PhD student Rana Abughanna- headshotRana Abughannam began her PhD studies at Carleton University’s School of Architecture and Urbanism in 2017. She obtained her professional degree in Architectural Engineering from Birzeit University in 2012 and was granted her post-professional Master’s degree from the History and Theory Program at McGill University’s School of Architecture in 2013. Prior to joining Carleton, Rana taught at the Canadian University Dubai as a visiting lecturer at the School of Liberal Arts and Sciences and an adjunct lecturer at the School of Architecture and Interior Design.  She was also an instructor at the Department of Architecture at Birzeit University teaching courses including history of architecture, architectural representation, and architectural design. Her research interests revolve around architecture in relation to memory, meaning, and identity while focusing on the conflict condition.

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Brynne Campbell, PhD candidateBrynne Campbell is a PhD Candidate with the Azrieli School of Architecture & Urbanism, Carleton University. Her research focuses on the Canadian Architecture profession’s historical use and understanding of marketing, as discussed through professional journals and resources. She has presented papers on the topics of marketing in architecture and the image of the architect. She is currently organizing ‘POP // CAN // CRIT 2017: Marketing and Promotion of Architecture in Canada’, a national symposium with industry leaders in marketing, photography, architecture and media. She is the Program Officer in Practice Support and the RAIC Syllabus Registrar at the Royal Architectural Institute of Canada.

Marketing Architecture in Canada. Architects and scholars have suggested that the architecture profession is confused about what they do and they have trouble communicating their role and value to society. Exploration of the many guises of the architect perpetuated by society, the architecture profession, and architects will be undertaken. The aim is to understand whether it is reasonable to compare architecture to other professions and/ or to other art forms. If not, how can we define the role of the architect and what should the public image of the architect be? Where does the architect lie in the dualities of professionalism vs. artistry and business vs. art? Moreover, should architecture be examined in terms of dualities, or can the profession still relate to the Vitruvian concept, an architect with a wide range of knowledge? Is the perceived role of the architect an influential factor in the architect’s current use of marketing? Research suggests that North American architects are wary of associating themselves with business, and that marketing is often discussed in a pejorative fashion. A disciplinary confusion and struggle with identifying architects’ (and architecture’s) value to society may be negatively affecting the profession’s relationship with marketing, and feeding its apparent disassociation with business. This dissertation employs a discourse analysis approach to the books, professional journals and documents written for and by architects, between 1955 – 2015, with the aim to see how the Canadian architecture profession’s relationship with business and marketing has evolved. In addition, research will explore the role of architecture schools in teaching business and marketing, which may be seen as topics relevant to modern architecture practice. Finally, the dissertation will explore historical and current definitions of marketing to see if alternate philosophies may be better aligned with the core beliefs and mandates of the architecture profession, as defined by the licensing and professional organizations. The profession is overdue for a critical and open dialogue on its use of marketing, including a deconstruction of the language used in printed text. The goal of this dissertation is to promote a deeper understanding of the Canadian architecture profession’s relationship with marketing—as a tool for communicating, as an organizational or firm philosophy, or a means to an end (business necessity to find clients).

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Lara Chow is a doctoral student in the PhD program at the Azrieli School of Architecture and urbanism at Carleton University. Lara’s ongoing research focuses on how humans experience architectural space and the effect on both physical and psychological well-being — specifically within urban environments. Her masters thesis Enriched Environment: A Psychiatric Facility for Transitional Youth translated emerging biological and neurological research into a design intended to promote well-being. She currently leads a research team at the Carleton Immersive Media Studio (CIMS) in the advanced study of innovative, hybrid forms of representation that can both reveal the invisible measures of architecture and animate the visible world of construction. During her undergraduate and masters of architecture at Carleton University, Lara worked as an architectural intern at a practice focusing on heritage conservation in Ottawa.

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Emelie Desrochers-Turgeon, PhD student

Émélie Desrochers-Turgeon is a Vanier Scholar who begun her doctoral studies in architecture at the Azrieli School of Architecture and Urbanism in 2017. Educated in Fine Arts, she completed a bachelor’s degree in Environmental Design at Université du Québec à Montréal and a Master’s degree in Architecture at McGill University. Thanks to a grant from the Order of architects of Quebec, she documented cultural landscapes in the community of Kangirtugaapik on Baffin Island, Nunavut. She has worked in Montreal and in Berlin on various architectural projects, as well as industrial design and exhibition design. Her projects and written works examine the issues of settler colonialism, landscape representation, language, architectural imagination, and the display of architecture. She is interested in how Western ideas about time and space are encoded in language, philosophy and architectural imagination. Her research looks into the notions of cross-cultural interpretation and deconstructing the colonial imagination that pertains to space.

