Aaron Hernandez (MLA 2019), Douglas Robb (MLA 2014), Thevishka Kanishkan (MLA 2019), and Rayna Syed (MLA 2018) — all graduates from the Daniels Faculty's Master of Landscape Architecture program — are among this year's recipients of grants from the Landscape Architecture Canada Foundation, a national charitable organization that invests in landscape research. Their newly funded projects will tackle a range of issues relevant to the contemporary profession. Here are some details.

Aaron Hernandez

Hernandez's LACF-funded project will be an extension of the work he began while he was preparing his Daniels Faculty thesis project. For that project, he used the tools of landscape architecture design to develop a new way of visualizing how policy documents dictate land use in Rouge National Urban Park, a protected area located in the northeastern corner of Toronto. Using his visualizations, Hernandez developed a series of site-specific remediation strategies that, he contended, could be used as the building blocks of a new and more ecologically sensitive regulatory regime.

Now, with $8,250 in funding from the the LACF's annual grants program and the LACF Donald Graham Bursary, Hernandez plans to perform even deeper policy research on land use in the Rouge. "The grant provides an opportunity to look at the Rouge in the context of a wider set of provincial policies," he says. "I'm also looking at this history of treaties with Indigenous peoples, and how they have formed settler perception and attitudes towards the landscape."

Image from Aaron Hernandez's MLA thesis project.

Hernandez will use part of the new funding to develop ways of disseminating his research. The grant will help him finish work on a paper he's writing with associate professor Jane Wolff, and he'll also begin developing a website to show his work to the public.

Douglas Robb

Robb's grant proposal is an outgrowth of his PhD work at the University of British Columbia's Department of Geography, where he's working on a dissertation about the ways landscape architecture intersects with changes in Canada's resource economy. "I'm looking at landscapes of decarbonization," he says. "How are designers implicated in building this energy transition that we're supposedly all moving towards?"

For his dissertation, Robb has been investigating the role played by architectural drawings in legitimizing controversial energy projects. As part of that project, he has been researching hydropower and hydraulic fracturing in British Columbia's Peace River region. With his $7,825 in funding from the LACF's annual grants program and the LACF Northern Research Bursary, he plans to accelerate his field work.

The W.A.C. Bennett Dam, a hydroelectric dam located on the Peace River. Photograph by Douglas Robb.

"I'm going to be driving the extent of the Peace River," he says. "I'll be documenting landscapes of energy extraction along the way and trying to tell a broader landscape narrative of the river in relation to energy transitions."

The new funding will also allow Robb to publicize his work through scholarly writing and a website. And it will support "Designing Canadian Energy Futures," an advanced undergraduate seminar that Robb is teaching this year at the Daniels Faculty. The money will allow him to provide guest speakers with honoraria.

Rayna Syed and Thevishka Kanishkan

Syed and Kaniskhan applied to the LACF on behalf of an organization they co-founded, Common Space Coalition. "The coalition was founded after a letter demanding action on the perpetuation of systemic racism in landscape architecture, signed by over 120 landscape architects across Canada, was sent in the wake of the killing of George Floyd to the OALA and CSLA," Kanishkan says. Common Space Coalition is now a registered non-profit.

With the $6,000 LACF grant, Common Space Coalition plans to develop the Common Space Directory, an interactive online platform that will catalog and map grassroots activism, community groups, and leaders who operate in fields adjacent to landscape architecture. "It's imperative to the resiliency of our work as landscape architects to meet community groups where they are at, and to bring them into projects at the earliest stages of design,” Kanishkan says. “Our hope is that the Common Space Directory will create a place for landscape architects to connect directly to the communities whose physical spaces we shape, ultimately leading to more equitable and sustainable design work.”

Syed and Kanishkan believe this new tool will help alleviate inequities in the way that landscape architecture manifests in the public realm. "This directory introduces community and activism as a layer of the site inventory and analysis process. It has the potential to break down the systemic racism and Eurocentric values inherent in Canadian landscape architecture, and start the design process with a bottom-up approach," Syed says. "The first step in that is amplifying community voices and grassroots organizations who are already doing this work, and paying attention to them in our profession."

The end result, Syed and Kanishkan say, will be an interactive map directory that shows the location and history of community leaders, groups, movements, and activists working in fields adjacent to landscape architecture in the Toronto area. The Common Space Directory website will also include video clips and notes from interviews and case studies.

The pair hope to promote this project at the CSLA Congress in 2021 and launch it completely by the end of the year.

Syed and Kaniskhan are hoping to raise an additional $4,000, to support the expansion of the project across a larger geographic area. For details, visit the Common Space Coalition website or Instagram.

A recent New York Times Magazine story about the work of Suzanne Simard, a forestry professor at the University of British Columbia, derives much of its impact from the accompanying photography: a series of lush images of British Columbian trees and fungus. Those photos were taken by Brendan George Ko, a 2014 graduate of the Daniels Faculty's Master of Visual Studies program.

Ko began working as a freelance photographer while he was earning his undergraduate degree at OCAD University. In addition to his editorial photography — which has also appeared in publications like Vogue and Flux Magazine — he maintains an active artistic practice. His most recent solo exhibitions were Moemoeā, at Contact Gallery, and We Soon Be Nigh!, at LE Gallery.

Photograph by Brendan George Ko.

Ko's Times photographs illustrate the forest milieu that gave rise to Simard's seminal theories about underground fungal networks known as mycorrhizas, which connect the roots of plants and allow them to swap chemicals and nutrients.

"The first thing I noticed was the aroma," writes the story's author, Ferris Jabr, of a forest trek with Simard. "The air was piquant and subtly sweet, like orange peel and cloves. Above our heads, great green plumes filtered the sunlight, which splashed generously onto the forest floor in some places and merely speckled it in others. Gnarled roots laced the trail beneath our feet, diving in and out of the soil like sea serpents."

Read the full story, and see Ko's photographs in context, at the New York Times.

The LA+ Creature competition presented entrants with an unusual design prompt: pick a nonhuman animal as a "client," and then use design methods to create something that might improve that animal's life.

Ambika Pharma, who graduated from the Daniels Faculty's Master of Landscape Architecture program in 2020, and Niko Dellic, who is now completing his Master of Architecture thesis, took one of the competition's top prizes. Their winning design? An aquatic swingers' club for horseshoe crabs.

Their project, titled "Moonlight Orgies," is a modified barge that would float off the coast of Sagar Island, in India. The structure would contain an artificial habitat designed specifically to encourage mating by mangrove horseshoe crabs. Pharma and Dellic chose to focus on horseshoe crabs because of their importance to the medical industry. The crabs' blood contains a rare chemical that is essential for the production of certain kinds of pharmaceuticals and medical devices.

