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$10.00 dec/10 v.55 n.12

2010 awards of excellence


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cOntents

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patkau aRchitects

26 smith caRteR aRchitects and engineeRs/ paRkin aRchitects

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cannon design

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5468796 aRchitectuRe inc.

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atelieR Big city

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BaiRd sampson neueRt aRchitects

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kongats aRchitects

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pRovencheR Roy + associés aRchitectes

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eRic pelletieR aRchitectes

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JeffRey ma, mcgill univeRsity

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aWards Of exceLLence a RefReshing selection of WoRk fRom acRoss noRth ameRica Was chosen By this yeaR’s JuRy, RepResenting an encouRag­ ing diveRsity of Building pRogRam—fRom hospital to foot­ BRidge to film centRe.

caRdinal haRdy | laBonté maRcil | eRic pelle­ tieR aRchitectes, aRchitectes en consoRtium

taRaneh meshkani, univeRsity of toRonto

12 the Winners pRofiles of the 2010 aWaRd Recipients.

50 List Of entrants

decemBeR 2010, v.55 n.12

RendeRing of the Bloc_10 Residen­ tial development in Winnipeg By 5468796 aRchitectuRe inc.

cOVer

The NaTioNal Review of DesigN aND PRacTice/ The JouRNal of RecoRD of The Raic

12/10 canadian architect

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danny sInGer

viewpoint

above desPIte soMe of the unforunate shortfaLLs evIdent In vanCouver’s forMer oLyMPIC vILLaGe, there are Many CoMPonents of the arChIteCture and PLannInG that deMonstrate soLId ConCePts of sustaInabILIty.

I thought that we should finish the year on an optimistic note. And so, we begin by giving thanks to the federal and provincial governments for keeping so many architecture firms busy with projects funded by economic stimulus money intended to improve our aging infrastructure. Now for some realism and concern. With all of this infrastructure money drying up, our economy— and the public policy that influences it—must now focus on improving the efficacy of large-scale sustainable developments that will result in energy-efficient buildings. Emphasis must also be placed on progressive approaches to urban intensification with all of the attached social, health and economic benefits. However, based on the results of a few recent projects, current approaches to the creation of large-scale sustainable developments need revision. One example is in Toronto, where the Toronto Community Housing Corporation (TCHC) is leading a $1-billion revitalization project for Regent Park, creating a mixed-income community intended for 5,100 households. Amenities intended to improve the development’s social sustainability quotient include two daycares, space for local community groups, a learning centre, an employment hub, and plenty of retail and commercial services. The energy savings is targeted between 40 and 50 percent of the Model National Energy Code for Buildings. A water and energy reduction program is being put into place and a new district heating plant will effectively reduce the development’s greenhouse gas emissions by 8,000 tonnes a year during Phase I of the neighbourhood revitalization. Yet despite these efforts to transform the area, in early December, 18-year-old Nicholas Yambo became the fourth homicide victim in Regent Park over a two-month period. For Regent Park to be successful as an environmentally and socially sustainable entity over the long term, both the physical and social components need to work in tandem. 6 canadian architect 12/10

Another example is in Vancouver, where the $1.3-billion redevelopment of Southeast False Creek (SEFC) was intended to be a leading model of sustainable development, incorporating infrastructure, energy reduction programs, highperformance buildings and easy access to transit. The first phase of SEFC was the Olympic Village for the 2010 Winter Games and Paralympics, hosting approximately 2,800 athletes and officials. While the development was a hive of activity during the Olympics, it remains far from being integrated into the life of the city today. The buildings are spaced too closely together, the condominiums and townhouses command too high a price (even for the Vancouver real estate market), and a lack of adequate views to the water and the North Shore have all contributed to the project going into receivership. Of the 737 market-rate suites, roughly 30 percent have been sold and just over half of the 120 rentals had tenants by the end of November. A deal for the 252 non-market units with BC Housing is pending. The more successful components of the project include a 67-unit seniors’ residence—Canada’s first Net Zero multi-unit residential building—and a popular community centre. SEFC’s lack of adequate urban planning has resulted in significant weaknesses in this supposedly innovative sustainable development. A third example where the focus on sustainable development needs to evolve can be found in the EQuilibrium Sustainable Housing Demonstration Initiative led by the Canada Mortgage and Housing Corporation (CMHC). While the program addresses occupant health and comfort, energy efficiency, renewable energy production and affordability, it must continue to draw upon the experience of builders, architects and planners from across the country to expand upon recent EQuilibrium case studies for clues on how to better disseminate the lessons learned. This might be achievable with the EQuilibrium Communities program, an association between Natural Resources Canada (NRCan) and the CMHC. Funded by the federal government’s ecoACTION initiatives, the three-year $4.2-million demonstration initiative has enabled the research and planning of four projects to date—Station Pointe in Edmonton, the Ampersand in Ottawa, the Ty-Histanis community outside Tofino, and Regent Park in Toronto. Bewilderingly, however, no money or financial incentives will be allocated for subsidizing the hard costs associated with any of the participating projects. Understanding the shortfalls in large-scale development of sustainable communities is crucial if we are to ever implement strategies that result in socially, economically and architecturally sustainable living. Ian ChodIkoff

