項目負責(zé)人：Katherine Faulkner, AIA; Nader Tehrani

設(shè)計團隊：Richard Lee, Tom Beresford, John Houser, Amin Tadj, Alda Black, Marta Guerra, Animations, James

Juricevich, Parke Macdowell, Dane Asmussen, Laura Williams, Peter Sprowls, Noora Al Musallam, Tammy Teng,Wesley Hiatt, John Mars, Mazyar Kahali

合作建筑師：Adamson合伙建筑師事務(wù)所

Principals: Katherine Faulkner, AIA; Nader Tehrani

Project Team: Richard Lee, Tom Beresford, John Houser, Amin Tadj,

Alda Black, Marta Guerra, Animations, James Juricevich, Parke Macdowell, Dane Asmussen, Laura Williams, Peter Sprowls,

Noora Al Musallam, Tammy Teng, Wesley Hiatt, John Mars,

Mazyar Kahali

Associated Architect: Adamson Associates Architects

多倫多大學(xué)丹尼爾斯建筑、景觀和設(shè)計學(xué)院的設(shè)計采用了分期的方法，包括修復(fù)和擴建以前稱為“知識學(xué)院”的標志性建筑，將現(xiàn)有建筑物改造成與教學(xué)和需求更相關(guān)的框架體系。這個十九世紀遺址的總體規(guī)劃是通過對預(yù)期用途模式和場地生態(tài)的分析而制定的，目的是重新定位校園西南角與安大略湖的軸線，并為學(xué)院創(chuàng)造新的特性。丹尼爾斯建筑、景觀和設(shè)計學(xué)院需要一個可持續(xù)發(fā)展的新型工作原型，以適應(yīng)工作室、金屬加工車間、教室、辦公室、圖書館、咖啡廳、展覽空間、禮堂以及最先進的“城市劇場”等的方案。位于繁忙的城市干道上，被一條電車線路所包圍，這個環(huán)形場地成為一個夾在城市活動層之間的島嶼。也許，保持哥特式建筑遺產(chǎn)所面臨的巨大挑戰(zhàn)也是該項目的最大機遇；歷史遺跡“斯帕迪納新月”的尖頂和邊緣成為需要自然采光的有著縱深樓板的現(xiàn)代盒狀建筑的理想陪襯。通過擴展現(xiàn)有建筑的邏輯關(guān)系，并突出兩者之間的關(guān)鍵差異，該項目利用了新哥特式建筑的形式和語言，將它們轉(zhuǎn)化為供水管理、采光和表皮嵌板系統(tǒng)機制。

Design of the University of Toronto’s Daniels Faculty of Architecture, Landscape and Design (DFALD)building was conceived as a two-phased approach to both renovate and expand the iconic structure formerly known as Know College, transforming their existing building into a framework more relevant to their teachings and aspirations. The master plan for this 19th century site was developed through the analysis of anticipated use patterns and site ecology, with an eye toward re-positioning the southwest corner of campus on-axis with Lake Ontario, and creating a new identity for the Faculty.DFALD required a new working prototype of sustainability to accommodate a program for studio space, fabrication workshops, classrooms, offices, library, cafe, exhibition space, auditorium, and state of the art ‘urban theater’. Located on a busy urban artery, and circumscribed by a streetcar line,the circular site is an island amidst layers of urban activity. Perhaps the great challenge of maintaining the Gothic heritage building has been the project’s greatest opportunity; the spires and edges of the historic Spadina Crescent create the ideal foil for a contemporary box with a deep floor plate requiring natural lights. By both extending the logics of the existing building and establishing critical differences between the two this project appropriates the neo-gothic forms and language transforming them into mechanisms for water management, day-lighting and fa?ade system panelization.