Ambika Pharma and Niko Dellic.

The project was one of five winning designs. Another recent Daniels graduate, Hillary DeWildt (MLA 2020), had her submission chosen for an honourable mention. The competition had a total of 258 entries.

"It's a relief when something like 'Moonlight Orgies' wins," Pharma says. "The project deals with a serious topic, but the design is peculiar. Our win means there's room for humour within ecology and design."

Rendering of Moonlight Orgies.

Pharma and Dellic's design is intended to create a space for mangrove horseshoe crabs to live and breed away from predators. The barge also corrals the crabs, keeping them within reach of humans, so that their blood can be harvested for pharmaceuticals. Allowing the crabs to be exploited by humans is, paradoxically enough, a way to keep them safe.

"Prior to their blood being discovered for medical use, their numbers were dwindling for the first time since the Jurassic period," Dellic says. "Suddenly, once they were discovered to have value from a human standpoint, their numbers started to go back up."

The reason horseshoe crab populations can benefit from human exploitation is that harvesting horseshoe crab blood doesn't always kill the animal. In most cases, a blood draw leaves the crab alive, but lethargic. "There's a two-week period where they're disoriented," Dellic says.

The barge is intended to act as a "crab paradise," where horseshoe crabs whose blood has recently been drained can relax in incubated wading pools. The pools are equipped with artificial lighting designed to emulate the precise kind of moonlight that is most conducive to horseshoe crab mating rituals. Once the crabs have recovered their strength, they can easily find partners and reproduce, benefitting both themselves and their human stewards.

The dark, moody style of the Moonlight Orgies project's renderings was intended to capture some of the moral ambiguity of this exchange of blood for species preservation. "It's not the most cheerful looking aesthetic," Pharma says. "I had some personal reservations about the trade-off we're proposing, between using a species as a resource and providing it with a habitat."

To find out more about the winners of LA+ Creature, visit the competition's website.

The John H. Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto is excited to announce our Winter 2021 Talks & Lectures schedule featuring speakers and themes that simultaneously address the urgency of our contemporary challenges, and the opportunities of our diverse programs — architecture, landscape architecture, urban design, visual studies, and forestry.

The Winter 2021 Talks, a series of thematic discussions titled Resolutions and Agencies, continues our exploration of design’s capacity to respond to activism, resilience, decolonization, density, narrative, and justice, among other topics. Lectures provide an in-depth view on a topic by one speaker, while talks allow for thematic discussion with a diverse group of featured speakers.

Find more details and register for events: daniels.utoronto.ca/events.

Winter 2021 Talks – Resolutions and Agencies

January 14, 6:30pm
Douglas Cardinal: Life in Architecture
Douglas Cardinal OC, FRAIC
2020-21 Frank Gehry International Visiting Chair in Architectural Design

January 21, 7pm
Imagining the Future through Design
Sputniko! (Tokyo University of the Arts)
Respondent Georgina Voss (London College of Communication)
Moderated by Maria Yablonina (Daniels Faculty)

January 26, 7pm
In Conversation with BAIDA (Black Architects and Interior Designers Association)
Pan Canada Lecture Series
BAIDA Members: Tura Cousins Wilson, Kathryn Lawrence, Salome Tonge, Bridget Brown, Christopher Williams, Brent Hughes

February 4, 6:30pm
Douglas Cardinal: Conversation with Arthur Dyson
Douglas Cardinal OC, FRAIC
2020-21 Frank Gehry International Visiting Chair in Architectural Design
Arthur Dyson (Arthur Dyson Architects)
Moderated by Robert Levit (Daniels Faculty)

February 9, 1pm
Book Launch - The Architecture of Point William. A Laboratory for Living
Ed Burtynsky (Photographer)
Kenneth Frampton (Columbia GSAPP)
Scott Norsworthy (Photographer, Daniels Faculty)
Brigitte Shim (Shim-Sutcliffe Architects, Daniels Faculty)
Howard Sutcliffe (Shim-Sutcliffe Architects)
Moderated by Elsa Lam (Canadian Architect)

February 11, 12:30pm
Constructing A Revisionist Architectural History of the Americas: An Architectural History Colloquium
Charles L Davis II (University at Buffalo, SUNY)
Bryan Norwood (University of Michigan)
Caitlin Blanchfield (Columbia University)
Moderated by Mary Lou Lobsinger (Daniels Faculty)

February 25, 6:30pm
Douglas Cardinal: Talks with Students
Douglas Cardinal OC, FRAIC
2020-21 Frank Gehry International Visiting Chair in Architectural Design
Moderated by James Bird (Daniels Faculty)

March 3, 12pm
Suburban Transformation
James Fisher (Rotman, U of T)
Paul Hess (Geography and Planning, U of T)
Lawrence Loh (Dalla Lana School of Public Health, U of T)
Eric Miller (Transportation Research Institute, U of T)
Pina Petricone (Daniels Faculty)
Michael Piper (Daniels Faculty)
Matti Siemiatycki (School of Cities, U of T)
Leslie Woo (CivicAction)
Rob Wright (Daniels Faculty)
Co-presented with the School of Cities, U of T

March 4, 6:30pm
Hearing Stories: Narrative Audio in Isolation
Kaitlin Prest (Radiotopia, CBC)
Jana Winderen (Touch Recordings)
Co-moderated by Mitchell Akiyama (Daniels Faculty) and Neil Verma (Northwestern University)
Co-presented with the Sound Arts & Industries Program at Northwestern University, and the Great Lakes Association for Sound Studies (GLASS)

March 11, 6:30pm
Unsettled Lands: Architecture, History, Pedagogy
Ana María León (University of Michigan)
Andrew Herscher (University of Michigan)
K. Wayne Yang (UC San Diego)
Eladia Smoke (Laurentian University)
Moderated by Mary Lou Lobsinger (Daniels Faculty)

March 25, 6:30pm
Douglas Cardinal: Walk Through Architecture
Douglas Cardinal OC, FRAIC
2020-21 Frank Gehry International Visiting Chair in Architectural Design

March 26-27
Graphic Content: Drawing as Method
Symposium times to be announced
Speakers include:
Nishat Awan (TU Delft)
Luke Caspar Pearson + Sandra Youkhana (You+Pea)
Cyan Cheng (RCA)
Charlotte Malterre-Barthes (Harvard GSD)
Deane Simpson (KADK)
Ghazal Jafari (UVA)
Nerea Calvillo (University of Warwick)
Organized by Jesse LeCavalier (Daniels Faculty)

