Design Quarterly | Winter 2012 by MediaEdge

Showcasing BC & Albertaâ&#x20AC;&#x2122;s architects and interior designers

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WINTER 2012 Vol. 12 No.3

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contents

WINTER 2012 Vol. 12 No.3 www.designquarterly.ca PUBLISHER Dan Gnocato dang@mediaedge.ca Managing Editor Cheryl Mah Graphic Design Tang Creative Inc. CONTRIBUTING WRITERS Robin Brunet, Donny Centanni Khai Foo, Paola Gavilanez, Jennifer Mehalko Dr. Alexander Rosemann Marilyn Sanford, Heather Segreti, Evan Smith, Dwayne Smyth, David Twanow B.C./ALBERTA SALES Dan Gnocato 604.549.4521 ext. 223

06 Designer Profile Julie Campbell

A long standing associate with SSDG Interiors, Julie Campbell recently became a principal at the firm with the retirement of Keath Seeton.

ADVERTISING SALES REP Naomi Koit 604.549.4521 ext. 224 PUBLISHED BY

12 Spotlight Armoury District

What used to be a conglomeration of nondescript warehouses is now known as The Armoury District, Vancouver’s new design district.

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23 project profile Surrey City Library

With its distinctive shape and modern interior, the Surrey City Centre Library exemplifies the 21st century library. Bing Thom delivers another striking piece of architectural design to Surrey’s evolving downtown core.

Features 26 Lighting

LED Makes Sense Lighten Up Energy Efficient Lighting

36 Fireplaces

Moving to Modern Hot Styles Hearth Technology

40 T ile & Stone

Tile Trends 2012 Made in Italy Evolution of Mosaic

departments 04 From the Editor 44 Architects in BC Creating a Learning Based Environment 45 IDIBC A Misunderstood Profession 46 Design Headlines On the cover: With its sweeping forms and curved facade, the Surrey City Centre Library reflects the changing role of a long standing public institution. Photo credit: Nic Lehoux, courtesy of Bing Thom Architects.

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November 6 & 7, 2012 The purpose of Design Quarterly is to reflect and represent practitioners and professionals in the architectural, interior design and design resource communities throughout British Columbia and Alberta. Winter 2012 | DESIGN QUARTERLY 3

::::::: from the editor :::::::

favourite places

hen I was growing up, I loved going to the library. It was one of my favourite places to visit. I was a voracious reader and would visit the library regularly, often coming home with bags overflowing with books. I would read them all as fast as I could and return them for more. I was reminded of my childhood pastime with our project profile on the Surrey City Centre Library. Designed by Bing Thom Architects, the stunning architectural landmark is unlike any library I went to growing up. Its dramatic design redefines the role of the traditional library while also serving as an important civic anchor for the city’s changing downtown core. The library delivers a unique experience, offering a variety of innovative spaces. Creating innovative spaces is nothing new to SSDG Interiors, one of Vancouver’s largest interior design firms. For our designer profile, I talk to Julie Campbell, a long time associate who recently became a principal at SSDG. We also put the spotlight on The Armoury District in Vancouver, the city’s up and coming design district. Located just west of Granville Island, what

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DESIGN QUARTERLY | Winter 2012

used to be nondescript warehouses is evolving into a creative hub for design and architectural services. As usual, our winter issue is filled with several features to keep you informed. Read about what’s happening in fireplaces, tile and stone and lighting. This issue also contains your preview guide to Buildex Vancouver coming up February 8 & 9th. The annual tradeshow will bring the industry together for two days of exhibits and seminars. Hope to see you all there. Finally, I encourage you to contact me (cherylm@mediaedge.ca) with story ideas, corporate news and projects. Our mandate here from the beginning has been to be your magazine, showcasing the talents of the local industry and profession as well as addressing issues that are top of mind.

Cheryl Mah Managing Editor

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::::::: designer profile :::::::

giving space a voice By Cheryl Mah

Terminal City Club

t SSDG Interiors, succession planning has been part of day to day business and part of its future strategy for more than a decade. The firm has been proactive about the eventual retirement of founding partners Keath Seeton and Gerry Shinkewski, identifying talent within to ensure the longevity of the firm. “Succession planning is the most important way of keeping a company strong and intact and keeping the values and design philosophies intact moving forward into the future,” says SSDG principal Julie Campbell. “[Our succession planning] speaks volumes to our clients and gives them a comfort level that we’re not going anywhere — we’re here for the long haul.” A long standing associate with SSDG, Campbell recently became a principal with the retirement of Seeton. She bought out his share of the partnership and assumed her new role in October 2011, joining Shinkewski and Susan Steeves on the leadership team. 6

DESIGN QUARTERLY | Winter 2012

“I was thrilled at the opportunity and I’m very excited to become a full partner of the company,” says Cambpell, who has always aspired to become a partner one day. During her tenure at SSDG, Campbell has emerged as a leader in business, design and marketing making her a natural fit as Seeton’s successor. “Julie is a phenomenal fit as Keath’s successor. She shares our vision for a strong, sustainable firm, and has the unique combination of bringing both a fresh perspective, as well as, continuity for our employees, clients and collaborators,” says Steeves, who became a partner in 1996 as part of the succession strategy. Adds Shinkewski, “Julie brings immense energy and opportunity to our clients and to our work. Her natural leadership revolves around the sharing of ideas.” The firm was formed in 1980 as Seeton Shinkewski Design Group with a focus on corporate design before diversifying into hospitality and retail. Known for working with

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::::::: designer profile :::::::

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their clients to create memorable experiences through good, thoughtful design, SSDG has built up an impressive portfolio and a loyal client base over the last 31 years. “SSDG has a great reputation and I’m proud to be part of it. I want to keep building on the firm’s legacy of collaboration and unique spaces — I want to keep Keath’s legacy strong,” says Campbell. Born and raised in Vancouver, Campbell always had an interest in design (enjoying art and geography in school) but never thought of it as a career. Instead she attended BCIT to obtain her marketing and real estate diploma. “I thought that would be a good tie in into the industry and be involved in interiors that way. I did my practicum for Colliers commercial. It was intimating… and a great experience but I knew it was not for me,” recalls Campbell. After taking a couple of years off to travel, she returned to pursue her dream and went back to BCIT to study interior design. While studying at BCIT, she began working for a residential designer and then a corporate design firm. She joined SSDG in December 2000. Her first project with SSDG was Canada Life. “I remember being given a lot of freedom and it was an experience that I was not familiar with. I had come from another cor8

DESIGN QUARTERLY | Winter 2012

porate design firm where I did what I was told — under strong guidance,” says Campbell, who became an associate in 2005. “Coming to SSDG, I was able to really get my feet wet.” And her marketing background has proven to be helpful. The firm is not only committed to good design but strong business principles. She is involved with the firm’s business

As one of Vancouver’s largest interior design firms, SSDG specializes in corporate, retail and hospitality spaces. development as well as providing leadership in design development. “I love the creative side of design. I think that’s where I excel as well,” she says. “I love the details. First you’re inspired by the room and then inspired by maybe the touch and feel of it. Now I’m always looking for details where one finish meets another, where one element stops and another starts.” As one of Vancouver’s largest interior design firms, SSDG specializes in corporate, retail and hospitality spaces. The team of 22 including the three principals

all work together to deliver successful outcomes for clients. “It’s such a collaborative environment so that I’m inspired by who I work with every day,” says Campbell. “I’m also inspired by our clients because when clients have energy and are excited about change — great things happen when everybody is focused on one outcome.” That collaborative work environment has also been a key to the firm’s success. “By being so open, it really creates ownership in the projects from the whole design team. We use a team based design approach,” notes Campbell. SSDG’s design philosophy or motto is “giving space a voice.” “Working with our client early on through a visioning process to really learn what their expectations are and the measures of success for the project is important to deliver a space that really speaks to who they are,” explains Campbell, noting 70 per cent of the firm’s work are from repeat clients. Current projects include 110,000 square feet for Fraser Health and 170,000 square feet for Fortis BC (a long time client). The firm also recently completed Sparkling Hill Resort, Terminal City Club, Fulcrum and iQmetrix. iQmetrix is the firm’s most recent award winning project, having earned an IDIBC

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::::::: designer profile ::::::: gold award of excellence. The 5,900 square foot office for the retail software company was cited for outstanding workplace design. “The people were so much fun to work with [at iQmetrix]. Good energy, lots of good ideas,” says Campbell. The majority of the firm’s projects are located in B.C. and the Lower Mainland with the odd project outside of the province. Campbell is currently working on mining company BHP Biliton’s office in Saskatoon, after having done their Vancouver office. “We’re one of the few design only firms of our size in Vancouver. We take a lot of pride in design and in our abilities to design. Clients come to us for something special for them. We design for the client,” she says. “We really focus on customer service. We want the design team and key member to be with the project from beginning to end — the continuity is very important.” The firm’s diversity and a number of large projects (like Sparkling Hill Resort) helped to sustain volume during the recent market downturn. “Hospitality and retail projects kept us going during 2008-2010,” says Campbell.

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Environmental considerations are a part of all their projects and environmentally friendly design is introduced where it’s practical and feasible for each client. “It’s definitely something that we offer to our clients,” says Campbell. “The no cost, low cost solutions — we’re quite upfront about it to see if there’s any interest and there always is.” Campbell adds most of the designers are LEED APs, including herself: “SSDG promotes design continuing education and qualifications.” Her advice to young designers? “It’s important for young designers to feel confident in their decisions and to make decisions,” says Campbell. “Young designers I find are nervous about making decisions or they want to run it past another designer which is great. But I always say to them if you have reason for making your decision, have confidence in your decision and go for it.” Balancing work life and home life is a priority for Campbell. A 4-year-old son keeps her “life very busy” outside of work. The family enjoys travelling and hiking in Lynn Valley near their home. DQ

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::::::: spotlight :::::::

The

Armoury District Located just west of Granville Island, The Armoury District (named after the Seaforth Armoury on Burrard and 1st) is evolving into a creative mecca for interior design and architectural services. By Robin Brunet | Photos by cory dawson

✩✩✩✩✩

s she surveys the early morning bustle in the small cafe she opened a year ago, Alda Pereira remarks, “You remember the old TV series Northern Exposure, about a tightly-knit community of quirky characters in a remote town of Alaska? That’s what it feels like here: we may be right in the middle of Vancouver, but we’re different and there’s a cozy sense of isolation.” Pereira is referring to the designers, architects and high-end suppliers who have converged in the past few years along the 1st, 2nd and 3rd Avenues of Vancouver near Granville Island to ply their trade. Their unity of purpose has given this locale a distinct identity, and what used to be a conglomeration of nondescript warehouses is now known as The Armoury District. To call the District small would be an understatement: 2nd and Fir is the hub, with most of the businesses situated on 2nd and easily perused on foot before they give way to the Ferrari and Lamborghini dealerships flanking Burrard. It’s a short but fascinating walk: furniture, tile, fixture and hardware shops stand shoulder to shoulder with their colourful wares displayed in refur-

bished storefronts. Sandwiched between them are doors that, upon closer inspection, point the way to architecture firms tucked into upper levels. The names above the storefronts are familiar: Brougham Interiors; Livingspace; Bradford Decorative Hardware; MINT Interiors; the international glass maker Bocci; and many others. Pereira is an award-winning interior designer as is another District inhabitant, Kelly Deck. Then there’s Icon Architecture, Allan Diamond Architect and John

McCormack Architects; and if scuttlebutt is anything to go by, another wave of talent is expected to move here in the near future. Ironically, for all of its creative inhabitants, The Armoury District is hardly a trendy part of Vancouver as far as visual appeal goes. The warehouses have stood for generations and, despite varying degrees of renovation, show their age. Amenities are virtually non-existent, and although tour busses pass through during summer, one gets the impression that this is exclusively a place of business. But a palpable energy fills the air nonetheless and is most evident in Cafe Bica, Pereira’s establishment where the patrons hammer away on laptops while maintaining intense conversation. French ballads from loudspeakers enhance the cosmopolitan mood, and Pereira happily discloses the genesis of her 700 square foot cafe. “I opened my office in the Armoury District eight years ago, and when colleagues began streaming into the neighbourhood in 2010 I thought it would be good to have a communal meeting place,” she says. “Frankly, Cafe Bica was a lark: we signed the lease in June of that year, and it was a scramble to open in time for Valentine’s Day of 2011.” Winter 2012 | DESIGN QUARTERLY

::::::: spotlight :::::::

East India Carpets was the first design-oriented tenant to set up shop in 1948.