ichodikoff@canadianarchitect.coM

editor Ian ChodIkoff, OAA, FRAIC associate editor LesLIe Jen, MRAIC editorial advisors John MCMInn, AADIpl. MarCo PoLo, OAA, FRAIC contributing editors GavIn affLeCk, OAQ, MRAIC herbert enns, MAA, MRAIC douGLas MaCLeod, nCARb regional correspondents halifax ChrIstIne MaCy, OAA regina bernard fLaMan, SAA montreal davId theodore calgary davId a. down, AAA Winnipeg herbert enns, MAA vancouver adeLe weder publisher toM arkeLL 416-510-6806 associate publisher GreG PaLIouras 416-510-6808 circulation Manager beata oLeChnowICz 416-442-5600 ext. 3543 custoMer service MaLkIt Chana 416-442-5600 ext. 3539 production JessICa Jubb graphic design sue wILLIaMson vice president of canadian publishing aLex PaPanou president of business inforMation group bruCe CreIGhton head office 12 ConCorde PLaCe, suIte 800, toronto, on M3C 4J2 telephone 416-510-6845 facsimile 416-510-5140 e-mail edItors@CanadIanarChIteCt.CoM Web site www.CanadIanarChIteCt.CoM Canadian architect is published monthly by bIG Magazines LP, a div. of Glacier bIG holdings Company Ltd., a leading Canadian information company with interests in daily and community newspapers and business-tobusiness information services. the editors have made every reasonable effort to provide accurate and authoritative information, but they assume no liability for the accuracy or completeness of the text, or its fitness for any particular purpose. subscription rates Canada: $52.95 plus applicable taxes for one year; $83.95 plus applicable taxes for two years (hst – #809751274rt0001). Price per single copy: $6.95. students (prepaid with student Id, includes taxes): $34.97 for one year. usa: $101.95 us for one year. all other foreign: $120.00 us per year. us office of publication: 2424 niagara falls blvd, niagara falls, ny 143045709. Periodicals Postage Paid at niagara falls, ny. usPs #009-192. us postmaster: send address changes to Canadian architect, Po box 1118, niagara falls, ny 14304. return undeliverable Canadian addresses to: Circulation dept., Canadian architect, 12 Concorde Place, suite 800, toronto, on Canada M3C 4J2. Postmaster: please forward forms 29b and 67b to 12 Concorde Place, suite 800, toronto, on Canada M3C 4J2. Printed in Canada. all rights reserved. the contents of this publication may not be reproduced either in part or in full without the consent of the copyright owner. from time to time we make our subscription list available to select companies and organizations whose product or service may interest you. If you do not wish your contact information to be made available, please contact us via one of the following methods: telephone 1-800-668-2374 facsimile 416-442-2191 e-mail privacyofficer@businessinformationgroup.ca mail Privacy officer, business Information Group, 12 Concorde Place, suite 800, toronto, on Canada M3C 4J2 member of the canadian business press member of the audit bureau of circulations publications mail agreement #40069240 issn 1923-3353 (online) issn 0008-2872 (print)

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awards of excellence 2010

a true reflection the jury for the 2010 awards of excellence reViewed a record numBer of suBmissions representinG a wide ranGe of project types from across north america.

