it in as many ways as we can."

(Re) Revisiting the Valley Section will be on view in Seoul until November 10.