Betraying her Portugese roots, Pereira tends to view the District with a certain amount of romanticism. “So much of our knowledge about its history is based on anecdotes and rumour,” she says. “Apparently some of these buildings used to be rooming houses back in the ’40s. There’s another story that our oldest resident, the owner of East India Carpets, obtained space from his neighbour in exchange for several rugs.” Smiling broadly, Pereira adds, “And then there’s an antique dealer who managed to cut a deal with City Hall to live above his shop. He redesigned the façade, which we call ‘Versailles,’ and he even has a garden on the roof. He’s the only person in the District who lives and works here, and he’s the envy of the neighbourhood.” It’s as if The Armoury District is a giant cocktail party and Pereira is the hostess. Rising suddenly, she says: “Come, let’s go visit Mary, she can tell you how the Armoury District got its name.”

✩✩✩✩✩ A quick walk around the block leads to Metropolitan Home and its feisty co-owner, Mary Watson, who wastes no time telling her story. “We came here two years ago after 25 years of doing business downtown, because my dear old landlord tried to stick me with a 500 percent rent increase,” she says. “This is a great place for a shop owner: the street traffic is lively, and you can park along the curb just about anywhere.” Watson is urged to disclose the District’s history. “Yes, I’ve heard about the rooming houses for loggers and sawmillers, and when those businesses relocated elsewhere the city zoned the area for light industry. East India Carpets 14

DESIGN QUARTERLY | Winter 2012

was the first design-oriented tenant to set up shop, in 1948. You’ll have to meet the owner, Ravi: we call him The Mayor of the Armoury, and he’s just a stone throw from here.” But what of the Armoury District name? “In April of 2010 we staged a series of meetings because we figured the neighbourhood needed branding,” replies Watson. “Many of us wanted to call it ‘North of 4th’, but The Armoury District won out because of the nearby Seaforth Armoury, and Nadine Miller at Casa Home Decor and artist Janice Wong helped make the title legal.” Hardly pausing for breath, Watson adds, “You know, for decades people here would look west to Kitsilano, or south to Vancouver, or east to Granville Island. But now people in Kits, Vancouver and the Island look to us — all because we became The Armoury District.”

✩✩✩✩✩ Further down West 2nd Ave near a life-size Easter Seals Bear on the sidewalk (a statue so gaudy that one noted designer makes a show of turning her head away and quickening her pace when passing it) is the ornate façade of Three Centuries Antiques and its rooftop garden. When told that their live-work arrangement is the envy of the neighbourhood, owners William McKinnon and James Grima usher their nosy guest inside and sit him amidst a small showroom of opulent furniture. McKinnon smiles at the Versailles reference. “The reality is it took a lot of money and work to make 750 square feet of upstairs living space our home,” he says. “We bought this building in 2003 but didn’t move in until 2007, and we have to pay $25,000 in property tax for each floor.”

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::::::: spotlight ::::::: McKinnon leans forward. “The only reason we’re able to live here is because when I met with someone in the city’s planning department, he asked me what my inventory is worth. I rattled off an impressive figure, and he replied that he could get James and I in as high-end retail security guards. So that’s the secret to living and working in The Armoury District. As long as you have high-end inventory, theoretically you can become a security guard and remain on your premises day and night.” McKinnon complains at great length about the expense and bureaucracy associated with his move to the District, but when asked if all the fuss was worth it, he smiles slyly. “We both love living here, and the nights are extremely peaceful. I just hope the area doesn’t change too much.”

✩✩✩✩✩

“The District is still in the baby stages and needs to be encouraged to grow…”

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DESIGN QUARTERLY | Winter 2012

Ravi Sidhoo of East India Carpets is too busy with customers to talk to reporters. But he takes a few minutes between customers to share his thoughts about the neighbourhood he has known for all of his 52 years — and corroborate a few urban legends. “It’s absolutely true that my father obtained extra space from a person next door in exchange for carpets,” he says. “It happened in the early 1960s. The space was 100 x 25 feet and owned by a sheet metal worker who was so fed up with his business and his kids that he decided to pack it in and accepted the offer of three carpets.” Sidhoo’s father came to the District in 1948 as a wholesaler for Hudson’s Bay and Woodward’s. After switching to retail in 1963 he set an early precedent by hiring an architect to spruce up his property, part of which once accommodated a $50 per month rooming house. “Dad wanted the neighbourhood to look good,” says Sidhoo. “He had moved here to be close to the clients he served and was proud of his surroundings.” Sidhoo is so taken with the rise of The Armoury District that he intends to hire an architect and add a retail component to his property. “The District is still in the baby stages and needs to be encouraged to grow, so I’m thinking of developing 4,000 square feet of space

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DESIGN QUARTERLY | Winter 2012

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for someone else to move into,” he says. “It could be a fabrics or tile shop — whatever, as long as it’s related in some way to design.” (Sidhoo isn’t the only local entrepreneur with plans for the neighbourhood: the decisionmakers at Bocci are reportedly toying with the idea of opening a restaurant on their site). Sidhoo even has long-range plans for his family in the District. “Ten years or so from now I envision my business becoming somewhat like a high-end art gallery in that I would sell only two or three rare carpets per month,” he says. “But I have to be careful in considering a third generation of Sidhoos taking over the reins, because I don’t want to wind up like the sheet metal guy.” Although the Sidhoo family is regarded as the mavens of The Armoury District, Pereira points out that credit for creating the foundation of the current neighbourhood must also be extended to architect Frits de Vries, who is today based on Bowen Island. “About 15 years ago he and his wife, a jeweler, bought a property on the 1800 block of 1st Avenue and set up shop,” she says. 12-01-27 1:48 PM

::::::: spotlight :::::::

“It’s much easier for our clients in Greater Vancouver to travel here than navigate the streets and bridges downtown.” ✩✩✩✩✩ Any neighbourhood worth its salt has urban legends and anecdotes to spare. But it remains unclear why The Armoury District came into being so suddenly. Indeed, Michael McNamara, co-owner of MINT Interiors (which came to the District in October 2010), remarks, “When we signed the agreement to lease our space we had no idea that Brougham Interiors, Livingspace Interiors and Cafe Bica all would pop up within six to 12 months. It’s as if like-minded people were on the lookout for the next underutilized yet central area to base their new business or relocate an existing store.” By contrast, Banner Carpets Ltd. owner Lynn Herberts, whose father located the 68year old business to the District in 1986 in order to open a showroom, says she always had a hunch the area would become a design mecca. “The only mystery to me is why it took so long,” she remarks.

The truth about the rise of the District is somewhat more pragmatic and less sexy than the anecdotes about its history and cast of characters. “Location and affordability were the deciding factors,” says Bradford Decorative Hard-

ware owner Wes Zeller, who arrived in 2009. “It’s much easier for our clients in Greater Vancouver to travel here than navigate the streets and bridges downtown. Plus, there’s a real incentive for clients to visit, because with the accumulation of different design-related

Located in the Armoury District

Winter 2012 | DESIGN QUARTERLY

::::::: spotlight :::::::

businesses they can do all their specing here in a timely and efficient manner.” Herberts points out, “over the years there have been attempts to establish a conglomeration of design businesses in Gastown and Yaletown, but they never took hold — partly because you can’t simply park around the back at will like customers do here. Even the main thoroughfares of those trendy neighbourhoods aren’t exactly vehicle-friendly because they’re one-way.” The District’s newest resident, Livingspace owner Ross Bonetti (he arrived in late 2011), was previously located in Yaletown before that neighbourhood changed from being a furniture mecca to a restaurant destination, and he even sees a benefit to being near the luxury car dealerships on Burrard. “The type of people who buy Ferraris and Porsches tend to be our kind of clients, so there’s a great synergy,” he says. Mark Panther, owner of Brougham Interiors (a long-time North Vancouver inhabitant until the spring of 2011), notes that while the District hasn’t yet evolved to the point where it could be called a one-stop shop, “a lot of crossover business is indeed occurring — which is spurred along by the fact that we’ve all gotten to know each other and generate a very amiable and helpful atmosphere.” 20

DESIGN QUARTERLY | Winter 2012

McNamara and his business partner Rien Sharma travel to various countries every year to source products as well as to seek out neighbourhoods where designers conglomerate, and based on these excursions McNamara calls The Armoury District “Vancouver’s answer to Soho, or perhaps the Shoreditch area in London — albeit in the early stages. It’s not a stretch to foresee that in two to three years the Armoury will have three times the number of design orientated retailers along with some very cool eateries. With such a close proximity to downtown and the East/ West sides, the potential is enormous.”

McNamara can think of only two things the city could do to help along the District’s evolution. “It needs to support us by putting up street flags, like the Gastown or Yaletown banners, to provide a clear visual geographic identity,” he says. “Also, zoning improvements could potentially allow for the development of more retail store fronts.”

✩✩✩✩✩ When all is said and done, The Armoury District is a stark example of how a retail and design neighbourhood is created. “Sure, there will come a time when the cost of doing business here will be significantly higher than it is now, but our centrality will remain — and hopefully so too will our energy,” says Bonetti. Every three years when her lease is up for renewal, Herberts makes a point of checking other potential locations in Metro Vancouver for her flooring business. “But not once have I come close to finding a better spot, and I doubt I ever will,” she says. To which Panther says by way of conclusion, “I can’t imagine moving anywhere else in Vancouver because there simply isn’t a better location for upscale retail companies and designers. The Armoury District is the last area where people like us can conduct business.” DQ

::::::: feature project :::::::

redefining

library By Cheryl Mah Photos Nic Lehoux, courtesy of Bing Thom Architects

he new Surrey City Centre Library is not only a striking architectural landmark but more importantly serves as a civic anchor for the cityâ&#x20AC;&#x2122;s changing downtown core. Substantially completed in March 2011 by Stuart Olson Dominion, the library is the centrepiece of a major civic initiative that will transform downtown Surrey. The new civic precinct will eventually include a new city hall, large urban plaza, performing arts centre and additional commercial space.