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Kristen Gagnon, PhD studentKristen Gagnon is a PhD candidate in architecture, with a research focus on popular architecture criticism in Canada. She is also the project manager for the SSHRC-funded New Paradigm / New Tools for Architectural Heritage in Canada internship training program, a published writer (Urban Planning and Civil Engineering (ATINER), Canadian Architect, Canadian Interiors, Building Magazine, Journal of the RAIC, ArchDaily.com, 150 Stories), and the architecture editor and columnist for Spacing magazine. She has participated on various committees and councils, including the Doors Open Ottawa Advisory Council, presented her research internationally, and is the founder and co-organized of the annual POP CAN CRIT symposium.

Abstract: The intention of this dissertation is to question who the critic is and how they establish their authority, in order to theorize the possible role and influence of the popular architecture critic. It will work to answer the research questions by examining the work of Ada Louise Huxtable as an ‘apex’ of popular criticism, interrogating the authority of the critic as ‘expert’ as defined by Frank Fischer, and analyzing the case study of ‘Mirvish+Gehry Toronto’ as an example of the current conditions in popular architecture criticism. It will answer the questions: Who is the critic and how is their authority and power established? Can the critic be an authority or expert, and if so, how has this been done historically? How has the social role and influence of the critic changed since height of Huxtable’s career? What are the contemporary academic theories relating to the role and authority of the critic? What is the value of the critic today, and can the critic still be effective in popular architecture criticism? And, how do the historical and academic understandings of the critic’s influence relate to the findings of the case study analysis?

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Martine Gallant specializes in Building Information Modelling [BIM] of the tangible and intangible of cultural heritage. Her doctoral research focuses on the potential link between BIM and the art of storytelling – to develop modes of architectural representation that are in flux and responsive to the people, history, materials, and environment that contribute to the making of architecture. Looking to transcend the boundaries of digital representation, this research looks at the past to learn from this critical shift from technical representation of the ‘what was’ to the fluid representation of the ‘what I remember’. In parallel, Martine has been a researcher and project lead for the past 5 years with the Carleton Immersive Media Studio [CIMS], leading such projects as the West Block BIM of the Canadian Parliamentary Precinct and the Ontario Eastern Economic Development Digitization amongst others. She has also lent her experience on international projects such as the Irish Parliament and other ventures in both Ireland and the UK.

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Jenan Ghazal graduated with a Masters of Design degree from the Académie des Beaux-Arts in Tripoli, in 2014 in Lebanon, with the first rank award for a thesis on “Disaster Management Center”. She holds a Masters of Architectural Studies (MAS) from Carleton University (2016). Her thesis is titled “Architecture and Violence: Between Representation and Exchange.” She is a doctoral student exploring the theme of violence and architecture since September 2016. Her research aims to foster a rethinking of the conventional approach to destruction in urban areas affected by violence.

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Katie Graham is a PhD student at the Azrieli School of Architecture and Urbanism at Carleton University in Ottawa, Canada. Her PhD research focuses on how different methods of virtual reality storytelling help to reveal the hidden layers of the architectural history of a building.  Katie also works at Carleton Immersive Media Studio (CIMS), a research lab affiliated with the school of architecture whose focus is on how advanced digital technologies and hybrid forms of representation can reveal the invisible aspects of architecture. Katie is the team lead of the Digitally Assisted Storytelling projects that use CIMS’ digital assets such as panoramas, historic photographs, models, photogrammetry, and point cloud data to create digital storytelling of buildings through web, mobile, and virtual reality. Current projects include The VR Kiosk – five passive virtual reality stories of parliament hill, Building Canada’s Parliament – an unreleased web project that will release monthly stories of Parliament Hill and the rehabilitation project, and the Senate Virtual Tour – a web application that uses panoramas, photographs, and photogrammetry to teach of the Senate of Canada’s architectural home.

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James Hayes is a researcher at the Carleton Immersive Media Studio and PhD Candidate at the Azrieli School of Architecture and Urbanism. His research focuses on coupling digitization technologies such as laser scanning and photogrammetry with digital fabrication technologies like 3D printing, CNC routing and robotic milling. This has been realised through a series of collaborative projects with the masons and sculptors working on the current rehabilitation of the Parliament Buildings National Historic Site of Canada. James has worked in architectural practice in Ottawa and Dublin, Ireland, and holds a B.Sc. in Architecture from Lawrence Technological University, and an M.Arch. from Carleton University. Most recently he became a founding partner of If Then Architecture Inc., a firm that aims to leverage digital technologies in the conception and realization of architecture.