Winter 2021 Lectures

January 12, 4pm
Kapwani Kiwanga (Paris)
MVS Proseminar

January 26, 5:30pm
Filipa Ramos (London)
MVS Proseminar

January 29, 1pm
Lara Lesmes & Fredrik Hellberg (Space Popular)

February 5, 1pm
Filipe Magalhães, Ana Luisa Soares, & Ahmed Belkhodja (Fala Atelier)

February 10, 12pm
Wasyl Bakowsky (Ontario Ministry of Natural Resources and Forestry)

February 17, 12pm
Rob Keron (Ontario Ministry of Natural Resources and Forestry)

February 23, 1pm
Matthew Hickey (Two Row Architect)

February 23, 5:30pm
Irenosen Okojie (Niger / UK)
MVS Proseminar

March 1, 1pm
Marina Tabassum (MTA)

March 2, 1pm
Alfred Waugh (Formline Architecture)

March 9, 6:30pm
Walter Hood, ASLA (Hood Design Studio)
Michael Hough/Ontario Association of Landscape Architects Visiting Critic

March 16, 1pm
Timothy Hyde (MIT)

March 16, 5:30pm
Lauren Fournier (Toronto)
MVS Proseminar

March 23, 5:30pm
Rui Mateus Amaral (Toronto)
MVS Proseminar

What's Next: Alumni Speaker Series

What’s Next is an alumni speaker series organized by the student unions (AVSSU, GALDSU, and FGSA). Speakers present their work and career paths since graduating from the different programs at the Daniels Faculty. All programs are free, online, and open to the public. Find more details and register in advance at daniels.utoronto.ca/events.

January 25, 7pm
Julia Smachylo & Jackie Hamilton

February 8, 7pm
Drew Adams

February 22, 7pm
Cheyanne Turions

March 8, 7pm
Jia Liu

Yi Ran Weng and Felix Chun Lam, both 2020 Master of Architecture graduates, formed their own design practice, naïvepeopledesign, while they were still students at the Daniels Faculty. They immediately began entering competitions together.

Now, all that extracurricular work is starting to pay off. A project Weng and Lam created in collaboration with another 2020 Daniels Faculty alumnus, Abubakr Bajaman, and Mariya Krasteva, a graduate of the Bartlett School of Architecture, has earned them a precious spot at the upcoming 2021 Seoul Biennale of Architecture and Urbanism.

Clockwise from top right: Yi Ran Weng, Felix Chun Lam, Mariya Krasteva, and Abubakr Bajaman.

The biennale, which will take place in the South Korean capital in September (it's unclear, at this point, whether COVID restrictions will allow the event to happen as planned), is a major international showcase for the latest innovations in architecture and urban design. Designers from around the world compete for a limited number of invitations to build official pavilions for the event.

The title of the 2021 biennale will be "Crossroads: Building the Resilient City." When Weng, Lam, Bajaman, and Krasteva began thinking about ways to address that theme, it occurred to them that cities are often only as resilient as their smallest businesses. "Small businesses are often owned by people of colour, or people who don't necessarily have a lot of money to run a store — or even people who have money, but who have been greatly affected by COVID," Weng says.

They knew their design intervention, whatever it was, would have to be applicable in cities around the world. They needed to base their project on something universal — something that could be found just as easily in Canada as in Bulgaria or Hong Kong. That's when it hit them: parking spots.

Renderings of the group's vending stall, installed curbside. Click to view a larger version.

The group designed a new type of mobile, curbside vending stall that could be deposited in a street parking spot, where it would act as a temporary home for a small business. From the outside, the structure looks a bit like a repurposed shipping container. Inside is a bare-bones counter where a vendor could store a few items for sale. Rows of windows provide easy access to customers on the sidewalk or the street. A ladder on the side allows customers to climb onto the roof, where a set of minimalist benches and loungers make it possible to wait for service in relative comfort. The designers called the project "Secret Societies," a nod to the informal social networks that coalesce around small businesses in urban areas.

But their work wasn't done. "We really wanted to use the biennale as not just a place to show beautiful drawings," Weng says. "We wanted to use the platform to provide an answer to how to be resilient. We believe that resiliency comes from the people. If people can find their own resiliency, cities will become much more resilient."

An image of the group's app design. Click to view a larger version.

To show how these miniature curbside stalls could make small businesses more resilient, the group designed an interface for a smartphone app. The app — which is only a mockup, not a usable product — would be a tool for both small business owners and their customers. Owners would use the app to book vending stalls, and customers would use the app to request the presence of particular businesses at vending stalls located in parking spots near their homes.

This app-based booking system would allow small businesses to operate with little or no overhead, wherever their customers happen to be, for however long those customers happen to be there. The designers theorize that this would help these businesses cope with COVID-like economic shocks. The resilience of the business owners would increase, and so would the resilience of the communities that depend on them.

For their pavilion at the biennale, the designers plan to build a full-scale vending stall. They also intend to develop a demonstration version of their smartphone app for attendees to download onto their phones.

To find out more about the Seoul Biennale, visit the event's website.

Barry Sampson (BArch 1972) OAA, FRAIC, professor emeritus at the Daniels Faculty, and principal at Baird Sampson Neuert Architects, passed away over the weekend at age 72 after a valiant battle with cancer.  

Barry Sampson’s contributions to architecture and architectural education in Canada were many. He was deeply committed to architecture as a professional calling and pedagogical project. Everyone who worked with Barry, including several generations of teachers, students, and interns at his firm Baird Samson Neuert, benefitted from the generous way in which he shared his knowledge of and passion for architecture, particularly his deeply ethical commitment towards the integration of all aspects of design and sustainability. Long before it was a fashionable perspective, Barry advocated for a holistic approach to building design and sustainability. Furthermore, he was particularly beloved for the way in which he shared his thoughts and counsel with such humility, oftentimes leavening his frank thoughts and advice with a self-deprecating humour. 

At the Faculty, Barry’s impact was immense. His colleagues came to depend on the ethical and wise perspective he brought to the most important and challenging questions that the school has faced. He developed the Master of Architecture program’s Comprehensive Studio, an essential and technically demanding course of study in whole-building design that has influenced the educational approach of not only the Daniels Faculty, but other architecture schools across Canada. 