Winter 2012 | DESIGN QUARTERLY

f_DQ

CREATING Energy-EfficienT BUILDINGS Has Never Been So Easy (Or SO Cost-EFFECTIVE)

WHAT GOES UP MUST BRING COSTS DOWN No matter how high a building reaches, it’s the bottom line that’s most important. And with BC Hydro’s New Construction Program, developers can save even more money through energy-efficient buildings. Proven to be happier, healthier places to work and live, energy-efficient buildings also enjoy enhanced marketability, higher asset value, and lower turnover. And we’ll be there from the start, helping with building design, system design and lighting design. We’ve streamlined the application process and increased funding to help with initial cost barriers. So not only will your next project be energy efficient, but economically efficient as well. If you’re in the planning stages of a new project, we’d like to tell you more about how we can help get you started on an energy-efficient building. For more information, call 604 522 4713 in the Lower Mainland, 1 866 522 4713 elsewhere in BC, or visit bchydro.com/construction.

BC Hydro’s Luis Damy wants to make one point very clear: “We are not here to tell architects, designers, engineers how to design a building. The New Construction Program is not about taking over their jobs. They know what they’re doing.” Instead, he says, “our purpose is simply to enable them to go beyond building code, to give their clients the best design possible.” But going beyond building code to increase energy savings can be difficult. Clients may want to be energy efficient, but worry about incremental costs and wonder whether sexy new innovations — such as fastacting radiant heating and cooling or variable refrigerant flow systems — will really pay for themselves over the long term. “What they need is proof,” says Damy, “which is why we fund up to 100 per cent of an energy modeling study for larger buildings early in the design process.” BC Hydro’s New Construction Program offers three options for commercial, institutional and multi-unit residential new developments or major building retrofits of all sizes. For larger projects with the potential for at least 50,000 kWh in electricity savings, the Whole Building Design option will fund 50 per cent of an energy modeling study done by an approved consultant (which may cost anywhere from $5,000 to $40,000, depending on the size and complexity of the building), and will provide the remaining 50 per cent if the building includes at least half of the energy-saving measures identified in the study. An important bonus: those same energy-saving measures may also be eligible for significant capital incentives. The better the electricity savings achieved compared to conventional building design, the higher the incentive BC Hydro will provide. “This gives building designers many more options to choose from,” says Damy. “Measures they may have avoided because of cost, they can now consider. And that means they can give their clients an even better building, at close to the same cost as a less energy-efficient one, with the added benefit of long-term operational savings from lower energy bills.” Engineer and energy modeler Chris Flood of Vancouver’s Cobalt Engineering is a big fan of the New Construction Program. “Energy modeling allows us to investigate various design types and different configurations of a building envelope,” he says. “With building design becoming more complex all the time, modeling lets us explore ideas and actually see which ones will work and which we should eliminate. It’s essentially value engineering at the very start of a project, rather than at the end. And with BC Hydro footing the bill for the study, and providing good money for installing efficient equipment, there’s no reason for our clients not to want this.” The other New Construction Program options are System Design and Energy-Efficient Lighting Design. The first is, like Whole Building Design, intended for larger projects that offer the potential for at least 50,000 kWh in electricity savings, but that are further along in the design process. It provides incentives for design teams specifically to investigate and install energy-efficient building systems. The second provides financial incentives and tools to help lighting designers create and install energy-efficient lighting systems that exceed building code by 10 per cent or more. Says Cobalt Engineering’s Chris Flood, “BC Hydro has a very experienced team of technical engineers on staff. They know what they need and how to direct us so we go through the process very easily. They help the design team move forward. Their whole purpose is to promote and drive energy-efficient designs, and they’re really good at it. It’s a great service.” To find out more about BC Hydro’s New Construction Program, visit bchydro.com/construction or call 1.866.522.4713.

08 Aug 2011

1724

100%

APProveD by

Dave Mackintosh Director, Capital Projects, Vancouver Coastal Health

BUIldING SAfE PATIENT cARE ANd ENERGy EffIcIENcy AT ST. MARy’S BEING POWER SMART MAKES BUSINESS SENSE When the expanded St. Mary’s Hospital in Sechelt opens in June 2012, it will be a showcase of the latest in safe patient care, where every patient will have his or her own room and bathroom, there will be separate sinks for staff, and everyone will benefit from maximum natural light and fresh air. “St. Mary’s will be a model for how best to control diseases that can be transmitted from patient to patient,” says Dave Mackintosh, Director of Capital Projects for Vancouver Coastal Health. “At the same time, though, we wanted to make sure this expansion was energy efficient, because the more we can reduce our operating costs, the more we can put back into health care.” By working with BC Hydro’s New Construction Program to computer-model the expansion, Dave and the project architect, Peter Busby of Busby Perkins + Will, were able to see exactly which energy-efficiency measures will save them the most. “The energy modeling showed that we could reduce energy consumption by more than 360,000 kilowatt hours a year,” says Peter. “An added benefit: St. Mary’s will also be eligible for BC Hydro incentives to help with the cost of creating a high-performance building.” Are you looking for new ways to build better? Visit bchydro.com/business or call 1 866 522 4713.

A10-504

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Designed by Bing Thom Architects (BTA), the $30 million project redefines a long standing public institution into a social gathering place with innovative spaces dedicated more to people than books. “We call it an extension to your home — it’s part of your living room,” describes noted architect Bing Thom. “The library is not so much a place just to store books, it’s a place you go for information.” The firm has earned a reputation for its inspired spaces and forms as well as the inspirational role their buildings play in the communities. The library is no exception. From its dynamic exterior to its fluid interior, Thom’s interpretation of a modern library breaks away from the traditional in many ways. “It’s calling into question whether our libraries are still important public spaces. And I think now they’re probably the most important public spaces,” reflects Thom. “Libraries are to me the new cathedral — it’s where people really feel the city is providing services for them. Libraries are an intense and personal space and yet it can be social. There’s something magical about libraries.” Part of that “magical” experience is created by a design that focuses on bringing lots of natural and soft light into the building. Part inner sanctum, part neighbourhood gathering space, this is a library for the 21st century. 24

DESIGN QUARTERLY | Winter 2012

Evoking a nautical theme on the outside, the 80,000 square foot concrete and steel structure exemplifies contemporary design. The form of the building was determined by the site’s triangular shape and inspired by the curve of the adjacent University Boulevard, says Thom. “That’s why one face of the building is curved and leaning a little bit to give it a dynamic look.”

From its dynamic exterior to its fluid interior, Thom’s interpretation of a modern library breaks away from the traditional in many ways. This library builds on the earlier success of Central City, also designed by BTA, which was completed in 2004. Thom notes the library complements the Central City tower (located just down the street) because the Central City tower is a building twisting vertically while the library is twisting horizontally so they “talk to each other.” Large floor-to-ceiling windows were placed on the north and east side to overlook a future public plaza as well as to reduce heat gain. The other two sides have less windows

but incorporate skylights at the edges to allow light “to wash the inside of the exterior wall, effectively allowing natural light in spaces far from windows,” explains Thom. Natural light, natural ventilation and natural materials (Thom’s mantra for sustainability) are all evident in the library’s design, with natural light being the most prominent. In addition to the large windows, an oval skylight (oculus) in the middle of the building allows streaks of light to move through the space like a sundial. “I feel lighting is very important for a library,” he says. “We have large windows and we put in what I call an oculus in the middle of the roof to bring light in. Essentially we’ve created a light box inside, if you like. The light is very unexpected. It’s almost like a church — quiet soft light and very comforting.” A grand central atrium connects the four floors of the library, providing clear sight lines that allow visitors to quickly and easily orient themselves. Each floor turns in a grand spiral up to the next, creating a unique circulation. The result is a series of large interconnected “high” spaces with an abundance of natural light and “low” more intimate spaces for book stacks and individual activities like writing and studying. Thom describes the floors as interlocking L’s as visitors travel up, which was their way

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of taking a different approach to the layout for the library. “We ended up with tall spaces for reading and short spaces for stacks so there’s a rhythm of open, close, open, close as you go through the building, which in a way adds to its unusual sense of building for a library — they’re not usually like that,” says Thom, adding the spirals of the ascending floors also create a perfect amphitheatre for recitals and performances. The predominantly white interior keeps the space bright and reflects light. “The interior of the building is actually very simple — everything is white,” acknowledges Thom. “We brought in lots of natural materials, lots of wood so that there’s a tactility to the spaces where you’re sitting down or working and yet it’s a neutral space.” Designed to LEED Silver standards, the project includes a number of sustainable features including a green roof. The facility is equipped with the latest in technology, including more than 80 public computers and access to wireless service. It also features an in-house coffee shop. “Usually libraries have coffees shops out on the edge or outside,” notes Thom. “I wanted to bring the coffee shop inside the building so it becomes a social area. People love it and credit to the librarians for saying why not?

It’s become very successful and adds to the user friendliness of the building.” Built under the federal and provincial stimulus programs, the biggest challenge was the tight time frame. From the day the firm was awarded the job to substantial completion was 16 months. The library officially opened to the public on September 24, 2011. “It was a healthy experience for our firm. It got us to be disciplined as to what do we want out of this building and do it fast and don’t get caught up in all the other details,” says Thom. To meet the tight deadline for completion, the firm turned to social media (blogs, flickr, facebook) to engage the diverse and young community in the design process. The collaboration is reflected in the end result with the library featuring a fireplace, study rooms, large children’s area, teen lounge, community meeting rooms and more. The firm paid particular attention to the furniture with much of the seating design based on workshops held with high school students. “We brought in Play Doh and asked them to make furniture with them. Some made cocoon like chairs, some made hammocks,” tells Thom. As a result, sitting areas include lounge furniture, boulder-like chairs and bean bag style chairs.

The library has also been designed with future expansion in mind. The city’s population was predicted to outgrow the original proposed space in about five years. As a result, BTA encouraged the city to build in the excess space now, which is currently being leased by SFU for its continuing education programs. “It was built under difficult conditions — tight time frame and tough budget — but we got there and it’s a building everyone is proud of,” sums up Thom. DQ Winter 2012 | DESIGN QUARTERLY

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LED makes sense

ED lighting has certainly come a long way in the last few years. Most people have realized this with the surge of LED Ultra thin TV’s at over the top reasonable price points flooding the marketplace. For designers and architects it has changed the way we light up our client’s spaces. LED lighting is made up of electronic components that produce light without heat or the use of high voltages. This is in fact great news for the average consumer. Until recently the use of LED lighting has been reserved for large commercial spaces with a big bank roll and not the average homeowner. In the last

DESIGN QUARTERLY | Winter 2012

La n ce Ge r b er

By Heather Segreti

few years the technology has surged and the price point has dropped dramatically. The biggest news for 2012 is that LED’s are now being used to produce replacement bulbs for your average MR-16 or halogen pot light. This big news is creating a buzz in the design world — what it means is long lamp life and colour control with the ability to dim the fixture and not have the colour change. As well this application will work wonders for pot lights that are in hard to reach places. The long lamp life means not having to change the bulbs regularly. Incandescent bulbs have a typical lifespan of 1,000 hours, compact fluorescents about 8,000 hours. (One year is 8,760 hours.)

