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SITE, MATTER, ECOLOGY INDIGENOUS STORYWORK

Location

Toronto

Date

2023

Core Studio

Studio Project 2

The establishment of a college responds to the first call to action in the University’s TRC Steering Committee Report: “the creation of significant dedicated Indigenous space on the St. George
campus.” (p. 12) An Indigenous College would be a highly visible and meaningful way for the University to take on a leadership role in promoting truth and reconciliation. The college would be a site of Advanced Research in Critical Indigenous Studies. It would also be a place to reflect upon Indigenous governance structures and processes of home and belonging, and what it means to be a visitor in Haudenosaunee and Anishinaabe territory. (p. 38)

PART I

Design a room to host the art-work.

Art Work: Brian Jungen, “Warrior” 1,2,3,4

PART I

Interpretation of the artwork:
Brian Jungen borrows popular things to express serious topics, and the contrast between the two reveals the ironic allegory.
Sneakers are mostly produced in countries with cheap labor and then sold in countries with high wages.

PART I

They are the trophies of capitalism under management and design aesthetics, and the face of the global pursuit of economic efficiency.
This becomes a critical trigger in Jungen’s work, which unfolds through a multi-layered transformation of meaning.
The viewer is drawn to the striking contrast between the final form and its raw materials,
before being led back to
the fundamentals of visual aesthetics,
where the constructed image begins to fade into the background.

PART I

Traditional ways of making things and the indigenous technology such as making drums, gutting salmon and cleaning fish, are used to create construction materials and methods. Recycled materials and consumer products’ packages are used to point out the main idea of his works to follow his initiative.

PART I

The exhibition space becomes an extension of the artwork itself an assimilation of spatial experience.
The Warriors are expansive, yet dense and forceful, urging us to consider the artwork not as something within space, but as the positive space itself.

PART I

The sun’s shifting patterns become part of the exhibition itself, throughout the day, its light either highlights the artworks on display or gently contributes to the overall ambition of creating a softer, more immersive atmosphere.

PART II

The earth, the seasons, the learning process, the growth cycles of plants, the directions on the medicine wheel, the stages of our lives, all of these are circular and cyclical.
The gardens carry the teachings of the medicine wheel, each direction holds knowledge of seasons, ages of our lives and align with 4 sacred medicines.
The project expands on the earlier concept by engaging with the sky map, an Indigenous way of connecting with both sky and land.

PART II

Model making strategy & program imperative.

PART II

Indigenous peoples not only communicate with the sky; they are powerful connectors between sky. The project aims to represent the spirit of the sky map through an abstract architectural language, transforming it into a grounded space where people can observe and experience the changing sky.

Long Section

PART II

Model -upside down

Site Model

1:200

Site Model

1:200

PART II

Partial Model 1:50

PART II

Partial Model 1:50

PART II

Partial Model 1:50

PART II

Partial Model 1:50

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