Barry was also a steward of Daniels’ facilities, overseeing many improvements to its old home at 230 College Street, and later, as special advisor to the Dean to help plan and construct the new Daniels Building at One Spadina. Barry was instrumental in organizing the new building’s program, and in pushing for innovative aspects of the architecture that are not immediately visible, such as its energy and environmental performance, its natural daylighting and its acoustics. He stayed at the Faculty well past the time he had planned to retire, in order to help ensure that the project was seen through. He took great pleasure — and pride — in what was ultimately achieved. As a teacher, he shared with the next generation of practitioners how good architecture is born from consideration of every element, uniting craft and technological innovation, including energy-efficient, bioclimatic design. 

 Barry Sampson leaves behind an impressive built legacy — a result of his four-decade association with Baird Sampson Neuert Architects (formerly Baird Sampson Architects). His family cottage renovation served as his living laboratory from which he could share experiences and ideas with colleagues and students. The building was originally hand-built by his father in the 1940s. Instead of razing the cottage as would have been expected, he and his family worked together to transform it into a prototype for others with older cottages. They maintained the original building, while transforming it into a high-performance, all-season building that could meet the needs of multiple generations.  

Earlier this year, his Niagara Falls Butterfly Conservatory received the Royal Architectural Institute of Canada's Prix du XXe siècle, one of Canada's highest architectural honours. The complex of glass buildings, dedicated to publicly displaying the lifecycle of live butterflies, has been internationally praised for its ability to establish a tropical environment within Ontario’s northern climate, characterized by extreme hot and cold temperatures. According to the jury: It is a project that may not have been at the height of architectural fashion when it was completed in 1996, but with the benefit of hindsight, we see a building that has stood the test of time and was a forerunner in what we now understand as sustainable design. The conservatory design is based on careful problem solving, the use of natural, durable and repairable materials and poetic engagement with the landscape. These elements alone make this project stand out and offer guidance to contemporary architects. 

The Daniels Faculty extends heartfelt condolences to Barry’s Family — wife Judi Coburn and his sons Ben and Martin — and to the many colleagues, students, and friends that were touched by his intelligence and generosity.  

Details will be forthcoming regarding a Celebration of Life, which will be organized jointly between the Faculty and Baird Sampson Neuert Architects. 

Alumni, professional colleagues and friends wishing to enhance the Barry W. Sampson Scholarship, established earlier this year to recognize Barry’s many contributions to the profession, can do so via the Daniels Faculty, University of Toronto.

Charitable donations can be made online uoft.me/barrysampson; by cheque ‘payable to University of Toronto’; or by telephone. Questions about the scholarship fund and telephone donations can be directed to the Faculty’s advancement staff at 416-428-0462.  

Those who would like to share their remembrances are encouraged to do so in the comments on our social media (Facebook, Twitter, and Instagram) or to send an email to hannah.brokenshire@daniels.utoronto.ca and we will post them below. 

“Barry Sampson was a mentor, colleague, master architect, and an exceptional teacher in this Faculty. He taught students the fundamental relationship between design and building and educated over five generations of professional architects. Barry was the very definition of a decent, compassionate, and empathetic human being. He gave us all so much, and he has left a legacy of lifetime learning, teaching, significant buildings and dedication to his profession. Our thoughts and sincere condolences are with Barry's family, friends, students, and colleagues.”  

– Robert Wright, Interim Dean of the John H. Daniels Faculty of Architecture, Landscape, and Design 

“Barry was a professional colleague for nearly 40 years, and a friend for nearly 50 years. He began to work for me immediately upon graduation and then, some 16 or 17 years later, became a partner in my firm. In the period when he was an employee, he was a key contributor to a number of my more important projects, one notable example being the reconstruction of the Dunbarton-Fairport United Church. Later, as my partner, he was instrumental in delivering our designs for Cloud Gardens Park and the Niagara Parks Butterfly Conservatory. 

Later on still, I withdrew from the practice when I took on the deanship at Daniels in 2004. After that, Barry operated altogether independently of me. Two projects from that later period that I think are significant are the McEwen Building for the Schulich School of Business at York University, a relatively recent project of a very high level of environmental ambition, and one of which Barry was very personally proud. And then of course, he was effectively the go-to client representative for the Daniels Building itself, in his role as advisor to the then-dean Richard Sommer. Barry was always very fully committed to social issues. Later in his career, his social commitment turned into a strong environmental commitment, which is reflected both in his work for Daniels and in his work for York University. He was an utterly straight shooter. 

In the latter part of his career, he also played a role as a kind of intermediary between architectural educators in Canada and the architectural profession of Canada. He served on a number of accreditation committees at different schools across the country. I think one of the reasons he was frequently invited to do that was that he was seen as a trusted intermediary between the educators and the profession itself. I hadn't anticipated the intensity of the messages I've been getting from other faculty about Barry. Even though I knew he was well liked, I didn't fully appreciate the extent to which that was so.” 

– George Baird, former Dean of the John H. Daniels Faculty of Architecture, Landscape, and Design (2004-2009) and principal at Baird Sampson Neuert Architects 

 

“I remember meeting with Barry soon after I arrived to take on the dean’s role. He told me he wanted to retire from teaching to spend more time with his family and concentrate on his practice and other work. My first thought was, "Oh no!" He was still in his prime, and we really needed someone of his calibre and experience at the school. He was a gifted teacher who was able to translate his ideas from practice, which is a rare quality. 

So, I asked him to put off his decision. When, sometime after that, I proposed creating a new home for the Faculty at One Spadina, Barry was highly skeptical. He had invested so much in improving the Daniels Faculty's previous building, at 230 College Street. He thought a new, bigger project was unlikely to succeed. But I knew that having the support of someone with Barry’s experience and expertise would be key to undertaking the project successfully. In a not-uncommon example of his fairness and generosity, after working though the scenarios with me, Barry overcame his doubts and became an essential advisor and advocate for One Spadina. He worked with colleagues, our design team, and the university’s notoriously difficult capital projects division. Together, we battled for six years to make that project happen, and I learned a lot from Barry. 

When I told Katie Faulkner, the project architect for One Spadina, that we had lost Barry, she shared a telling story. At a particularly fraught moment during the construction of One Spadina, I broke my foot and was unable to attend meetings for a period of time. The university’s capital projects division decided it wanted to cut costs (AGAIN) in ways that would ruin the project and not ultimately save any money. In my absence, they sent their head henchpersons to meet with Barry and Katie to try and have their way. Barry said to them, with a smile: “Well, I see we smell blood in the water.” 

But he wasn’t going to let them get away with anything. Everyone involved came to understand Barry’s unrelenting standards, and his commitment to doing the right thing.  Barry was an example of how we can be ambitious and stay true to our values and yet still remain open, kind — and, most of all, generous of spirit. I think this is why, even knowing how sometimes brutal and even disappointing the practice of architecture can be, he was able to love architecture and being an architect, to the end. I am really going to miss him, but his faith is something I will keep, and try to share.”  