The LED bulbs are more power-efficient than compact fluorescent bulbs and offer life spans of 30,000 – 50,000 or more hours, reduced if operated at a higher temperature than specified. The bulbs maintain output light intensity very well over their life-times. Therefore the bottom line is this lighting technology will change many things moving forward. A few other reasons why switching to LED makes sense:

energy efficient More and more people are looking at ways to reduce their carbon footprint and make their property more energy efficient. Swapping out

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70°

360°

current light bulbs for LED ones is an effective way to do this. LED light bulbs are so energy efficient that, depending on how often you have them on, they’ll actually pay for themselves in just over a year.

instant lighting Unlike other energy efficient light bulbs, an LED bulb will turn on immediately at a flick of a switch at full brightness.

hard to damage LEDs, being solid state components, are difficult to damage with external shock. Fluorescent and incandescent bulbs are easily broken if dropped on the ground.

no toxic mercury LEDs do not use mercury like CFLs — so disposal concerns aren’t the same. There are so many wonderful design opportunities with LED lighting. Other than replacing all incandescent and fluorescent fixtures for the reasons stated above, there are several decorative opportunities to use LED lighting. For example, when designing a coffer or dome in the ceiling, add a crown or cove to hide the light source — then drop in the LED tape. Until recently these coffers and dome coves were lit with affordable smaller halogen bulbs or fluorescent fixtures. The size and placement of the fixture could be a problem but now with the new LED technology you can add a slim LED tape that is the size of a piece of ¼” ribbon that will light up a cove or accent wall. The really nice thing about the LED lighting is

Multi layered drywall detail with channel for LED lighting. The LED lighting easily curves to follow lines of the drywall detail.

that there are no breaks or shadows where one light finishes and the other light starts — the LED strip is continuous. LED lighting is also being used in bathroom tubs for a chromatherapy experience and in shower heads with multi-colour options. Speaking of colour, this is one of the most important factors when specifying your LED product. It is important to install the colour temperature that works best and matches the existing fixtures or creates the look you are trying to achieve. You certainly do not want the cool blue light that would remind you of an 80s disco coming from your standard pot light. LED colour temperatures vary. 3500 Kelvin is a good choice but also keep in mind the colour of the surface that will be surrounding your light source. This will impact the final colour output. For example if the ceiling is painted warm white, a warm white LED will appear more yellow than if the ceiling was painted white. A finally big tip is always try a test strip first if using LED tape or test a bulb to be sure you have the correct colour to complete your project. DQ Heather Segreti, NCIDQ Certified, ARIDO, IDC, is principal and founder of Toronto based Segreti Design, specializing in commercial and residential design. www.segretidesign.com

L144

Adjustable LED Downlight Featuring Ø4-7/8” recessed trim, 70° vertical tilt, and 360° rotation.

www.mplighting.com

1 877 708 1184

Winter 2012 | DESIGN QUARTERLY

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lighten up By Marilyn Sanford

or years lighting controls were considered discretionary, nice to haves, except for large and higher end spaces. Systems were justified based on their ability to reduce wall clutter, achieve stunning scenes, provide greater convenience and accommodate automation by including pumps, motors, or relays to more easily integrate controls. They have been, and continue to be, a design friendly tool that puts ‘light’ into the hands of the visionaries and eliminates unsightly wall clutter.

DESIGN QUARTERLY | Winter 2012

Those who have chosen to install lighting control, rave about the elegance of softer transitions from one state or scene to another, flexibility and convenience. Some boast additional safety features, with easy all on scenes and well lit pathways. Today, however, with the current focus on energy management and connectivity, lighting control systems are fast becoming mainstream, opening up tremendous utility to even the most modest environments. Higher end systems offer stunning options for wall controls including discrete touch controls as can be seen by Lutron’s

Creative, low profile devices, such as Lutron’s dynamic keypad combine functionality, adaptability and aesthetic.

most recent addition, the dynamic keypad. They continue to offer greater convenience, elegance and seamless integration, albeit at a premium price. Some of these top rated systems have started to offer enhanced connectivity to other systems such as HVAC and audio systems for more simplified automation, creating a competitive, innovative offering, especially as the market grows.

::::::: lighting ::::::: The marketplace is leaving behind rotary dimmers and embracing both wired and wireless systems that provide lived-in looks, save energy and offer great convenience.This is particularly evident in the retrofit market as wireless options grow and gain acceptance. The time has never been better for designers to make a place for lighting control. There are many options with broad price ranges so concern for budget is no longer the barrier. Although concerns over potential health risks persist, we are bombarded with wireless technologies in almost every facet of our lives, so most consumers are able to see this as a much bigger question, one that goes well beyond the pros and cons of a wired vs wireless lighting system. Current wireless control systems range from the older power line and RF technologies that have been with us for more than 30 years to the more recent mesh technologies that have made wireless lighting far more robust and pervasive. Going even further, this year’s Consumer Electronics Show included smart home systems where every light bulb (and home device for that matter), has imbedded IP addressable intelligence, making control almost ubiquitous. Trends point to more connectivity not less. Systems are now flooding the market, geared towards the retrofit environment. Applica-

Recent experiences with LED lighting provide insights into the challenges that may be ahead when embracing new innovations… tions are available for PDAs (IPhones) and Tablets (IPads) that provide easy access to control lighting. This has great implications for designers, who may have seen lighting control as inaccessible to most clients due to cost and perceived complexity. Everything depends on light. Colour, texture and innovative spacial elements present differently under varying light characteristics. Artistic use of lighting scenes literally shifts a space and its intended use. Taking the time to explore controls as an added design service can provide significant added value, not to mention powerful enhancements to the design. By owning the light, designers own their designs. Recent experiences with LED lighting provide insights into the challenges that may be ahead when embracing new innovations in lighting technology. Notably a lack of clear standards and dependence on

manufacture specifications have resulted in frustrations. Without a clear reference point in the form of understood standards, results can be mixed. Many designers have experienced unpredictable variations in light intensity and colour temperature. If nothing else it underpins the importance of partnering with experts who can help cut through the clutter and confusion. This holds true for lighting control especially with more options entering the marketplace, many making promises that stretch system capabilities. Electronic professionals understand the power of lighting control and can advise on the many systems that are now available. CEDIA (Custom Electronic Design and Installation Association) is an association of like firms committed to excellence in their profession. If you don’t currently have a competent electronic partner, check out the CEDIA website at www.cedia.org. DQ Marilyn Sanford has been active in the custom electronics industry for over 20 years. She is a CEDIA Fellow and founded CEDIA Canada. She currently owns and operates La Scala and Connected Spaces in Vancouver, both firms offer custom solutions for connected living. Contact her at Marilyn@pacifitech.ca.

Simple yet elegant keypads are adapting for multi-purpose control, keeping wall clutter down and functionality up.

Versatility and Style

Designer Screen Shades offer the most in design with beautiful styling and detail. Choose from a myriad of colours and textures to suit your décor. Call or stop by today to learn more about versatile, stylish Designer Screen Shades.

Winter 2012 | DESIGN QUARTERLY

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energy efficiency lighting By Dr. Alexander Rosemann can be obtained from the regulators’ internet pages. The Federal regulations can be found at http://oee.nrcan.gc.ca/regulations/11239.

options

he intent of lighting design is to meet the requirements of illuminating a space appropriately. The required characteristics depend on many different aspects consisting of but not limited to: enabling the visual task to be performed in that space by adequately meeting technical characteristics such as illuminance levels, glare ratings and colour rendering properties, but also customer expectations, overall project costs as well as costs for operation and maintenance. The latter can be optimized by selecting energyefficient lighting solutions.

how to obtain energy efficiency The energy consumption depends on the consumed power as well as the operational time during which the power is consumed. Optimizing a design for energy efficiency means to reduce the connected load as well as reducing the operational time. The key performance indicator for energy efficiency of light sources is the luminous efficacy, measured in lumen per Watt (lm/W). This measure informs about how much light output (in lm) one can expect per unit electrical power (in W). The overall reduction of connected load can be achieved by providing sufficient illumination where it is needed, e.g. on a task plane or on walls to achieve a good contrast ratio. The lighting power density, measured 30

DESIGN QUARTERLY | Winter 2012

in W/m2, gives a good indication for the average connected load in a space. The overall operating time of lighting can be optimized by providing sufficient illumination when it is needed. Implementing good control strategies will reduce the time during which the lighting system consumes power. The main aspects of lighting control include occupancy-dependent, daylight dependent and individually controlled lighting. The challenge for the lighting designer is to optimize all these aspects while still meeting the other requirements for the lighting system.

Let’s focus on the General Service Lamp (GSL) regulations in Canada which mainly addresses the common household screw in lamp (A-shape) types. The Province of British Columbia has already enacted their first phase of the GSL regulation in January 2011. Lamps traditionally served by 75W and 100W incandescent lamps are impacted by this first phase. The second phase will cover lamps traditionally served by 40W and 60W incandescent lamps. The federal government has just recently announced that the first phase of their regulation will be effective on January 1st 2014 followed by the second phase on December 31st 2014 (this is a two year delay of the initially passed regulation). A common misunderstanding is that these regulations require the use of Compact Fluorescent Lamps (CFLs). This is not correct. The regulation does not specify use or force anyone to buy a specific technology. There are choices in the market. Instead of inefficient incandescent lamps, there are three main lamp types that meet the minimum efficiency levels (in order of increasing energy-efficiency): • Halogen lamps • CFLs • LEDs

regulations

In the only jurisdiction where the GSL regulation is effective already, all of these lamp types are readily available to consumers through the typical distribution channels. Utility incentive programs have seen much interest in LED products. Most recently during BC Hydro’s Power Smart Month Retailer Campaign in October 2011 participating retailers saw a significant jump in Energy Star LED lamp sales. It is important to check that the light output of a replacement lamp matches the one from the inefficient lamp to ensure that the replacement lamp is suitable for the application. DQ

In Canada there are federal and provincial product regulations that aim at increasing the energy efficiency. Lighting products that are already or may in the near future be impacted by such regulations include Fluorescent Lamp Ballasts, Torchieres, Exit Signs, Traffic Signals and Pedestrian Lighting, Ceiling Fans, General Service Lamps, General Service Reflector Lamps and General Service Fluorescent Lamps. The details on the specific regulations

Dr. Alexander Rosemann, P.Eng., LC, CEM received his PhD from the Technical University of Berlin (TUB) for his thesis on daylighting utilization with lightpipes. He is a specialist engineer for Codes & Standards with BC Hydro. His fields of expertise include electrical lighting, daylighting, control strategies, photometry and colourimetry. For more information, www.bchydro.com/powersmart.

In Canada there are federal and provincial product regulations that aim at increasing the energy efficiency.