The jury for the 2010 edition of Canadian Architect magazine’s Awards of Excellence program studied a marvellous array of entries from across the country. A record number of 144 submissions provided our jury with considerable material to review and discuss, resulting in the final selection of winners that appear in this highly anticipated year-end edition of the magazine. No jury is infallible, but since the awards program began in 1968, every jury has quickly developed its own distinct methodology of reviewing each year’s submitted projects. What was highly admirable of this year’s jury was their ability to cast a sympathetic eye and apply an open mind to the wide range of scales, budgets, client mandates and programmatic concerns. The profession of architecture is full of challenges that demand a specialized range of skill sets to shepherd an architectural concept to fruition. Certainly, our jury—comprised of architects James Cheng, Andrew King and Janna Levitt— understand these challenges facing today’s practitioners, not to mention the incredible demands placed on architects by public- and privatesector clients. Vancouver-based architect James Cheng offers the following general comment about his experiences over the course of the twoday adjudication process in October:

I am pleased to see some highly innovative submissions on multi-family projects. Housing is the most common building type, but due to various reasons such as budget, market acceptance, planning restrictions, etc., it is perhaps the most difficult to innovate. Increasingly, architects and planners are being asked to provide designs for projects in China, the Middle East, India, and other fast-developing countries at an unprecedented pace and scale. With this increasingly smaller global village, it raises questions about regionalism and what kind of new urbanism should result and by what standard we should define excellence. Principal of Levitt Goodman Architects in Toronto, Janna Levitt had the following comments to make about the 2010 Awards of Excellence: When reflecting on which type of projects typically garner attention in Canadian award programs, it seems to me that the stars have shone most brightly in two sectors: public institutional buildings, and the single-family house. It is intriguing and I think a real reflection of our times, that we have three exciting and innovative private-sector projects receiving Awards of Excellence. I suspect there are two reasons for this. The first may be linked to the withdrawal of government from its historically significant invest-

­Andrew­King,­JAmes­ Cheng­And­JAnnA­Levitt­debAte­the­ strengths­of­the­shortListed­group­of­ submissions­in­this­yeAr’s­AwArds­of­ exCeLLenCe.

aBoVe, left to riGht

ment in the built environment, which may have created a void that the private sector is filling. The second may be that the clients of developer buildings such as condominiums, hotels, etc. are becoming more discerning “purchasers” of design and this has amped up the quality of this type. One issue I found very surprising and which we discussed at length was the generally unimaginative quality of the representational strategies of the submissions. Just as every picture tells a story, every drawing must effectively and creatively describe a key concept. This is particularly felt in an anonymous submission where the jurors have no prior knowledge to bring to their review of the submission. If one needs inspiration, just attend an end-of-term review of senior student work at any of the schools across the country: hand drawings, models, AutoCAD drawings, stills of homemade videos, collages…nothing is sacred and everything is in service of communicating the architectural ideas in a stimulating way. 12/10­­canadian architect

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james K.m. cheng

andrew King

janna levitt

James K.M. Cheng received his Bachelor of Architecture degree from the University of Washington, after which he moved to San Francisco to work with Henrik Bull of Bull Field Volkmann Stockwell on a variety of urban projects. Shortly thereafter, Cheng apprenticed with Arthur Erickson in Vancouver for three years as a designer on large-scale urban and international projects such as the Vancouver Law Court complex, and the Anthropology and Sociology Faculty office at the University of British Columbia. Cheng was first recognized by Architectural Record magazine and was included in their special “Young Architects” issue in December 1972 for a condominium project he designed while still an undergraduate working for Mithun Partners of Seattle. Subsequently, this project was included in Architectural Record’s “Record Houses” issue in 1974. In 1977 Cheng obtained his Master of Architecture degree from Harvard University’s Graduate School of Design, where he studied under American architect Richard Meier. Upon graduation, he (in joint venture with Romses Kwan & Associates) won a provincial competition to design the Chinese Cultural Centre in Vancouver. Cheng won his first major design award from Architectural Record in 1977 for a private residence, which was recognized as one of the 20 Record Houses of 1977 along with Richard Meier’s Shamburg House. Since these first awards, Cheng has won over 45 major design awards, including the prestigious Governor General’s Medal from the Royal Architectural Institute of Canada, the Canadian Architect Yearbook Award, the Lieutenant Governor’s Gold Award from the Architectural Institute of British Columbia, and the Interior Design Institute of British Columbia’s Gold Award of Excellence. His work has been published and exhibited in Canada, the US, Japan, London, Germany, and Hong Kong. In addition to leading a busy and diverse practice, Cheng has also lectured at the University of British Columbia for three years, and has served as a visiting critic and juror on architectural competitions and design award juries, both locally and nationally.