– Richard Sommer, former Dean of the John H. Daniels Faculty of Architecture, Landscape, and Design (2009–2020) 

"Barry was a superb teacher and consummate professional. Among his achievements, the renovation and expansion of the attic in the Lassonde Mining Building at the University of Toronto is a favourite of mine. Like this project, Barry was modest on the outside but bold and spirited deep down.

Barry consistently displayed dignity, humour, and most of all, humility. I will miss him as a faithful friend and valued colleague."

– Larry Wayne Richards, former Dean of the John H. Daniels Faculty of Architecture, Landscape, and Design (1997 – 2004)

“I feel privileged to have had Barry as my principal, mentor, colleague and friend; a relationship that evolved over the years. Barry always did the right thing, no matter the extra effort required and without ever seeking out praise. A talented architect and generous teacher, he always sought to create collegial spaces in both built and spiritual form. His legacy lives on through his work, teachings and his keen humour. He will truly be missed by all who were lucky enough to know him.”  

– Nene Brode, Daniels Faculty 

 

“Barry will be immensely missed, but I feel so fortunate to have traveled within the same sphere as him these past 15 years, since I arrived in Toronto. I remember a sense of intimidation when I first met him (his reputation as a wise master of the art of building preceded him) and then relief that he was so welcoming and patient. He was a joy and inspiration to have as a teaching colleague over many years, and he served as a mentor to many of us at the Daniels Faculty.

Although he was primarily known as a guru in the comprehensive sequence, Barry was well read and broadly versed on virtually any subject. If you were fortunate enough to bump into him in a chance encounter in the hallways, you could catch up on some of his latest ruminations on theory, history, or urbanism. Having the chance to sit on a review with Barry was an opportunity to gain a wide-ranging understanding of architecture’s impact and relevance at all scales.

Always greeting others with a smile, Barry was kind, humble, and patiently willing to share his knowledge and observations. I learned so much from Barry about architecture, teaching, and the creative life. We are all his students.” 

– Mason White, Daniels Faculty 

 

"Barry Sampson was a dear friend, colleague, and mentor. He introduced me to practice and taught me about teaching. I certainly was not alone in this privilege, but Barry often made me feel like I was. His talent went beyond the studio and the classroom and showed itself in his tremendous sense of humour and his compassion. Heavy situations never diminished the joy he took in making the world a better place through architecture. 

At the Daniels Faculty, Barry was an immeasurable asset. As founding architect of the comprehensive building studio, he led us in the promotion of integrated design as a multivalent, creative exercise. Barry’s approach to sustainable practices in architecture and urban design as generative — even seminal — design strategies, rather than as inventories of evenly distributed must-have “features,” was central to his teaching innovation. We all witnessed how far his strategy goes in introducing students to the reaches of design, and in dispelling the notion that conceptual rigour is limited to the stages of formal investigation. He lived by this approach in practice, and it is recognizable in his most exemplary and accomplished projects. 

It's still difficult to imagine the full impact of Barry’s absence, on so many fronts. At the same time, he is leaving us with so much, and it will be our duty to pass his legacy on to those who didn’t have the chance to know him. He will be remembered. And we will be retelling Barry’s jokes for a long time. "

– Pina Petricone, Daniels Faculty

 

"From the first time that I met Barry when we were first-year architecture students at the University of Toronto, to the last conversation I had with him while he was fighting cancer, he was the same person: a lifelong friend who was extremely thoughtful, gently humorous, and courageous. His family has lost a loving partner and a father, while the world of design and education has lost an amazing architect and teacher. Barry had mastered a comprehensive critical approach to integrated sustainability, architecture, and teaching. Look at his family and friends, colleagues and students, and his buildings and drawings.  "

– Bruce Kuwabara, founding partner at KPMB Architects

"My first experience with U of T was teaching architecture students in Europe. Following that encounter I accepted an offer to do the same in Toronto. When I got to the mothership, there was a palpable chilliness that could have been weather-related or the atmosphere generated by the taciturn Canadian character. Soon it became apparent to me that there were many passionately held positions and ideologies that stalked the halls of the School of Architecture. It was in that context that I met Barry.

After we had both critiqued a student’s work, Barry turned to me and said, 'Oh, so you’re one of those formalists.' The jab was followed by a warm smile as he said, 'It’s ok, I’m a formalist too.' Of course, Barry was much more than that, but his initial offer of friendship and moral approbation, with the dollop of humour, was much appreciated.

From that encounter we developed a warm relationship that included many years of teaching together and many conversations. If you made a sketch of an idea and showed it to Barry, he always reliably had a thoughtful opinion and a knowing reference to discourse. As an educator Barry, did not proselytize for his own religion; instead, he thought about what would be good for students to know and experience. In these times of amplified self-promotion, Barry’s reflexive generosity and instinct to do the right thing are exemplary. Barry was a wonderful colleague whose presence I already missed after his retirement, but will now feel even more strongly."

– Steven Fong, Daniels Faculty

Felipe Coral has had a year full of ups and downs. He graduated from the Daniels Faculty's undergraduate architecture program in spring 2020 and made a life-changing move to Melbourne, Australia — right before the city entered one of the world's longest and most stringent COVID-19 lockdowns. And then, at the end of that lockdown, he notched a major professional achievement: he won an international design competition.

Felipe's friend, recent University of Melbourne graduate Simeon Chua, noticed a call for submissions for "Reviving Mines: Shandong Park," a competition that asked entrants to design ways of rehabilitating a former mining site in China's Shandong province. The two young designers decided to work together on an entry. In November, their design, titled "Gallery of the Anthropocene," won first prize.

The competition was organized by Non Architecture. The jury included Jules Gallissian, an architect at Snøhetta, as well as several representatives from China's tourism and cultural development establishment. Felipe and Simeon will jointly receive an award of 7,000 euros.

Felipe Coral.

"This was an uncertain year for me, graduating and trying to prove I have talent," Felipe says. "So it was very rewarding to be given this prize."

Simeon is currently in Singapore, where he's working for WOHA Architects. With Felipe locked down in Melbourne, the pair had to coordinate their efforts online. They met twice a week on Zoom to strategize and compare notes and drawings. The entire design process took about three months.

Felipe and Simeon's design transforms a mine in Shandong into a place for relaxation and thought. The centrepiece of their of their proposal is an artificial river that flows down the staircase-like terraces left behind by years of extraction activity. Around the river, the two designers placed filtration dams, ponds, and water-filtering native plants. They also included a few "gallery" spaces — areas where visitors could pause to learn more about the history and consequences of landscape-altering industrial activity.