Abstract: A dichotomy has existed for some time between the conception and construction of architecture. Architects design but they do not build. Robin Evans argues that this split necessitates that the builder translate the design artifacts created by the architect — typically drawings and specifications — before a building can be constructed (Evans, 1997). The nature of the translation process is distinct in architecture because of two defining characteristics: the contractual apparatus which dictates the terms of the translation and the proliferation of mass-produced building components. The contractual apparatus, which has taken form in Canada over the last century and a half heavily, influences the work of architects and the way that work is translated into buildings. For architects, the type of information that is manifested in drawings and specifications, how that information is conveyed, and how those drawings and specifications are to be interpreted is dictated by the apparatus. The apparatus also defines the relationships of the parties involved in the translation process.  The relationship between architects and fabricators — those that actually make the various parts of the building – is restricted to a bureaucratic paper chase, rather than a productive collaboration. Standardized building components are the other facet of the translation process. Prior to the 20th century, there were few commercially available mass-produced, standardized building materials in construction. Today, standardized building materials are branded and marketed as building products and make up the bulk of the construction material on a construction site. I argue that the impoverished relationship between architects and fabricators can be enriched through the use of digital communication and fabrication technologies with the aim of creating bespoke building components that undermine the hegemony of standardization. The research consists of an historical analysis of the construction of the buildings of Parliament and the subsequent additions and renovations, from 1859 to present day, in order to trace the development of the contractual apparatus. Coupled with the historical research, is a series of architectural projects utilizing digital fabrication tools that engage fabricators in a collaborative process.

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Maryam Mirsepassi is an OAA intern architect, landscape designer, project manager and a PhD Candidate in Architecture at Carleton University, Ottawa, Canada. Maryam was born and grew up in Tehran, Iran. She received a Bachelor in Architecture from Tehran University, and a Master of Landscape Architecture from Shahid Beheshti University, both in Tehran, Iran. She began her PhD at Carleton University, and while pursuing PhD, she has been an instructor in the Architectural Technology Program at Algonquin College. She has also been involved at CIMS (Carleton Imersive Media Studio) as a reaseach assistant for the Building Information Model (BIM) for Rehabilitation of Parliament Hill’s West Block.  Maryam has been employed at the House of Commons, Parliament of Canada, as a Project Officer on Centre Block Rehabilitation Program since 2016. Maryam’s research areas include theories of imagination, Persian garden, Persian architecture and landscape, rehabilitation, specifically in the 16th century Iran.

Abstract: Persian gardens are amongst the eternal arts that even after years of existence, not only have kept their characteristics and functions, they still surprise and amaze their viewers. And really, what lies behind the immortal designs of Persian gardens which makes them everlasting? Over the past decades in Iran, gardens and parks have been built to resemble Persian gardens and their characteristics, but after careful examination, it can be realized that during the process of their design, not enough attention has been paid to the true meanings hidden behind the design. Specifically, the attempt has been to mimic and copy the motifs and the geometrical patterns of the gardens without considering the underlying conceptual and philosophical details. Studying the artworks created during Safavid dynasty in 16th century, known for being the flourishing time of art and architecture in Iran, can be helpful for today’s designs. The Safavid artworks are valuable as they were created with efforts by notable kings such as Shah Tahmasb and Shah Abbas I. Philosophy and mysticism were the bases of Safavid schools, and among those, mystical philosophy of Shahab al-Din Suhrawardi, a 12th century Persian philosopher. This dissertation is drawn based on studies on the philosophical meanings of Suhrawardi’s works as one of the main sources for the architectural designs of 16th century in Iran, as well as studies on the arts and architectures of the same period. The aim of this study is to illustrate how Persian philosophy manifested in arts and architectures and how it influenced the creation of such works.

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Ken Percy is a PhD Candidate of the PhD program in Architecture at Carleton University.  His research interests examine the tension between the fields of architectural representation and digital fabrication.  While developing his dissertation Ken has been working at the Carleton Immersive Media Studio (CIMS) where he has been leading projects on digital documentation as well as establishing the new CNC fabrication lab at the school of architecture.  Highlights of his projects include digital documentation of the Kasbah of Taourirt in Morocco, photogrammetric recording of historic wall paintings in a church in the Peruvian Andes, and laser scanning and surveying the Parliament Buildings in Ottawa for rehabilitation.  Further, in collaboration with public works, Ken has been developing a protocol for digitally milling the new doors for the Senate after relocation to the Government Conference Centre on Rideau Street.  