Andrew King is a graduate architect, author, critic, curator, and educator. He has practiced and taught across Canada and in London, Berlin, Budapest, Rome, Seville and Copenhagen. King was selected as one of Canada’s “design leaders” by The Globe and Mail in 2003. That same year, he was awarded the Canada Council for the Arts Prix de Rome and a Canadian Architect Award of Excellence. King has worked with internationally recognized architects such as Zaha Hadid in London, Tim Heide in Berlin, and Brian MacKayLyons in Halifax. He is Design Principal at Cannon Design, currently leading teams in Vancouver and Montreal and overseeing projects across Canada and in Asia. He has led his own design and research initiative AK A for over 20 years, which encompasses architecture, urban design, and installationbased work. King is the Azrieli Visiting Chair at Carleton University’s Azrieli School of Architecture and Urbanism for 2009-10. In 2004, he was Visiting Professor at Copenhagen’s Royal Academy of Art, and he has held visiting, adjunct, and special faculty appointments in architecture and fine art at the University of Calgary, McGill, and Dalhousie. King also leads an ongoing research initiative with the Banff Centre for the Arts. His work has been published in national and international art and architecture journals, including Canadian Architect and Canadian Art, and has been recognized with provincial, national and international design awards. Additionally, as a writer and critic, King has contributed to several critical journals, writing about contemporary projects and architectural curation. He is a co-editor of and contributor to building/art (2004), and his work was featured in and on the cover of The Prix de Rome: A Critical Perspective (2006), edited by Marco Polo. His critical art practice (with Angela Silver) has made in-situ and gallery-based installations across Canada and abroad. Commissions include lens for the Banff Centre for the Arts for inclusion in the 2005 Alberta Biennial of Contemporary Art, and ex-urbus for Black Dog Press’s Informal Architecture, edited by Anthony Kiendl.

Janna Levitt, Principal of Toronto-based firm Levitt Goodman Architects (LGA), is known around her office as “the optimist” because she brings a positive energy to her work that draws the best out of people and circumstances. A trailblazer, she also seizes opportunities to find solutions to problems that spark her interest such as the Vermicondo—a stylish indoor worm composter for urban dwellers. Levitt’s background in the visual arts has distinguished her architectural career. She studied fine arts at the Nova Scotia College of Art and Design and at the Museum School of Fine Arts in Boston, graduating with a Bachelor of Arts from the University of Toronto, followed by a Bachelor of Architecture degree in 1986, also from the University of Toronto. As such, she seeks opportunities to integrate art into LGA projects, like the segmented felt walls by Kathryn Walter at the Jamie Kennedy restaurant, and the frit-patterned windows by Melissa Levin at the Canterbury residence. To complement her busy architectural practice, Levitt has been heavily involved in teaching, and is currently an Adjunct Professor at the John H. Daniels Faculty of Architecture, Landscape and Design at the University of Toronto. She is frequently invited as a juror and guest critic, and has lectured extensively on a variety of topics such as environmental strategies for urban conditions, sustainable design and adaptive reuse. Janna Levitt founded LGA in 1992 with her husband Dean Goodman. The firm is responsible for numerous award-winning projects, such as the University of Waterloo School of Architecture in Cambridge (2004) and the Longhouse for Native Child and Family Services in Toronto (2010). Levitt’s current projects include the renovation and 25,000-square-foot expansion of the main branch of the Kitchener Public Library; a study for the redevelopment of the Scadding Court Community Centre; and an extensive landscape and residential project in Hoggs Hollow. In addition to professional memberships with the Royal Architectural Institute of Canada and the Ontario Association of Architects, Levitt’s keen interest in apiary culture motivated her to join the Ontario Beekeepers’ Association in 2009.