"For us, it came back to making industrial pasts of landscapes visible, instead of swiping it under the rug," Felipe says. "That's how I think landscape architecture can be used to create new futures that also educate."

A rendering of Felipe and Simon's design.

The artificial river would flow into a reservoir at the bottom of the mine, which would serve as a place for people to relax and reflect. In keeping with the Chinese setting, Felipe and Simeon styled their drawings after Chinese ink paintings.

To learn more about their design, and to find out about the competition's other finalists, visit the Non Architecture website.

Anthony Eardley, who was dean of the Daniels Faculty (then known as the School of Architecture and Landscape Architecture) from 1988 to 1996 and helped restore the school's reputation following a period of internal strife, died on September 25 after a brief illness. He was 87 years old.

Eardley was an already an experienced administrator by the time he arrived in Toronto; he had spent almost 15 years as dean of the University of Kentucky School of Architecture. The move to Toronto was a risky proposition. Just a year before he accepted his appointment, the University of Toronto had seemed to be on the verge of shutting down its architecture school permanently.

The trouble had its roots in a 1960s pedagogical experiment, in which the school — then known as the Faculty of Architecture, Urban and Regional Planning, and Landscape Architecture — de-emphasized technical instruction in favour of a more theory-based curriculum. Instead of letter grades, students received a "pass" or a "fail." Accrediting bodies and students began to demand a more rigorous program. Over time, ideological fractures developed inside the faculty, between those who preferred the existing pedagogical approach and those who wanted change.

In 1986, after a series of contentious internal reviews and changes in leadership at the architecture faculty, as well as protests and petitions by architecture students, U of T announced its solution: it would be closing its architecture program permanently, effective in 1990. The decision came at a time of enormous financial struggles for Ontario universities. The university's then-president, George Connell, justified the move as a cost-cutting measure.

A few months later, under pressure from students, politicians, local media, and professional associations, the university administration reversed its decision. Instead of being shut down, the faculty was reconstituted as the School of Architecture and Landscape Architecture — a new academic unit with a new administrative structure. The school was saved for the moment, but it still needed new, permanent leadership. When Eardley accepted his appointment as dean in 1987, he became that leader.

Eardley's first task as dean was to ease the ideological divisions among the school's faculty. His training — first at the practice-focused Architectural Association, and later at theory-focused Cambridge — and his administrative experience had prepared him to play peacemaker between practitioners and academics. His appointment curbed the infighting between and among those groups and brought an end to two years of critical coverage of the school in local media.

"He was an earnest person with a very deep commitment to both architectural education and the practice of architecture," says Larry Richards, who succeeded Eardley as dean in 1997. "He was very balanced in understanding architectural scholarship, but also the practice of architecture. He laid some groundwork for me that I still very much appreciate."

When Eardley concluded his appointment, in December 1996, he left a school that was much more stable than it had been at the start of his term.

Eardley was born in 1933, in Rotherham, a town in South Yorkshire, England. His parents were John and Miriam Eardley, a working-class couple. John, a bricklayer, expected his son to enter a similar field. To his family's chagrin, Eardley chose the academy over the trades.

After earning an honours diploma from the Architectural Association in 1958, Eardley completed his graduate degree at King's College, Cambridge, where he came under the tutelage of the influential architecture critic Colin Rowe. He emerged from Cambridge with a new mastery of the theoretical side of architecture and design, as well as an appreciation for architecture's modern masters — particularly Le Corbusier, whom Eardley would study and idolize for the rest of his life.

Eardley practiced briefly in London before moving to the United States in 1965, where he began teaching architecture at the Washington University in St. Louis. Later that year, he started teaching at Princeton University. In 1969, he decamped for Cooper Union.

Eardley at the University of Kentucky in 1975, at work on an entry for an international competition to design a new French embassy for Morocco.

In 1972, Eardley's budding academic career took an unexpected turn when he discovered, at the bottom of a neglected pile of incoming mail, an envelope from the University of Kentucky. Inside, buried under a stack of enticing brochures about the Kentucky lifestyle, was a letter that said the university's School of Architecture — a young program, established in 1965 and not yet particularly well known in the profession — was searching for a new dean. Eardley had been suggested as a candidate by Paul Amatuzzo, a former Cooper Union student who had recently been appointed to the University of Kentucky's faculty.

"The idea was outlandish," Eardley would later write. "I was a teacher-practitioner, or that was the plan. I hadn't the least taste or talent for administration. People surely knew that. Who would entertain such a crazy notion?"

But the opportunity proved irresistible. And so Eardley, his wife, Una, and their two young children moved to Lexington.

During his appointment as dean of the University of Kentucky School of Architecture, Eardley became known for his ability to use his Ivy League connections and personal charm to attract top-flight instructors to his fledgling program. Lexington soon gained a reputation, in design communities, as a vibrant intellectual hub. Among the architects who lectured there during Eardley's tenure were luminaries like Daniel Libeskind, Patrick Hodgkinson, Guillermo Jullian de la Fuente (who had worked directly under Le Corbusier), Fred Koetter, and Leonardo Ricci.

"Tony hired people that he knew were better than him," says Amatuzzo, the former student (now a retired professor of architecture) who recommended Eardley for the job. "He was so secure in what he knew, and what he was about, that he was able to make a collection of the best of the best."

By 1987, Eardley had gained enough stature in academia that his name landed on a shortlist for deanship of a much older architecture school: the one at the University of Toronto.

Faculty members who worked with Eardley during his first years at U of T recall his erudite personality and soothing influence. "He was a bit of a gentle giant," says associate professor Steven Fong, who was chairman of the school's architecture program when Eardley was appointed. "He was a big guy who was at the same time careful and meticulous and calm."

The University of Toronto was under severe budget constraints throughout Eardley's deanship. Despite this, he succeeded in making two tenure-stream appointments in architectural history and improving the school's access to emerging digital design technologies. Under his leadership, the school founded the Information Technology Design Centre, an academic program devoted to the study of computer-aided design.

At the conclusion of Eardley's appointment, he and Una returned to Lexington, where Eardley accepted a position as an adjunct professor of architecture at the University of Kentucky. He continued teaching studios there until 2005. In 2006, he was named a fellow of the Royal Architectural Institute of Canada.

Eardley never stopped practicing architecture as a private consultant on small home renovations. His work always included nods to modernist architects he admired.