BUILDEX is about designing, building and managing real estate

FEBRUARY 8 & 9, 2012

VA N C O U V E R C O N V E N T I O N C E N T R E W E S T

www.buildexvancouver.com

PHOTO: FREDERICK LIN

Our Biggest Show Yet! BUILDEX Vancouver is excited to welcome over 13,000 industry professionals to the Vancouver Convention Centre West on February 8 & 9. This year’s seminar line-up has something for everyone. Annual seminar highlights include the Interior Design Keynote Panel, an Architectural Keynote Panel, a Real Estate Outlook for the Vancouver Market plus a Conversation on the Construction Market with the VRCA. Also returning for 2012 is the IIDA/IDC Leaders Breakfast with keynote speaker, Pixar Art Director Jay Shuster and 2012 Leadership Award of Excellence honouree Larry Beasley. Other special events taking place during BUILDEX include the BOMA BC luncheon and the ICBA’s invite-only CEO Breakfast. New for 2012 are partnerships with the NKBA and CHBA BC, these two associations have seminar streams throughout the 2 days of BUILDEX, keep your eye out for them in the planning guide and online. There are over 60 seminars available and we encourage you to visit www.buildexvancouver.com for full details and to register. As always BUILDEX Vancouver presents the largest tradeshow ﬂoor of its kind in western Canada with over 600 exhibits to explore from across the industry. Tradeshow ﬂoor access is FREE if you pre-register prior to the January 25 Early Bird Deadline. Finally we would like to extend a thank you to our exhibitors, sponsors, industry partners, speakers and everyone else that helps make this event possible. We look forward to seeing you on February 8 & 9!

Visit the tradeshow ﬂoor where you will ﬁnd over 600 exhibits.

Multiple Industries: One Show BUILDEX Vancouver encompasses multiple industries including: 3 INTERIOR DESIGN / ARCHITECTURE

3 PROPERTY MANAGEMENT

3 RENOVATION

3 REAL ESTATE DEVELOPMENT

3 CONSTRUCTION

3 FACILITIES / OPERATIONS MANAGEMENT

PLATINUM SPONSOR

ClubONE PRESENTED BY

INDUSTRY PARTNER SPONSOR

MEDIA SPONSORS

SPECIAL FEATURE | 2012 BUILDEX Vancouver Show Preview

Seminar Highlights W01 – Interior Design Keynote Panel — Juggling Act: How To Be The Boss, And Still Be Creative SUPPORTED BY

Wednesday, Feb. 8 • 8:00am – 10:00am Hear from the principals of four independent deMEDIA SPONSOR sign firms as they discuss why they chose to go it alone. Learn how they have found a balance in developing a successful business, while still maintaining a strong sense of creativity. Discover what they have learned, and where they find inspiration. Moderated by Anicka Quin, Editor-in-chief, Western Living magazine, participants will leave feeling inspired and motivated to take the necessary risks in developing their own business and finding inspiration from unlikely sources.

resources of their professional and personal lives regardless of economic conditions. Through interactive lecture, small group discussion, worksheets, real-life stories and games, designers will: • Explore the direct correlation between sustainable design concepts, creativity and work/life balance. • Identify & reclaim core values. • Test intuition as an eﬀective decision-making tool. • Develop a personal benchmark for “success.” • Create an action plan based on vision & intention rather than just “goals.” • Learn a new approach to a “to-do” list. • Gain inspiration & motivation to reinvent career path & quality of life. Attendees will learn that “sustainable design” is not just a trend in the built environment, but a lifestyle that can maximize their creative talents and personal fulﬁllment through a renewable and inspired process. Presenter: Liesbet Trappenburg, National Speaker, Windmill Worldwide

Anicka Quin

Michelle Biggar

Sherry Bilenduke

Registration in this seminar includes an online, anonymous survey of attendees’ work/life balance challenges. This seminar is customized based on responses. This survey link will be emailed to you after your registration into this session.

Sharon Martens

Moderator: Anicka Quin, Editor-in-chief, Western Living magazine Panelists: Michelle Biggar, Principal, McFarlane|Green|Biggar Architecture + Design Sherry Bilenduke, Principal, KBH Interior Design Inc. Sharon Martens, Principal, MartensGROUP Licensed Interior Design Studio Ltd. Alda Pereira, Principal, Alda Pereira Design

W15 – Colour: The Ever-Evolving Future Trends

T08 – A New Design Approach: The “Live-in” Kitchen

SPONSORED BY

Wednesday, Feb. 8 • 10:30am – 12:30pm As colour is such a critical aspect of design, this session will include the most notable future colour trends that will impact all colour and design decisions, providing the incentive to “re-focus’ your thinking on the new forecasts. The origins and drivers of the trends will also be discussed, followed by a question and answer session.

Leatrice Eiseman Presenter: Leatrice Eiseman, Executive Director, Pantone Color Institute and the Eiseman Center for Color Information and Training (www.colorexpert.com & Eisemancolorblog.com)

W24 – Designing for Diversity Wednesday, Feb. 8 • 1:00pm – 2:30pm Many countries throughout the world serve as the crossroads of culture, religion, and values that can sometimes serve as a source of misunderstanding and conflict. Understanding core aspects that influence how a person perceives and then be- Dr. Dak Kopec haves within select environments is essential if diversity is to be celebrated. Defining diversity can sometimes be difficult because it includes cultural traits, ethnic characteristics, sexual orientation, religious affiliation, and varying physical and mental abilities. In this presentation participants will be able to conceptualize the full breadth of diversity and then develop appropriate designs for diverse populations within public spaces. Presenter: Dr. Dak Kopec, Award Wining Author and Associate Professor at Newschool of Architecture and Design

T07 – You Are Not Your Job! How To Create Sustainable Work/Life Balance Thursday, Feb. 9 • 10:00am – 12:00pm Peoples’ most important “product” is their creativity. Clients and employers expect innovative and creative solutions to their complex design problems and depend upon their workers to Liesbet Trappenburg deliver results. It’s critical, therefore, that people cultivate inspiration and replenish it with a healthy work/life balance based on core values, conﬁdent decision-making skills, and a visionary outlook. Without it, business people quickly burn out and produce mediocre results. Attendees will learn unconventional tools and strategies to help them be good stewards of their time, energy, and creativity…the 3 most important

Thursday, Feb. 9 • 10:00am – 12:00pm Ellen Cheever, CMKBD, ASID, CAPS will discuss a new kitchen lay-out strategy aimed at better integrating family activities and the primary storage/preparation/cooking work centers in one large living space. This new approach revolves around Ellen Cheever changing where these traditional work centers are placed within an expanded roomscape still labeled as a “kitchen”. Over the last 30 years, walls have come down, and kitchens have been placed alongside family gathering and activity centers. Today, professional space planners are moving the kitchen “out of the corner” in these great room settings, and placing it in the center of an overall living area. This “ﬂoating” approach to locating the primary work spaces of a residential kitchen will be the focus of the program. New space planning priorities, as well as suggestions for equipment placement and surface selection criteria will be part of the discussion. Presenter: Ellen Cheever, CMKBD, ASID, CAPS, Ellen Cheever & Associates

T12 – Beyond the Face: Cabinetry Doors, Panels, & Millwork: Materials, Manufacturing & Execution in Interior Design Thursday, Feb. 9 • 10:30am – 12:00pm This presentation is an exploration of the aesthetic, functional, logistical, ecological, and economical considerations in cabinet door and millwork selection. This presentation will overview the materials and equipment that are used in laminate, painted, and wood door and component construction and ﬁnishing. This will give designers a greater appreciation of the manufacturing Laurelle Tully process and will inspire thoughtful, careful choices in their design decisions. Furthermore, the presentation will confront designers with a general dialogue regarding their responsibilities to the end user, developer / client, and the integrity of the design process. This will be followed up with some examples of projects that have adhered to best practice policies without compromising the intended design vision. Presenter: Laurelle Tully, Senior Marketing & Sales Representative, Pentco Industries Inc.

Second Annual IDC/IIDA Vancouver Leaders Breakfast Thursday, February 9, 2012 Breakfast and Keynote: 7:30am – 10:00am

Join us and be inspired by our keynote speaker, Pixar Art Director Jay Shuster. Honouree Larry Beasley, Distinguished Practice Professor of Planning at the University of British Columbia, will receive the 2012 Leadership Award of Excellence, which recognizes his outstanding contributions to the profession of interior design. For more information, visit the “Special Events” page on www.buildexvancouver.com.

Jay Shuster

Larry Beasley

SPECIAL FEATURE | 2012 BUILDEX Vancouver Show Preview

FEBRUARY 8 & 9, 2012 VANCOUVER CONVENTION CENTRE WEST

Exhibitor List

(Current to January 4, 2012)

21st Century Roofers Ltd.

BC Construction Association

Centura Floor & Wall

Danver

2nd Century Rug Co.

BC Construction Safety Alliance

CERACLAD

Daro Flooring Construction Inc.

A Squared Construction

BC Safety Authority

CertainTeed Siding Products Group

Dasal Industries Ltd.

A.K. Draft Seal Ltd.

BC Wood Specialities Group

CertainTeed Gypsum & Insulation

Delco Fireplaces

Abbotsford Concrete Products

Bell Mobility

CGC Inc.

Design Lighting

Abell Pest Control Inc.

Benjamin Moore & Co. Limited

CGS GripStrip Products

Design Quarterly Magazine

Abet Corporation

Best Choice Built-In Vacuums

City Elevator Ltd.

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Adfast Advanced Building Products, Inc. Advanced Geothermal Systems Affiliated Roofers Ltd. Affinity Building Systems Inc. (Quiktherm) Air Quality Engineering Inc. Albrite Lighting Ltd. All Weather Windows Ltd. Allied Windows American Express Ames Tile & Stone Ltd. Ampco Grafix Andersen Windows Apex Granite & Tile Inc.

Blue Grouse Wine Cellars BMS Plumbing & Mechanical Systems Ltd. BOMA BC Bosch & Siemens Home Appliances Group Bramalea Elevator Ltd. Broco Glass Group Brodi Specialty Products Ltd. Building Technologies C.R Laurence Co., Inc C/S Construction Specialties Company C3 Integrated Solutions Canadian Aqualine Sales Inc. Canadian Construction Institute Inc.

ASSA ABLOY Canada

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Canadian Institute of Quantity Surveyors

Atlas Anchor Systems (BC) Ltd. Award Magazine

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MAPEI INC.

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Rocky Mountain Stoneworks

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IDIBC – Interior Designers Institute of British Columbia

MVCC Video Communications Corp.

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University Sprinklers Upper Canada Forest Products Ltd. Valley Countertops Industries Vancouver Regional Construction Association VaproShield Vicwest Corp. Viessmann Manufacturing Co. Ltd. Viewpoint Construction Software Vinci Park VingCard Elsafe Vinyltek Windows Wall2wall Media Waste Management WBI Home Warranty West Coast Windows Westcoast Outbuildings Inc. Westeck Windows Mfg Inc. Western Elevator Ltd.