Abstract: The development and widespread adoption of Computer Numerically Controlled (CNC) technology has both challenged and animated the practice and study of architecture.  Developing in tandem with the hardware, Computer Aided Design (CAD) software has fundamentally challenged the field of architectural representation.  On the surface CAD software appears to produce digital versions of hand drawn plans, sections, and elevations but there are a number of key differences beyond the physical construction of the drawing tools.  There are technical aspects of the CAD drawing which allow the lines drawn to be assigned as tool paths in CNC software that directly control the direction and physical movement of CNC tools.  Related to this both physically and philosophically there is a representation of time in the layers of an architect’s traces that are lost in digital layers of CAD software but reemerge in the software that controls the tool paths.  For these reasons I hypothesize that digital tool paths made from digital drawing and modeling software represent a new mode of architectural representation.  While the new technologies displace established architectural mediums, certain historical precedents allow us to examine the nature of the changes that arise from the displacement and offer us insight into our present condition.  The first treatise of the 16th century French architect Philibert Delorme illustrates both personal and professional experience with the changing modes of design representation at a time of professional upheaval in Europe.  Beginning with Delorme, this study is divided into three parts.  First, a close reading and original translation of Book I of his treatise Nouvelles inventions pour bien bastir et a petit fraiz provides us with context for the study of new and emerging digital tools for representation in architecture.  Second, a theory is developed around the analogous connection that exists between the work of Delorme and contemporary CNC related tools of representation.  Finally, employing CNC machines and the new mode of representation I will develop a series of projects that demonstrate through juxtaposition the nature of the new mode of architectural representation.

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Jesse Rafeiro started hi PhD in architecture at Carleton University during the Fall of 2016. His dissertation is investigating the role of fiction (between image and text) for imagining non-anthropocentric architecture and culture in the Anthropocene. His current research interests involve ecological ethics, speculative realism, religion and architectural representation. Jesse has a five-year research background in digital tools and architectural representation between the Carleton Immersive Media Studio (CIMS) at Carleton University and the Facility of Architecture Research in Media and Mediation (FARMM) at McGill University where he received his Master’s of Architecture. Between both institutions Jesse has collaborated in several research projects for heritage documentation in Building Information Modelling (BIM) and is currently involved in an ongoing BIM for the Library of Parliament in Ottawa. Jesse is currently a teaching assistant and first year studio instructor at Carleton University.

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Miquel Reina Ortiz is PhD Student in Architecture (2015-present) at the Azrieli School of Architecture and Urbanism at Carleton University. His research concerns the relationship between different scales of intervention within the context of the historic city. He has been a Teaching Assistant (2015-present) in heritage conservation, site and building documentation, urbanism and design studio. He collaborates with the Carleton Immersive Media Studio (CIMS) in the development of new digital workflows applied to heritage conservation. He participated in international field works (Ethiopia and Nepal) and co-authored articles on topics related with digital heritage documentation. He studied architecture at ETSABarcelona (UPC), where he graduated with honors in 2011. He holds a MsC in Restoration and Rehabilitation at ETSABarcelona (UPC). His professional experience in the architecture studio Ravetllat-Ribas Barcelona (2008-2015) focused on adaptive reuse.  As a licensed architect he designed public space projects, housing projects, interiors and competitions.

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Jorge Rivera Gutierrez is a Mexican architect who has practiced for ten years in the design-build field before recently starting his PhD at Carleton University. He graduated from the Architectural History and Theory masters program at McGill in 2007 and went back to Mexico to work with a few offices before opening up his own practice in Guadalajara. His office, Departamento de Arquitectura, has been primarily interested in developing a design-build process that works closely with clients, local craftsmen and architecture students. Recently, he ventured along his brothers in making short films, video documents and video installations. He debuted his first video installation at the 2016 Venice Biennale of Architecture, within the Mexican pavilion. He also taught design studio at ITESO University in Guadalajara. He recently moved to Ottawa, where he’s currently in his second year of the PhD in architecture at Carleton University. His research interests lie in exploring the possibility of filmmaking as a tool to inform research, education and design in architecture, primarily from an atmospheric, emotional and narrative standing point.