In the final years of his life, he devoted much of his time to writing and research. He compiled and wrote meticulous histories of his family. In 2015, he created a website of recommendations for the design of Lexington's new city hall. When he died, he was at work on a memoir of his time in London, and was also in the process of writing original translations of works by Le Corbusier.

Eardley was predeceased by his daughter, Joanna, who died in 2006, and Una, who died in 2011. He is survived by Dominic, his son.

Janis Kravis, who graduated from the Daniels Faculty — then known as the University of Toronto School of Architecture — in 1959 and soon afterward founded Karelia, an influential textile, furniture, and housewares store that helped popularize Scandinavian design in Toronto, died on July 16, at the age of 84.

Kravis was born in Latvia in 1935. In 1944, during the last months of World War II, he fled with his family to Sweden ahead of the advance of the Russian army. Six years later, the Kravis family boarded a ship bound for Canada, where they would live the rest of their lives.

In 1960, when Kravis opened Karelia in the vestibule of a friend's beauty parlour at 729 Bayview Avenue, Toronto was a much different place. Downtown was an expanse of low- and mid-rise buildings, churches, and parking lots. High-end dining was steak, steak, and more steak. Shopping and many forms of public entertainment were banned on Sundays.

Karelia was like a splash of bright-orange paint on the city's beige public façade. Kravis had learned about Finnish architecture and design during his studies at U of T. After he graduated, he began writing to Finnish manufacturers, requesting catalogues and samples. The products — brightly coloured textiles and elegant, minimalist housewares — were like nothing else available in Canada at the time. He and his business partners (his sister, Gundega, and their friend Solveig Westman, both of whom were later bought out by a third partner, Björn Edmark) began importing items to stock Karelia's shelves.

Karelia, in its Gerrard Street West Village location.

Before long, Karelia moved out of the beauty parlour and into its own shop on Elm Street, in the middle of what used to be known as Gerrard Street West Village. The neighbourhood, now largely demolished and redeveloped, was at the time a bohemian hangout, favoured by artists, writers, and other creative types. It turned out to be an ideal place for Kravis's Scandinavian design sensibility to take hold and gain acceptance.

Karelia also received an unexpected boost from another part of the city. In 1961, construction began on Finnish architect Viljo Revell's bold, curvilinear design for Toronto's new city hall. The new civic structure was a monumental advertisement for Scandinavian design — and, more significant for Kravis and Karelia, it brought Revell to Toronto.

"I got to know Viljo Revell and his team of architects when they were working on the Toronto City Hall," Kravis would later write. "They literally opened up their kitchen cabinets and showed me dishes by Kaj Franck for Arabia, glassware from Iittala, as well as fabric and cushions from Marimekko. They told me about Armi Ratia and Timo Sarpaneva, Tapio Wirkkala, Artek, Antti and Vuokko Eskolin-Nurmesniemi, Metsovaara, Fiskars, Haimi, Muurame and many others. I had just sold my secondhand car and was planning my first trip to Finland."

Karelia rapidly expanded its product lines. The shop became particularly well known for its selection of designs by Marimekko, the legendary Finnish textile house whose bright patterns played a role in defining the vibrant, optimistic style of the early 1960s. Kravis met Marimekko co-founder Armi Ratia on a buying trip to Finland, and the two remained friends until her death in 1979.

Top: Karelia's Front Street location. Bottom: The fabrics department in Karelia's Manulife Centre location.

Kravis closed the Gerrard Village shop and moved Karelia into a new and more prominent storefront in Lothian Mews, a stylish shopping centre located near the then-burgeoning neighbourhood of Yorkville. Soon afterward, he opened a second Karelia location on Front Street, near St. Lawrence Market. The shops were becoming popular with the city's design cognoscenti.

Bruce Kuwabara, now a partner at KPMB, was, at the time, an architecture undergraduate at U of T. Like many of his contemporaries, he found himself drawn into Karelia's orbit. "The girlfriend of one of my best friends worked at Karelia," Kuwabara recalled recently. "So I went down there, and everyone was hip and swinging, and wearing miniskirts, bright colours, white go-go boots. It was flamboyant. It was really everything Toronto was not. It was beyond fashion-forward. Nobody had ever seen anything like it."

Parties at Karelia.

Kravis's sensibility began to rub off on Toronto designers in subtle ways. "He swung the pendulum in the direction of modern, Nordic architecture," says Leslie Rebanks, an architect who befriended Kravis in the 1960s and remained his frequent dining companion until weeks before his death. "He influenced a lot of influential architects. We all went to Karelia. We owe a lot to him for introducing the public to the idea that modern architecture was a philosophy worth following — a philosophy of economy, of materials, of line and expression."

Another influential personality who became a Karelia customer was George Minden, owner of the Windsor Arms Hotel. It was through Minden that Kravis was offered an opportunity to make another memorable contribution to Toronto's emerging cosmopolitan culture: he became the architect for Three Small Rooms, a restaurant located on the lower level of the Windsor Arms.

Kravis designed or hand-selected every aspect of the restaurant's interior, including the uniforms worn by staff members. The space was, as implied by the name, divided into three distinct dining spaces, each with its own look. The main dining area was lined with mahogany, its rosewood tables polished to a high gloss. The chairs, also made of mahogany, were designed by Kravis himself. A "grill" area was decked out with leather and dark wool, with Marimekko fabrics on the walls. The restaurant's intimate wine cellar was swathed in brown brick and sleek white oak, and topped with a modernist chandelier.

Top: The main dining room in Three Small Rooms, with chairs designed by Kravis. Bottom: The entrance to the wine cellar at Three Small Rooms.

Three Small Rooms, which opened in 1966, provided a type of sophisticated, design-forward dining atmosphere that was rare in Toronto at the time. An early review by Robert Taylor in the Toronto Star complained about the high prices but praised the "handsome wining and dining complex."

"It will be, for the reasons cited above, Toronto's most discussed dining-out place in the weeks ahead," Taylor concluded.

Joanne Kates, the Globe and Mail's longtime food critic, worked briefly as a cook at Three Small Rooms, and later wrote of the restaurant: "[It] was the place responsible for the discreet civilizing of the bourgeoisie." (The restaurant closed in 1991 after a series of changes in the ownership of the hotel, and its passing was mourned by gourmands and architecture lovers alike.)

Over the following decade, Karelia moved again, from Lothian Mews to the newly completed Manulife Centre at Bay and Bloor streets. Kravis opened two satellite stores, one in Vancouver and one in Edmonton, before shuttering the entire Karelia chain in 1980 amid financial troubles.