Nana Wall Systems

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Xibita

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Nissan Canada

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Interior Designers of Canada

NKBA

Solaira Heating Systems Inforesight Consumer Products

IREM BC Chapter 50

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Wide Plank Hardwood Ltd. Willis Supply Wine Cellar Depot Wishbone Site Furnishings Woodtone

YouRHere Inc.

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Kate Holland Landscape Accessories Ltd. A complete variety of commercial and residential garden accessories as well as site furnishings for the design professional. 1 (877) 531-8574 www.khla.com

Frances Andrew Site Furnishings Ltd. Offering a huge selection of commercial site furnishings including benches, trash receptacles, bike racks, tables bollards and more! 1 (800) 565-6579 www.francesandrew.com

::::::: fireplaces :::::::

moving to modern The Evolution of the Gas Fireplace By Khai Foo Concrete Tiles in Charcoal and Nougat extend the horizontal proportions of a 6-foot Spark Fireplace.

he words “modern” and “gas fireplace” have not always been easy to put together. The earliest gas fireplace designs, intended to recreate the ambiance of a woodburning fireplace, (but without the smoke and mess), focused on mimicry: ceramic logs replaced the wood, mineral wool simulated hot embers, and brick panels replicated the look of a real masonry firebox. Though in many instances the illusion was quite effective, the style of these units, with their decorative grilles and distressed fauxbrick, presented a challenge to anyone trying to pull together a modern interior. Only in the last decade has the multi-million dollar fireplace industry turned its attention toward designing gas fireplaces that fit seamlessly into contemporary homes. Driven by consumer demand for more aesthetic options, a few pioneering companies took a fresh and decidedly modern approach to fireplace design. The result has been something of a revolution in the fireplace industry, and has given designers exciting new tools to create modern fireplace features.

town and country: paring down, firing up One of the first manufacturers to take a significant step toward a modern gas fire was Town and Country Fireplaces of Duncan, B.C. In 2002 they designed the first ‘clean-face’ fireplace — a unit in which the fire is framed in a window of glass, without grilles, louvres or screens. They were not specifically trying to create a modern look, but with their clean lines and impressive flames they succeeded in creating a more effective ‘traditional’ fireplace, one that made the fire the centre of attention, without the distraction of a black metal box. Their technology and approach helped to pave 36

DESIGN QUARTERLY | Winter 2012

the way for truly modern gas fireplaces. The company also went on to develop a selection of contemporary ‘clean-face’ models to complement their traditional offerings.

spark: fire as design medium Other fireplace companies soon followed Town and Country’s lead, adding clean-face models to their existing lines. But it wasn’t until 2005 that a fireplace company made ‘modern’ its raison d’etre. Unlike other manufacturers, Spark Modern Fires began with the idea that a gas fireplace should not try to mimic a wood-burning unit — it is after all, an entirely different fuel, with very different properties. Instead, the company focused on the design of the gas flame itself, creating a three, four, or six foot continuous “Fire Ribbon” that gives their fireplaces a serene, modern aesthetic. The fire is presented simply in a minimalist firebox and complemented with natural stone, sand or broken glass toppings, instead of artificial logs. Spark, which hails from Connecticut and manufactures in both the U.S. and Canada, also took the ‘clean-face’ approach to another level, creating a glass-only look with no visible frame and dramatically long, horizontal proportions. The Spark fireplace, which was conceived for and marketed to design professionals, presented a unique and welcome change in the industry. Its honest approach to its medium (gas) and thoughtful design has allowed designers to create fireplace walls that embrace truly modern design principles.

ecosmart: the emergence of ethanol Around the same time that Town and Country introduced its clean-face gas fireplaces there was a growing interest worldwide in the development of sustainable and renewable fuel

sources. Ethanol, a type of alcohol made from the fermentation of corn, sugar cane, or biomass, emerged as one potential fuel source. The key benefit of using ethanol as a fuel is that it burns exceptionally cleanly, creating only heat, water vapour and carbon dioxide. This means that ethanol fireplaces can be installed without a vent or flue, and can be situated in many locations where it would be impossible to have a gas or wood-burning unit. The Fire Company of Australia was one of the first to embrace ethanol as a fuel for fireplaces. Their EcoSmart ventless fireplaces established the benchmark for ethanol fires with high quality, beautifully finished stainless steel burners that produce bright, mesmerizing flames. The company’s line of ethanol burners includes retrofit grates for wood-burning fireboxes, freestanding designer fireplace surrounds, and outdoor burners that range from the simple to the sculptural. Most notably, their ethanol burners provide designers with an incredible amount of freedom for creating modern fireplaces in unexpected places such as condo retrofits, in millwork, or under counters. As the newest of the fire mediums, the design potential of ethanol fireplaces has only begun to be explored.

modern fireplace design With the development of clean-faced gas fireplaces, ribbon flames and ventless, open ethanol burners, designers now have the raw materials for modern gas fireplace design. Modern gas fires are not simply appliances, but design elements that can be used to create fire features that tie into and complement their environments, using contemporary proportions. While the image of a crackling wood fire still strikes a romantic note, the reality is that woodburning fireplaces are, at least in urban centres, a thing of the past. The passing of local bylaws to protect air quality, as well as the development of more convenient and efficient alternatives has effected this change. No longer lesser replacements for traditional wood-burners, modern gas fireplaces embrace the differences, treating the fires produced by clean-burning fuels as mediums for expression and freeing designers to create features with contemporary and complementary materials. DQ Khai Foo has been designing concrete fireplace surrounds, feature walls and outdoor fire pits for more than 15 years and is president of Toronto-based Paloform Inc. www.paloform.com

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::::::: fireplaces :::::::

hot styles

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totem Totem by Planika is a perfect complement for an outdoor space. With its contemporary design, the high located flame sheds light like a lighthouse onto the surrounding area. www.planikausa.com

divino The Divino series of stoves combines high-quality materials and finishing with innovative and sustainable technology. It comes in three elegant shapes and three colours. www.cera.de 38

DESIGN QUARTERLY | Winter 2012

::::::: fireplaces :::::::

hearth technology By Evan Smith

for combustion air intake and the other for flue gas removal. Power venting is used to vent a direct vent fireplace that needs be installed in a place where the vent run to the exterior of the building is too long or contains too many elbows or horizontal runs. Wood burning hearth products require the use of multi-walled or insulated stainless steel chimney which must vent vertically and achieve clearances above roof lines. Type and diameter of the chimney pipe to be used is determined by the wood appliance manufacturer’s specifications and each type of wood chimney will have its own specific clearance to combustibles. Understanding the dimensions and clearance requirements of wood chimney pipe is crucial during the building design phase when it comes to determining the framing dimensions of chase runs.

fuel

rom the ancient fire-pit to modern hearth products the fireplace has been an enduring fixture in the human home. Countless generations have gathered about the hearth to share warmth with their families, and while the basic concept hasn’t changed much, hearth technology has. Modern fireplaces can be placed into three main categories: zero clearance fireplaces, freestanding stoves and fireplace inserts. As its name suggests, the zero clearance fireplace can be framed-into a building using combustible materials, such as wood. The body of the unit can then be hidden behind a wall, or within a cabinet, as long as the manufacturer’s defined minimum clearances to combustibles are maintained. The free-standing stove stands in the room on its own, and the fireplace insert finds its home retro-fitted inside the old brick and mortar fireplaces typical of homes built before 1990. Each of these types of fireplaces can be further categorized by the fuel it burns: gas, wood and bio-mass fuels, with each of these categories having a specific venting system synonymous to the fuel being used.

venting systems When gas is burned under the proper conditions, the by-products of that combustion are primarily carbon dioxide and water vapor. In

Canada, code states that these by-products must be vented to the outside of the building. There are three venting systems used to achieve this end: natural vent, direct vent and power vent systems. A natural vent fireplace (B vent) gathers its combustion air from the room it is in, uses that air to complete the combustion of the gas, and gravity vents the by-products up a galvanized metal flue and out through the roof. A direct vent fireplace, also known as a balanced-flue system, uses the outer sleeve of a co-axil galvanized vent pipe (pipe within a pipe) to draw its combustion air into a sealed firebox from the exterior of the building, and vents the by-products through the inner sleeve of the vent pipe to the outside. Most direct vent fireplaces can be vented either vertically or horizontally, with their terminations exiting through either the roof or a side wall. With new homes being so well sealed and insulated, the direct vented fireplace is the superior choice as its air supply is always at a pressure equal to the outside of the building it is in rather than the negative pressures found indoors. In reflection of this fact the availability of B vent units in the marketplace has greatly diminished. This move away from B vent is further supported by the surge in demand for direct vent fireplace inserts which use two three-inch aluminum chimney liners down through a masonry chimney; one

One of the most important advancements in hearth technologies is in the area of fuel efficiency. Expressed as a percentile, efficiency is a measurement of the amount of heat produced against a measured amount of fuel used, and many fireplaces and stoves currently on the market can boast excellent efficiency regardless of the fuel they burn. All hearth products sold in Canada are required to be tested to the CSA P4.1 standard and must subsequently display their EnerGuide efficiency rating. Hearth products that have a P4 rating meeting or exceeding the allotted threshold for their category may display the EnerChoice designation. The minimum category thresholds for gas burning units are as follows: free standing stoves 66 per cent; fireplaces 62.4 per cent; inserts 61 per cent. The P4 efficiencies can be found listed on hearth product brochures and labeled (F.E.). When choosing the appropriate efficient fireplace for a given space it is the BTU output number that should be considered rather than the input. Introducing an efficient hearth product to a residential space can create savings through zone heating. Add a little fire to the occupant’s life and increase the value of the home. DQ Evan Smith is a member of the hearth team at National Energy Equipment, a nation-wide distributor of energy related products. He oversees hearth sales for B.C. and the Yukon. Contact him at esmith@nee.ca or www.nee.ca Winter 2012 | DESIGN QUARTERLY

::::::: tile & stone :::::::

tile trends 2012 By David Twanow

rends in tile come and go just like fashions change with the seasons. Homeowners and interior designers alike make the choice to follow the trend, or forge ahead to create their own. Whatever the choice, here are some trends in tile for 2012.

larger tiles In many applications, you’ll see the use of larger tiles: 12" X 24", 8" X 10" and others. Natural stone materials like travertine and marble are widely available and there 40

DESIGN QUARTERLY | Winter 2012

are many ceramic choices coming into the market driving this trend. The 12" X 24" size is especially popular because it’s versatile and easy to install. This size of tile is being used for floors and walls in all sorts of applications from bathroom to sunroom. Depending on how it’s installed 12" X 24" tile creates the illusion of more length in a small space when on the floor and more width when stacked on a wall. With many smaller apartments and condos being designed, the 12" X 24" tile trend is here to stay. In fact, it could be inducted into the “classic” category.

subway tile Although the subway tile has been a design staple for more than a century, it seems to be experiencing a renaissance. The classic 2:1 proportion is being adhered to, but new sizes, materials and colours are creating a new trend. There are new materials like frosted and coloured glass, metal and natural stone being used for the classic 3" X 6" subway tile. Larger sizes are emerging all the way up to 6" X 12". Mixing several sizes of subway tile results in a unique new look, not at all retro. Usually ceramic, these new subway tiles are easy to install and cost effective.

