Formally, the shapes are inspired from the constant acceleration and deceleration that occurs within the site- the buses slowing down & speeding up, the flow of pedestrian traffic, the adjacent highway and parking lots… The public side of  structure reflects these notions through the undulations of the bench. The shape is made of cedar an is also influenced due to ergonomics of seating.

The second structure is Hobb’s sanctuary. The volume is a negative of the public structure. Made of Corten steel, the surfaces erode and bleed on to the floor but unlike the wooden public structure the shape is maintained.  This creates an interesting interplay between private and public. Transparent slits of openings on Hobb’s space allow him to view the public while contemplating as well as making the public aware of his presence.

• Create a inspiring contemplative space for Hobbs to write haiku.
• Due to the programmatic nature of the site, a sculpture like pavilion relates best to the bus station. The space is inspired by the intuitive qualities of  Henri Moores’ sculptures.
• Create meaningful connections with the high traffic of pedestrians while allowing Hobbs to reside within the space inconspicuously.
• Make architecture that contains themes explored through installations and explorations around the school- architecture that’s enhanced through use.
• Architecture that embodies principles of Wabi Sabi.
• Convey the energy of the site- that of acceleration & deceleration

conceptual models

Hobbes the transit hobo is also known as the memory collector. He spends long days traveling through the transit way to gather stories about the lives of others. At the end of an insightful conversation with the commuter he only asks for a transfer.

After the long journeys through Ottawa, Hobbes sometimes heads to Place d’Orleans station. There lies his sanctuary- he sleeps, recharges and most importantly he reflects on the events of the day. Late at nights Hobbes often looks to the perpetual traffic on the adjacent highway and meditates on the collected stories. After a period of reflection he turns these sometimes mundane daily stories into richly poetic Haikus. These are then inked on the extra transfers overflowing his left trouser pocket. The best stories are kept and collected, the rest he gives away freely. Though he never asks for anything in return, many who are touched by his poems offer him clothing, food and sometimes money. One day he hopes to collect enough haikus to complete a full volume.

When Hobbes decides to sleep at Place d’Orleans he is awaken by the cacophonic chirping of the pigeons. Training birds is actually Hobbes favorite solitary activity. The pigeons tail him as he travels along Ottawa’s transit way.

transfer bank
Haikus which have personal importance to Hobbs are kept within this container. Once he feels enough stories are collected, he breaks the container apart inorder to place the haikus in the long term storage area. Ideas for the  container derive from the concepts explored through the bus station- wabi sabi & human factor.

The steel frame encasing the cedar container will eventually rust and imprint itself on the surface of the wood. The sliding motion to seperate frame from container becomes smoother as the wood breaks down against the surface of steel.

explorations
Various illustrations & art work were created around the school using clear adhesive sprayed over stencils. These were invisible to begin with but were made apparent as people walked through them. Dirt is collected from shoes to slowly reveal the art work.

At the macro scale, Place D’orleans seemed like every other bus station in Ottawa- fully modular with red steel framing and  enclosed in a concrete surrounding. Although looking closer, at the micro scale, one can observe beauties that can serve as departure points for intriguing concepts.

nature through cracks
Nature is resilient- it makes it self visible through the cracks of concrete and hides within the clarity of glass.

wabi sabi
Firmly rooted in Japanese Aesthetic and philosophical tradition, this concept embraces the impermanence of the objects we create. Beauty is acheieved over time- beauty lies in the imperfection.

the human factor
Typically the continuous interaction with spaces result in its destruction- its surfaces decay, it gets vandalized, it looses functionality. Our relation with our spaces is parasitic- we build, use, destroy and move on.