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Ryan Stec is a PhD Candidate in architecture, an artist, designer, educator and producer working in both research and production. Interested in the cross sections of technology, creativity and the built environment, his most recent work is focused on art interventions that redefine how we experience the city around us. His passion for developing cultural discourse through artistic production has guided his heavy involvement in the artist-run culture of Ottawa since 1998.

Abstract: This research is concerned with the temporary and informal aspects of the spaces of the city and the political potential for design intervention. Drawing on the theoretical work of Bruno Latour and Actor Network Theory it outlines the possibilities for an object-oriented politics for design, that is a theory of politics which includes objects into the realm of action. Sited in the Centretown neighbourhood of Ottawa, this research will combine a counter mapping of the informal boundaries of the city with the design of temporary material interventions exploring the potential action of objects or the making of public things. The concept of a public thing extends the ideas about a pragmatic public as described by John Dewey in The Public and its Problems, where the public can be made tangible and specific through the examination of issues. In this sense objects become public things when they become a node in a network of issues which specify a public.  These two elements will form the basis of a prototype called the Action Information System (AIS). An AIS will combine geospatial dimensions of data with temporal dimensions as a new representational tool for both mapping and politics, demonstrating the possibilities for participation in the city and politics by both human and non-human actors.

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Pallavi Swaranjali is a PhD Candidate at the Azrieli School of Architecture and Urbanism, Carleton University, Canada. She has a Bachelors in Architecture and Masters in Industrial Design from India where she has professional experience as a licensed architect. Presently she is involved in research with the Carleton Immersive Media Studio, in teaching as contract instructor and in part time professional work with Ilg and Ilg Inc., Ottawa. Her research interests harbour around the intersection between architecture and storytelling, various modes of non-conventional architectural representation which combine the normative and the fantastical, and  how they transform architectural creation and experience. She was awarded the CCA(Canadian Centre for Architecture) Collection Research Award for Doctoral students in 2015 when she studied the archives of Villa Chimanbhai, Ahmedabad an unbuilt villa designed by Le Corbusier between 1951-53. Her architectural drawing ‘Walking the Architectural Dream’ was exhibited  at the Frascari Symposium iii  at Washington Alexandria Architecture Center in  April 2017.

Abstract: This research takes a theoretical, critical and historical look at the contronymic nature of architecture and the non-conventional modes of architectural representation in the works of Indian architect, Balkrishna Doshi (b.1927). Doshi worked with Le Corbusier in the newly independent, postcolonial India before taking a pioneering role in the creation of a modern Indian architecture. Doshi has studied intensively traditional and historical Indian buildings, along with 16-17th century Mughal Miniature Paintings, Vedic philosophy and epics like Mahabharat and Ramayana. The visual representation of his buildings derives from the miniature paintings, and his works of fiction which accompany three of his built projects derive from dreams, mythologies and epics like the Ramayana and Mahabharata. Doshi’s stories and his built give to his architecture a subjunctive character- architecture viewed not through a positivistic lens but through an imaginative, oneiric and fantastical one, opening a space for interaction. This space of interaction is ambiguous but not vague and in being so incorporates the role of the reader (users and other players in architectural creation) and the author (architect). His architecture has this elusive property of being not theirs, not his, neither this nor that. The spaces are alive -they evolve, grow and tell stories themselves long after the architect has left. This dissertation takes a historical, critical and theoretical look at Doshi’s architectural creation which epitomizes the craft of storytelling, offering the possibility of extending architectural thought beyond the theoretical and the practical, and to revive in it contemplation, participation, reverie and emotion.

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Cristina Ureche-Trifu, OAA is a practicing architect and Ph.D. student with a focus on construction and conservation.  After completing her architectural training in Romania, Cristina then obtained an M.A. in heritage conservation from Carleton University before starting her PhD studies. In addition to her research, she has also gained significant teaching experience, serving as Teaching Assistant for courses ranging from the basics of heritage conservation and conservation studio, to architectural history and urban planning.  She has co-organized a conservation charrette bringing together students from design, conservation and engineering with the industry, and has presented at a number of national and international conferences. In parallel to her academic career, Cristina has been actively involved in the profession, having worked on a large number of conservation projects in and around the Parliamentary Precinct in Ottawa. Combining her passion for practice with her academic career, her research interests range from craftsmanship and materials conservation to studying the intersection between construction and conservation and the way in which conservation principles and theories get transformed during the actual project implementation.