::::::: tile & stone :::::::

Define your style with Hari Stones The back paint process has come a long way with improved quality and more colours… glass tile There are a plethora of glass tile types and manufacturing methods. We see several of them becoming more popular in the year ahead, with back painted glass leading the pack. Back paint is just that, clear or frosted glass tile that has a paint or other agent applied to its back. The back paint process has come a long way with improved quality and more colours, finishes and inlay designs available now than ever before. You’ll see back paint tile in everything from subway to mosaics used for many diverse applications from high-end restaurants to public spaces and the powder rooms of those in-the-know trendies. Another plus that will keep this trend growing is its relatively low cost compared to fired-in coloured glass.

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Not just for backsplashes anymore. Mosaic tiles are a huge trend that just keeps growing. The reasons: more variety, and better price points. Mosaic tile manufacturers have done an excellent job of letting their design teams dream big. Tiles are now including metals, natural stone, glass and resin — sometimes all together. Mosaics can be the “bling” for any space, using cut glass, mirror, and glass crystals. Sizes and shapes have evolved, producing everything from beautiful white marble circles of varying sizes to “mini-subway” tiles measuring 2" X 1". Backsplashes, yes, but these mosaics are now being used for feature walls and entire floors. We’ve even seen them on ceilings. Before you settle for the ordinary, be sure to search out a company that specializes in mosaics — you’ll be amazed at what’s possible. Like all things, tile trends ebb and flow, but today there is more variety of sizes, materials, finishes and colours that allows for unprecedented creativity. Inside, outside, bath, kitchen, wherever — you can find the perfect tile. In the end, it’s your space and your very own trend. DQ David Twanow is the marketing director for GL Stone Tile Ltd. in Richmond B.C. Contact him at 604.921.9748 or visit www glstonetile.com. Email him at glstonetile@ telus.net. Winter 2012 | DESIGN QUARTERLY

::::::: tile & stone :::::::

made in italy by Donny G. Centanni

hen you think fashion, you passionately think “made in Italy” being trend setters and global leaders in stile (style). The Italians produce some of the best tile designs the market has to offer today. Fashion trends from Italy starting with exotic cars to designer clothing and furniture are part of that same fashion that goes with tile and stone concepts for the home and/or commercial space. Large rectangle tiles have seen a growth and an increasing format to look for. It’s the present and future for tile and stone sizes. With New Digital Technology tile fashion has emulsified to levels beyond our expectations creating exciting colours, vast range of surfaces and realistic natural stone reproductions. This technology is essential to capture any look, feel and want that you may have or dream of for a project. Natural stone beauty, feel and touch without compromising our Earth. We can’t forget the timeless look of mosaics. The history of mosaics dates back to the third millennium B.C. They consisted of pieces of coloured stones, shells and ivory. It wasn’t until later that the stone, glass and porcelain mosaics started to become the in thing! Today we see the use of glass and stone combinations growing on larger commercial 42

DESIGN QUARTERLY | Winter 2012

projects and homes creating various patterns and colours. Trend USA creates stunning glass mosaics tiles with real gold and other natural elements. Glass mosaics may be designed as simple or as custom and creative with complex patterns, still keeping the old world hand cut glass feel. One of my favourite series from Trend (www.trendgroup-usa. com) is the Liberty collection that is still hand cut today. Where does one get an idea to create such beauty in floor and wall concepts? An old movie, from art, past and present design and architecture, inspirations of travels around the world — these are all key elements in what we see today and in the future in creating the latest home and commercial designs, focusing to create attractive products with unique style. With the increasing demand for sustainability and the care and love for Mother Nature we are also seeing more porcelain and glass tiles being produced with recycled content to make sure our love for Mother Nature and to preserve our Earth. ABK (www.abk. it) an elite Italian tile producer has a 100 per cent passion and “I love Green” program — their dedication to producing each and every tile that comes off their production line has a recycled element to it.

Moving forward we see trends from the early 80s with a few colours and limited sizes such as passion rose, grays ,famous blues, subtle beiges, sizes ranging 6"x8", 8"x8" and fancy wall borders. There are rapid changes in use and stile (style) — new rectified minimalistic porcelain in formats of 12"x24", 24"x24",18"x36", 24"x48", 4"x48" and slim tiles 3 mm thick and as big as 40" x80". Looking ahead you will also see various stone looks to capture all natural elements with digital technology from a soft and subtle white limestone, cream and walnut honed travertines, polished Italian marbles with hues of grays and golds, exotic rare grains of onyx’s, west coast charcoal and multicolored slate and quartzite looks. These are all options to ensure stone quarries stay untouched and our place call Earth stays intact for years to come. Think green, think Italian, think passion. Love your precious floor you walk on and know that our Earth stays untouched and loved when using unique tiles. DQ Donny Centanni is president of Burnaby based Centanni Tile Inc. Centanni creates partnerships with passionate leading Italian producers to bring MADE IN ITALY tiles to the stunning West Coast of Canada. www. centannitile.com

::::::: tile & stone :::::::

evolution of mosaic By Jennifer Mehalko

Clockwise from far left: Timeworn Carrara; Silk Road Collection: Maharaja, Pembrooke, Seine.

hen looking up the definitive noun of mosaic it is described simply as “art consisting of a design made of small pieces of coloured stone or glass.” For thousands of years this ‘art’ has been reverently carved, sculpted, chipped, shaped and placed by hand in some of the world’s most ancient and beautiful structures. The evolution of mosaic, to the benefit of the design community, has been beautifully maintained and new modern patterns, colour combinations and materials have been shaped together just like that of an intricately woven fabric. They truly are an integral accessory to any well designed space, and the application of material, pattern and hue are multi-faceted. Just as a fabulous fashion accessory is wildly on trend, mosaic tile (although truthfully timeless) stays current in pattern and in line with today’s ever growing ‘green’ trend. On trend patterns in natural materials such as recycled glass, mirror and stone are great options for the style savvy consumer with a passion for sustainability. Straight from the runway to your interior walls is an Ikat collection by designer Sarah Baldwin. Inspired by her travels on the Silk Road and her personal collection

of Ikat textiles, she has integrated this dynamic textured pattern in reflective jewel glass and mirror. Draping this pattern floor to ceiling in any commercial or residential interior setting and allowing it to be the pop of colour and texture, allows an ease of simplicity in all the surrounding finishes. These glittery slivers are great for slightly radiused, vertical applications and best used in large doses. The timeless versatility of mosaic is also prevalent in Giovanni Barbieri’s Timeworn stone — stunning in a classic Bianco Carrara 2x2 — casting an ancient European feel, the material has an antiquated appearance, naturally shaped by time and the elements. The application for such a material is perfect to apply to a floor or wall in nearly any space and its organic irregularities also assist in disguising a perhaps imperfect wall or floor surface. A more modern classic approach achieving true Hollywood glamour can be found in other patterns in Baldwin’s Silk Road Collection — enchanting architectural designs such as Maharaja, Seine or Pembrooke, are available in more than 50 different stone options, but best achieved in classic hues of blacks, greys and whites: Nero Marquina, Carrera, Thassos and Calcatta.

Careful application and installation must be considered with the larger format of these patterns, as they are water jet cut and pieced together like a puzzle. The tape-faced puzzle pieces are numbered and aligned to allow the installer a true visual on the product as they install. Again, these larger format jet cut mosaics are fabulous for floor or wall applications. Pair with crystals, lavish fabrics and glossy finishes for paramount glamour. As these mosaics truly are a work of art, time must be considered in the specification and installation of materials. Always remember that mosaic materials may be recycled or come straight from the earth, so colour variations will be prevalent. Ordering current lot samples and even sending these back to your supplier as a control for the order are wise things to take into account. Also, due to the variance in hue and texture of glass and natural stone, adequate overages should be considered to avoid ordering second runs of the material. Be sure to take into account the bespoke nature of the material, lead times of 6-8 weeks should be allotted for custom production runs. On the other hand, some companies have developed quick ship programs, stocking classics for those dreaming of something fabulous, but finding themselves in a pinch. Consider your mosaic a well worthy investment and also then consider your installer as an integral part of this investment. Providing a template to your mosaic company at time of order and reviewing this with your installer prior will help ensure a perfectly tailored fit. Vigilance must be performed in the installation of your mosaic — proper preparation of the surface, applying adequate substrates and using recommended setting materials are all crucial steps in ensuring an impeccable result. Respecting the well laid plans and instructions from your supplier is always advantageous, allowing you to maintain and preserve your mosaic for years to come. Trade in bland 6x6 ceramic or plain old drywall for something more fabulous and explore the stunning, timeless, infinite variance of mosaic. Who says diamonds are a girls’ best friend?? Jennifer Mehalko is senior designer at Empire Kitchen & Bath, specializing in cabinetry, millwork and tile design. www. empirekitchenandbath.com Winter 2012 | DESIGN QUARTERLY

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creating a learning based environment By Dwayne Smyth tage Secondary School to the south. This allows for expansive views from the courtyard to the south. The proportions of the inner courtyard have been carefully considered to maintain the ideal depth for sun penetration. The overall courtyard dimensions have been influenced by the golden section which informed the carefully considered proportions of this prominent outdoor space.

sustainability

he underlying goal of the new middle school design is to create an environment for learning that captivates the imagination of the students and actively encourages exploration and growth. The space intends to simultaneously stimulate teachers, staff and visitors through their experience within the school. The result is a design that creates a series of carefully considered, light-filled spaces which seamlessly integrate into the natural landscape. The new middle school will be constructed on a 10.1 acre site located in the Village of Anmore to the east of the prominent Bert Flynn Park. The site borders the City of Port Moody and is directly adjacent to the Heritage Secondary School, which is located immediately south of the property. Rather than advancing with a response based on the idea of “teaching”, the design team consciously redirected point of view and formalized a creative response from the standpoint of “learning”. Understanding the manner in which children learn, interpret and discover our world provided the underlying design methodology for the new middle school which focused on education through interaction. This approach was a fundamental means of informing and ultimately formalizing an architectural response which was a direct result of the act of interpretation and discovery. The derivative is a design which innovatively responds to the specific program, the client’s needs, budget constraints and simultaneously addresses the unique challenges of this particular site. As a synthesis, the product is a design concept which places emphasis on student exploration and provides a learning-based environment which has been conceived “through the eyes of the students”. 44

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the building The new school has been organized as a two-level tiered design which arranges the main classroom blocks and library (media centre) program spaces around a central, common elevated courtyard which has been set one story above the gymnasium and exploration level. The lower level and main level of the school are connected by a central hall which acts as the primary circulation space between both levels and as the primary gathering space forming the heart of the school. The location of the main entry on the upper level is predominated by the centrallylocated library which opens up to the north with expansive clerestory glazing to provide diffuse ambient light to fill the reading room. The main entry is characterized by a double-height canopy which opens to the south to allow direct sunlight to penetrate the north-facing lobby space. Upon entering the school, you enter the central hall which provides both visual and physical connection to all parts of the school. The placement of this upper lobby space has been carefully situated to provide visual acuity to all areas of the school. This legible means of way finding allows for tacit surveillance of the school as well as giving visitors a clear understanding of the school in a very direct manner. The position of the central courtyard places it on display, and it becomes the focal point of the upper level. All of the program spaces are organized around the central courtyard space in which the areas of learning visually connect with this explorative garden space. The outside walls of the elevated courtyard have been aligned with the gymnasium walls below to allow for simple and efficient structural loading. The courtyard elevation has been set above the parapet line of the Heri-

