In the second year of his graduate architecture studies, Brandon Bergem (MArch 2019) received an award from the Paul Oberman Graduate Student Endowment Fund, which was established by Eve Lewis and family along with Oberman's colleagues at Woodcliffe Landmark Properties. The award provides funding to Daniels Faculty students who have submitted research proposals that promise to probe the ways historic architecture is being transformed to meet contemporary needs.

Bergem decided to use the money to finance a trip to Norway. Once there, he planned to study the country's National Scenic Routes, a series of highways that are dotted with architecturally interesting rest-stop structures.

As an afterthought, he made a detour to Svalbard, a remote archipelago that is host to some of the northernmost human settlements on the planet.

Bergem was so taken with what he saw there that he decided to make it the subject of his 2018 Master of Architecture thesis. That project, titled The Museum of Natural History to Ultima Thule, was recently named the winner of a 2019 Student Award of Excellence from Canadian Architect. The magazine's editors even put one of Bergem's images of the cover of the December issue.

"This work I did during school, which can be very removed from the professional world, is now being recognized by the professional world," Bergem says. "It instills confidence in what I've done."

Svalbard left a deep impression on him. "It's a very barren landscape," he says. "It's just full of glaciers and fjords and the occasional settlement. You'll see old hunting lodges or mining operations, and there are even the remnants of structures that were built to aid different ventures to reach the north pole."

Although Svlabard is part of the Kingdom of Norway, other countries have treaty rights that entitle them to pursue commercial activity there — a continuation of the island chain's centuries-long history as a base for mining, whaling, and other forms of resource extraction. Svalbard's frozen habitats are threatened by climate change, which has recently made the archipelago a site of scientific interest.

Bergem's thesis project imagines a future where climate change and human habitation have altered Svalbard beyond recognition. His work consists of a series of haunting images that show scenes of a fictionalized Svalbard full of megastructures, like a luxury mountaintop hotel and an opulent royal palace (the latter is depicted at the top of this article).

In Bergem's images, these fictional structures are shown in states of ruin or disarray, as their inhabitants race to shore them up against Svalbard's increasingly mercurial climate. One image shows an army of flying drones counteracting the effects of erosion and climate change by reconstructing the island pebble by pebble. Another image shows a mutant polar bear trudging across a rocky outcropping covered in melting permafrost.

"Svalbard is experiencing a large number of landslides as a result of increased precipitation," Bergem says. "The glaciers are melting, the sea level is rising. The standpoint of my thesis was to imagine a point at which the island doesn't exist anymore and look back on its history. I was treating the future as the past within this idea of a museum of natural history."

The Canadian Architect awards jury was impressed with the beauty and power of Bergem's work. "I could linger over these incredible drawings and the tales they evoke for hours," wrote jury member Joe Lobko, a partner at the Toronto-based architecture firm DTAH.

"Brandon has interwoven fact and fiction, given authority by his robust skills in representation," says Bergem's thesis advisor, associate professor John Shnier. "And he has done so in a manner that has created a perfectly plausible location populated by an equally plausible set of tectonic elements. The architecture that emerges makes you want to board a ship to the edge of the world to experience it."

Bergem's imaginative thesis work set him on a path to professional growth. Now, a year after graduating from the Daniels Faculty, he's a designer at Winnipeg-based 5468796 Architecture.

Here are a few more images from his award-winning project.

Lifting Lonyearbyen:

Hotel at the End of the World:

Primordial Pyramiden:

Instruments of Prophecy:

Monuments:

The Daniels Building is constantly full of students, but on November 12 the crowd was a bit younger than usual.

Alan Robertson, a grade three teacher from Leslieville Junior Public School, brought his class of 22 children to One Spadina for a day of learning about buildings and the people who design them.

The trip was related to the students' science curriculum. "We've been studying the topic of strong and stable structures," Robertson says. "We try to link curriculum to the real world as much as possible."

The youngsters met a pair of undergraduate students, Misha Gliwny and Chris Kang, who showed them some examples of kinetic architecture that they had developed as part of a studio taught by digital fabrication coordinator Nicholas Hoban. Later, the group visited the laser cutter lab, where Hamed Nadi, a work-study student, demonstrated the equipment by cutting keychains for the elementary schoolers to take home with them.

Some of Alan Robertson's grade three students with Daniels Faculty external relations and outreach manager Nene Brode.

Later, the class visited the Daniels Faculty's 3D printers, where digital fabrication technologist Paul Kozak introduced them to 3D-printed models. There was a hands-on workshop where the kids learned to build their own city blocks out of styrofoam, and then the outing ended with a visit to New Circadia, the cavelike art installation in the Daniels Building's new Architecture and Design Gallery.

"They had an amazing time. A number of them have told their parents they really want to go back to the New Circadia exhibit," Robertson says. "Some of the children have become more interested in 3D printing. Some have signed up for 3D printing workshops with the public library."