After the collapse of his retail empire, Kravis continued to practice architecture as a consultant for public and private clients. He became interested in sustainability and environmentalism — topics he wrote about frequently on his website. In 2012, he revived the Karelia name and logo on a new Toronto restaurant, Karelia Kitchen, operated by his son Leif and Leif's wife, Donna Ashley. The restaurant, known for its colourful platters of Scandinavian pickles and smoked fish, earned positive reviews before closing permanently in 2018.

Kravis was predeceased by his wife, Helga. He is survived by his three sons, Leif, Nils, and Guntar, and his sister, Gundega.

Top image: Janis Kravis, photographed in Stockholm in 2017. All photos courtesy of Guntar Kravis.

The Daniels Faculty at the University of Toronto is excited to announce our Fall 2020 Talks & Lectures schedule featuring speakers and themes that simultaneously address the urgency of our contemporary challenges, and the opportunities of our diverse programs — architecture, landscape architecture, urban design, visual studies, and forestry.

The Fall 2020 Talks, a series of thematic discussions titled Resolutions and Agencies, explore design’s capacity to respond to activism, resilience, decolonization, density, narrative, and justice, among other topics.

Lectures provide an in-depth view on a topic by one speaker, while talks allow for thematic discussion with a diverse group of featured speakers. All programs are free, online, and open to the public. 

Find more details and register in advance at daniels.utoronto.ca/events.

Fall 2020 Talks: Resolutions and Agencies 

September 16, 4pm
Takes Action - Session I
Chris Roach (California College of the Arts)
Azadeh Zaferani (The Bartlett)
Lindsay Harkema (City College of New York)
Kees Lokman (University of British Columbia)
Moderated by Neeraj Bhatia (California College of the Arts) and Mason White (Daniels Faculty)
Hosted by California College of the Arts and the Daniels Faculty

September 24, 6:30pm   
Strange Primitivism and Other Things
Tei Carpenter (Daniels Faculty)  
Adrian Phiffer (Daniels Faculty)  
Moderated by Hans Ibelings (Daniels Faculty)  
  
October 1, 6:30pm   
The Great Indoors: Environmental Quality, Health and Wellbeing in a Quarantining Society
Kellie Chin (Workshop Architecture)  
Simon Coulombe (Wilfrid Laurier University)  
Steven Lockley (Brigham and Women’s Hospital & Harvard Medical School)  
Alejandra Menchaca (Thornton Tomasetti)  
Lidia Morawska (Queensland University of Technology)   
Manuel Riemer (Wilfrid Laurier University)  
Moderated by Bomani Khemet (Daniels Faculty) and Alstan Jakubiec (Daniels Faculty)  
 
October 7, 4:00pm  
Takes Action - Session II  
Lori Brown (Syracuse University)  
Samaa Elimam (Harvard University)  
Cesar Lopez (University of New Mexico)  
Albert Pope (Rice University)  
Moderated by Neeraj Bhatia (California College of the Arts) and Mason White (Daniels Faculty)  
Hosted by California College of the Arts and Daniels Faculty  

October 15, 6:30 pm   
Distancing Density  
Daniel D’Oca (Harvard University)  
Jay Pitter (Author & Placemaker)  
Moderated by Fadi Masoud (Daniels Faculty) and Michael Piper (Daniels Faculty)  
 
October 22, 5:00pm 
Future Forests: Renaturalizing Urban and Peri Urban Landscapes for People, Biodiversity and Resilience  
Simone Borelli (Forestry Division, United Nations)  
Liz O’Brien (Forest Research, UK Government)  
Fabiano Lemes de Oliveira (Politecnico di Milano)  
Jana VanderGoot (University of Maryland)  
Moderated by Danijela Puric-Mladenovic (Daniels Faculty)  

November 5, 6:30pm 
The Architect and the Public: On George Baird's Contribution to Architecture 
Andrew Choptiany (Carmody Groarke)
Roberto Damiani (Daniels Faculty)
Hans Ibelings (Daniels Faculty)
Michael Piper (Daniels Faculty)
Brigitte Shim (Daniels Faculty)
Richard Sommer (Daniels Faculty)

November 11, 4:00pm 
Takes Action - Session III  
Jill Desimini (Harvard University)  
Ersela Kripa & Stephen Mueller (Texas Tech University)  
David Moon (Columbia University)  
Lucía Jalón Oyarzun (Escuela SUR)  
Moderated by Neeraj Bhatia (California College of the Arts) and Mason White (Daniels Faculty)  
Hosted by California College of the Arts and Daniels Faculty 

November 12, 5:30 pm 
For Her Record: Notes on the Work of Blanche Lemco van Ginkel  
Phyllis Lambert (Canadian Centre for Architecture)  
Mary McLeod (Columbia University)   
Ipek Mehmetoglu (McGill University)  
Moderated by Brigitte Shim (Daniels Faculty)  

November 19, 12:30pm 
Architecture in Dialogue: 14th cycle of the Aga Khan Award for Architecture  
Aziza Chaouni (Daniels Faculty)  
Farrokh Derakhshani (Aga Khan Award for Architecture)  
Andres Lepik (Architekturmuseum München)  
Nondita Correa Mehrotra (RMA Architects)  
Moderated by Brigitte Shim (Daniels Faculty) 

Fall 2020 Lectures

September 22, 5:30pm 
Chris Lee (Pratt Institute)
MVS Proseminar  

October 5, 12:00pm 
Sheila Boudreau (Spruce Lab)

October 16, 1:00pm  
Elisa Silva (Enlace Arquitectura)  

October 19, 12:00pm 
Aisling O'Carroll (The Bartlett)  

October 27, 12:00pm
Arthur Adeya  (Kounkuey Design Initiative)

October 30, 1:00pm 
Kelly Doran (MASS Design Group)  
Jeffrey Cook Memorial Lecture   

November 6, 1:00pm 
Jason Nguyen (Daniels Faculty)  
 
November 9, 1:00pm 
Luis Callejas (LCLA Office)  

November 20, 1:00pm  
Gilles Saucier (Saucier + Perrotte)   
 
November 23, 12:00pm  
Teresa Galí-Izard (ETH)   
Michael Hough/Ontario Association of Landscape Architects Visiting Critic  

November 25, 1:00pm
Jia Gu (Spinagu / M&A)

November 27, 1:00pm  
Elise Hunchuck (Royal College of Art & The Bartlett)  

November 30, 1:00pm  
Sergio Lopez-Pineiro (Harvard University) 

We are pleased to announce Douglas Cardinal OC, FRAIC, as the 2020-21 Frank Gehry International Visiting Chair in Architectural Design (details forthcoming).