One of the primary sustainable initiatives is the implementation of Passive house (Passivhaus) principles which were a driving factor in the derivation of the formal architectural response of the school. A compact building form, high-performance envelope and optimal building orientation were at the forefront of the concept development. The majority of the roof of the upper level will be planted with a variety of sedum which allows the living roof to be on display. The roofscape will provide areas of habitat for local birds and plants species, which have been selected to attract insects and create microenvironments where possible. The project will achieve LEED Gold status. On-site water retention acts as a prominent visible sustainable strategy which employs a series of cascading rain gardens in combination with interconnecting bio-swales and wet meadows. This combination of different storm water retention elements celebrates the conveyance and movement of water, allowing interactive and educational opportunities for students and the public. The green courtyard and its proximity to the classrooms bridge the indoor learning environment to nature. By connecting the classrooms and the courtyard, the design encourages teachers and students to look at the outdoors as a space for learning and exploration. The creation of the aforementioned microclimates will allow the local bird habitat to flourish which reinforces a visually and audible connection to nature. As a core philosophy, there is a belief that sustainability is ultimately achieved through education. DQ Dwayne Smyth, B.Arch, M.Arch, MAIBC, MRAIC, is principal at B + H BuntingCoady. He has worked on a wide range of public and private projects throughout North America in addition to numerous international competitions. He applies his strong design background to translate significant social and cultural ideas into a diverse range of building types.

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a misunderstood profession By Paola Gavilanez

“Oh cool, you’re an interior designer! I love watching decorating shows!” — Well, to be honest those shows don’t really depict what I do. “I guess. My cousin Anne has the most wonderful taste. I should give you her number.” — [silence] “I can never decide on paint colours or where to put furniture. You should come to my house and give me some ideas… You must be so talented!” — Uh, thanks?

any interior designers have had some version of this conversation throughout their careers. When asked what interior designers do, the majority of the public will answer that ‘we have a flair for accessorizing; a good eye for colour and will use our knowledge of fabrics and aesthetics to make a room beautiful’. But this is what decorators do. Decorating is an important part of what some interior designers do, but only a small part. (www.careersininteriordesign.com/faqs) So, interior design is a misunderstood profession. This perception can affect our ability to practice. NCIDQ’s (National Council for Interior Design Qualification) definition of it partially states: “Interior design is a multi-faceted profession in which creative and technical solutions are applied within a structure to achieve a built interior environment. These solutions are functional, enhance the quality of life and culture of the occupants and are aesthetically attractive. […] Designs must adhere to code and regulatory requirements, and encourage the principles of environmental sustainability. […] Interior design includes a scope of services performed by a professional design

practitioner, qualified by means of education, experience and examination, to protect and enhance the health, life safety and welfare of the public.” (www.ncidq.org). How to get the public to better understand the complexity our work? One way is to belong to professional organizations. These allow us to have a united voice, advocate for our right to practice and educate the public. IDC (Interior Designers of Canada) — the national advocacy body and representative for the provincial associations — states: “Our vision is that all companies, organizations, governments and individuals know when it is appropriate to hire an interior design professional for a project.” (www.idcanada. org). Furthermore, IDC is actively working towards the goal of every province to have professional regulation for the public’s protection. This would mean that in order to practice as an interior designer you have to be a registered/professional member of your provincial association. So, what about B.C.? Things are moving in the same direction. IDIBC (www.idibc.org) is our provincial association and regulatory body. Our Title Act regulates the use of the title “Registered Interior Designer” (RID);

and hopefully soon we will have a Practice Act. As part of their commitment to advance the profession and to align with the rest of Canada, IDIBC has announced changes to the minimum education requirements for provisional membership (which in turn will affect professional membership). Currently, interior design diploma graduates from a program that aligns with requirements of route 4 to take the NCIDQ exam qualify for provisional membership. They must then successfully complete the exam within five years of admission to IDIBC. As of January 1st, 2015 graduates will require minimum of a bachelor degree in interior design to qualify for provisional membership. And as of January 1st, 2017 the minimum requirement will be a bachelor degree from a CIDA-accredited program. CIDA (The Council for Interior Design Accreditation) is an international organization that accredits post secondary interior design education programs in the United States and Canada (accredit-id.org). For more information please see: www.idibc.org/images/uploads/Student_FAQs_Dec_2011.pdf. B.C. educational institutions have been working towards providing students with options to fulfill these requirements, should they wish to do so: • The Art Institute Vancouver now has a new Bachelor of Applied Design in Interior Design. •B CIT is preparing a proposal for a Degree in Interior Design. Proposed start date is September 2013. This will allow students to continue on from the Diploma. • VIU offers a Bachelor of Interior Design and will apply for CIDA accreditation this year. • Kwantlen Polytechnic University offers a CIDA-accredited Bachelor of Interior Design. These are exciting times for professional interior designers. Your opinion counts. Have your voice heard by becoming a member of your provincial association. What do YOU think the future of our profession should look like? DQ Paola Gavilanez, RID, IDC, NCIDQ, LEED GA serves on the IDIBC board as VP of Education. She is an instructor at Kwantlen Polytechnic University’s Interior Design program; and does part-time pro-bono design work. She may be contacted at paola.gavilanez@kwantlen.ca Winter 2012 | DESIGN QUARTERLY

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Competition Winners The design concept developed by Saucier + Perrotte / Hughes Condon Marler Architect was selected as the winner of the architecture competition for the new indoor soccer centre at the Saint-Michel Environmental Complex (SMEC) in Montreal, one of the city’s largest parks. The concept was chosen from four finalists. The facility will include one full-size soccer pitch that can be subdivided into smaller surfaces, locker rooms, a fitness and physiotherapy room, and event, restaurant and family rest areas. The total cost of the new soccer centre is $28.3 million. It will target LEED-NC gold. The Ville de Montréal is investing $15.6 million and the governments of Canada and Québec are contributing another $12.7 million through the Building Canada Fund — Québec.

ASHRAE standards

Hanson on IFI

All new construction covered under Part 3 in the City of Vancouver now requires compliance with ASHRAE standards. In line with its 2020 energy targets, the city has recently expanded its building permit documentation requirements. ASHRAE 90.1 — 2007 is an energy standard for buildings referenced by the Building By-Law (Division A — Part 1, Article 1.3.3.7). ASHRAE 90.1 — 2007 allows for compliance path options within specific sections, as well as a trade-off option between all sections. Submission requirements for this new documentation will be phased in starting with a voluntary submission date of January 20, 2012, followed by the mandatory submission requirement deadline beginning March 1, 2012. The city introduced the new ASHRAE 90.1 — 2007 (Energy Standard for Buildings Except Low-Rise Residential Buildings) documentation process on December 1, 2011, and also updated its Development Services web page to include a new checklist file and a tutorial file outlining the new documentation and submission requirements. For more information, http://vancouver.ca/commsvcs/ developmentservices/subreq/index.htm.

IDC past president David Hanson has been elected to the executive board of the International Federation of Interior Architects/ Designers (IFI) for 2011-2013. IFI is the international federating body for Interior Architect/Design organizations, and acts as the global forum for the exchange and development of knowledge and experience, in worldwide education, research and practice. Mr. Hanson is currently director of interior design for Gustavson Wylie Architects, in Vancouver. In his new role as member of the IFI board, Hanson will have the opportunity to make an impact and support the interior design profession on an international level.

CANTU OFFERS WATERMARK Cantu Bathrooms & Hardware Ltd., a leading Vancouver importer of high quality plumbing products and decorative hardware, will begin distributing Watermark Designs’ collection of fine decorative plumbing fixtures and bath accessories. The new alliance with the Brooklyn-based manufacturer, effective Feb. 1, 2012, will support a significant expansion of Watermarks’ luxury bath offerings in Western Canada. 46

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Net-Zero Duplex Stantec and Lafarge North America have partnered to design and construct a NetZero energy duplex for two Habitat for Humanity families in Edmonton. Described as the first-of-its-kind in Canada, the project also aims to achieve LEED Platinum. The unique duplex will showcase precast concrete, which will provide three times the insulation of a typical home. The duplex will feature a geoexchange system and PV rooftop panels for solar electricity. Completion is expected in January 2012.

New Portico Principal Lynn Clarke has been appointed principal at Portico Design Group Ltd, a full service interior design company based in Richmond. She was previously an associate with the firm. Clarke joins founder Tara Wells on the leadership team.

2nd Century Rug Co............................................. IBC Alberta Woodworks .............................................. 41 Ampco Grafix . ......................................................... 4 Banner Carpets ..................................................... 16 BC Hydro ........................................................ 22/23 Blenard ’s Décor.................................................... 38 Bradford Decorative Hardware ............................... 19 Brougham Interiors ................................................ 17 Colin Campbell ........................................................ 9 East India Carpets ................................................. 18 Final Touch Window Coverings . ............................. 10 Frances Andrew/Kate Holland ............................. 35 Hari Stones . .......................................................... 41 Inform . .................................................................... 5 Kohler...................................................................... 7 Livingspace ........................................................... 15 Masonite/Moulding & Millwork . .............................. 11 MP Lighting........................................................... 27 Odyssey Wall Coverings . ....................................OBC Robinson Lighting and Bath Centre .......................IFC Valley Countertops ................................................. 37 Windowworks ........................................................ 29

Streamlining Certification The Canada Green Building Council (CaGBC) is implementing changes to the LEED Canada certification process to streamline certification to less than six months. CaGBC’s goal in implementing these changes is to better serve project owners and deliver certification in a timely fashion, in line with market expectations. In June 2011, the CaGBC established a taskforce to further expedite certification. The taskforce, which included industry stakeholders and subject matter experts, recommended significant changes to the CaGBC’s certification process. These recommendations will be implemented over the coming year and will streamline the certification process to an average of less than six months. These changes include: • Shortening the three stage certification pathway to two stages for LEED Canada NC 1.0 and LEED Canada CS 1.0 projects. Projects that choose this option will follow a certification pathway similar to that used in the 2009 versions of the rating systems, and will benefit from a quicker and cleaner certification process. • Investing in technology infrastructure to improve the administration of certification. CaGBC will more effectively manage the large volume of projects undergoing certification by investing in more sophisticated technology tools. • Introducing a design review process. LEED Canada NC 2009 and LEED Canada CS 2009 projects will have the option of submitting design-stage credits and prerequisites immediately following design. The design review will allow issues to be addressed while the relevant parties are still engaged. It will also provide teams with greater clarity as to the likely outcome of certification, and allow for adjustments to be made before final certification. Delays in certification also stem from the failure of applicant teams to respond to certification reviews in a timely manner.