Robertson's students wrote notes of thanks to the Faculty. Here are a few of them:

When Shawn Dylan Johnston and Siqi Wang were figuring out how to approach their second-year comprehensive studio project, their thoughts gravitated towards mass timber, a new class of engineered wood product.

"There aren't many mass timber buildings in Canada yet, even though this country has the natural resources," Wang says. "And so we decided to try it out."

Tasked with designing a structure to be located in the Golden Mile, a suburban commercial district near the intersection of Eglinton and Warden avenues in Scarborough, Johnston and Wang decided to use mass timber as the basis for a community centre and natatorium.

Their elegant design caught the eye of the Canadian Wood Council, which awarded the pair its Catherine Lalonde Memorial Scholarship, a $2,500 prize given to students whose research exerts a positive influence on the structural wood products industry.

A rendering of the inside of the aquatic hall designed by Shawn Dylan Johnston and Siqi Wang.

For Johnston and Wang, who are now in the third year of their Master of Architecture studies at Daniels, the win was welcome news. "This scholarship enables us to look into mass timber as an alternative choice for structural solutions," Wang says.

Mass timber usually consists of several layers of wood that are glued together in order to form a single piece of material. Certain mass timber products, like cross-laminated timber and glued-laminated timber, are strong enough that they can be used instead of steel beams and concrete in massive construction projects, like tall buildings or bridges. And mass timber has some advantages over steel and concrete: it's lighter, and, because it literally grows on trees, it's completely renewable.

Johnston and Wang's project, which they titled Horizontal, imagines using cross-laminated and glued-laminated timber to frame an aquatic hall with a 50-metre competition pool and a 25-metre leisure pool, as well as an adjacent lobby and cafe. Above the aquatic hall and cafe would be a "bridge" — a Pratt truss structure made almost entirely of timber, with space inside for various fitness activities. The entire building would be arranged around a courtyard with a wading pool that could double as a skating rink in the colder months.

An architectural model of the Horizontal design proposal.

The design uses the gaps between wood panels to conceal the building's electrical and mechanical systems. The resulting structure has a cozy, low-slung appearance that makes for a striking contrast with the stolid big-box retail outlets that the Golden Mile area is currently known for.

Associate professor Steven Fong, who taught Johnston and Wang's comprehensive studio, believes their win was well deserved. "Their mass timber natatorium is an engaging narrative about a public building for our times," he says. "It is also formally resolved and tectonically explorative. Work at this level speaks to a special dedication to architecture, and their award reflects well on the culture of our school."

Information on the other winners of this year's Catherine Lalonde Memorial Scholarships can be found on the Canadian Wood Council's website.

Earlier this month, the Daniels Faculty celebrated the opening of New Circadia — a soft, cavelike environment where visitors are encouraged to linger, relax, and even nap.

In this environment devoted to repose, it makes a certain kind of sense that there would be an area designed solely for preserving memories of what is arguably the best part of sleeping: dreams.

That's what Oneiroi, an installation by assistant professor Petros Babasikas and artist Chrissou Voulgari, was made for.

Oneiroi consists of two booths located inside New Circadia's environment in the Daniels Building's Architecture and Design Gallery. One of the booths is a recording station, with a microphone and a small computer screen. Visitors are invited either to narrate a recent dream (what they can recall of it, at any rate) into the microphone, or to use the computer screen to type up a written description of a dream. The other booth is a listening station, where visitors can lie back on a recliner-like surface, put on a pair of headphones, and hear readings of dreams recorded by others (including the written ones, thanks to some text-to-speech software).

Users can also submit dream descriptions on the project's website, Oneiroi.ca. And the website contains a running archive of all the dream descriptions submitted so far.

"What people write is not necessarily what they saw in their sleep," Babasikas says. "People are processing what they saw and rewriting it. It's not just about memory; it's about remembering and retelling. The Oneiroi project asks: 'What is a space of memory and storytelling in the deep Digital Age, and how do we participate in making it?'"

Inside Oneiroi's listening station, in the Architecture and Design Gallery at the Daniels Building.

The project is a followup to an earlier work of interactive art that Babasikas and Voulgari designed, called Dreamgrove. Like Oneiroi, Dreamgrove involved collecting descriptions of dreams on a website. Visitors to an installation at the Athens Byzantine and Christian Museum (and, later, the Hong Kong and Shenzen Biennale) could listen to the dreams being read aloud. The project ran from 2008 to 2010.

Now, with Oneiroi, Babasikas has noticed something about the dream descriptions being submitted by users: they tend to be shorter than the ones submitted to Dreamgrove a decade ago. "I think people are now used to writing online in more abbreviated, and perhaps precise ways," he says.

As more people contribute dreams, the Oneiroi website will become what Babasikas refers to as an "atlas" — a cloud-like representation of the dreams of hundreds of anonymous strangers, all linked together by keywords, blurring the line between the internet and the collective unconscious.

To contribute your dream, visit Oneiroi.ca or come to the Architecture and Design Gallery at One Spadina. (And follow Oneiroi on Instagram.)

Photographs by Chrissou Voulgari.

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.