10­canadian architect­12/10


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winners

5468796 Architecture Inc. is a Winnipeg architecture studio with a diverse range of interests. The firm was established in 2007 to challenge convention at all scales, from branding, architecture and design, to detailing and engineering

systems. Our collaborative studio (one desk, 12 practitioners) explores through conversation and play, models and mock-ups, drawings and revisions, and continuous inquiry. Counterclockwise from bottom left: Shannon Wiebe, Cristina

Ionescu, Zach Pauls, Mandy Aldcorn, Colin Neufeld, Sasa Radulovic, Johanna Hurme, Ken Borton, Sharon Ackerman, Aynslee Hurdal, Michelle Heath, Mark Penner.

Baird Sampson Neuert Architects is organized as a collaborative design studio led by the firm’s principals. The office has a longstanding interest in the interaction between building, site and community, using sustainability as a driver of innovation. Based in Toronto, it is a mid-sized practice with 15 staff, dedicated to the goals of design excellence and exceptional service. Left to right: Gavin Berman, Renee Leung, Ian Douglas, Jon Neuert, Harvey Wu, Barry Sampson, Jesse Dormody, Mauro Carreno, Andrea Macecek, Kamyar Rahimi, Germaine Hepburn, Yves Bonnardeaux.

Patkau Architects is an internationally recognized architectural design studio based in Vancouver, British Columbia. Principals John Patkau and Patricia Patkau are joined by three associates: David Shone, Peter Suter and Greg Boothroyd. In over 12 canadian architect 12/10

30 years of practice, both in Canada and in the United States, Patkau Architects has been responsible for the design of a wide variety of building types for a diverse range of clients. Current work includes a Visitors’ Centre at Fort York

National Historic Site in Toronto, the Marcel A. Desautel Faculty of Music and the School of Art at the University of Manitoba, the Goldring Centre for High-Performance Sport at the University of Toronto, as well as a variety of residential projects in diverse locations ranging from a northern island off the coast of British Columbia to a farm in Ad’Diriyyah, Saudi Arabia. As the circumstances of the work change, their interests expand. They seek to explore the full richness and diversity of architectural practice, understanding it as a critical cultural act that engages our most fundamental desires and aspirations. They refuse singular definitions of architecture: as art, as technology, as social service, as environmental agent, as political statement. They embrace all these definitions together, as part of the rich, complex and vital discipline that they believe architecture to be. Left to right: James Eidse, Luke Stern, Pat Patkau, John Patkau, Thomas Schroeder.


Atelier Big City (Anne Cormier, Randy Cohen, Howard Davies) is known for its innovative and often gregarious approach to architectural design. Two centres of interpretation built in eastern Quebec at Pabos Mills and Trois-Pistoles as well as a housing project on Paper Hill in Montreal (U2) demonstrate the group’s desire to build provocatively yet also deal sensitively with issues related to site organization, construction, program and budget. The work of Big City is structured on a strong conceptual approach based on the interpretation of program and siting strategies. Of particular interest to the group is the notion of public space in buildings and the importance of the architectural promenade, a spatial journey animated by relations established between elements of the program, and between the built project and its environment. Each project is an exploration in generating an architectural milieu of grand sensual stimulation through the use of very simple means: colour, volume, material and structure. Atelier Big City has received a number of awards and honours including the Prix de Rome in 1998, and a Governor General’s medal in 2006 for their innovative

urban housing project entitled U2. Their work has been exhibited and presented through lectures in North America and in Europe. Atelier Big City are committed educators at the university level. Anne Cormier teaches and is the Director of the Université de Montréal École d’architecture, while Randy Cohen teaches at the Université

du Québec à Montréal and at the Université de Montréal École d’architecture. Howard Davies teaches at both McGill University’s School of Architecture and at Concordia University’s Department of Design and Computational Arts. Left to right: Traian Dima, Randy Cohen, Anne Cormier, Howard Davies, Sebastien St-Laurent.

Established in 1947, Smith Carter Architects and Engineers Incorporated has been an integrated firm virtually since its inception. Through its offices located in Winnipeg, Calgary, Ottawa and Atlanta, Smith Carter works with clients from government, institutions and private-sector organizations across Canada and around the world. Collaboration has facilitated innovation at Smith Carter and areas of expertise range across all types of complex projects, with specialties in the design of health-care and research facilities. Projects include: the Canadian Museum for Human Rights, a complex building designed and constructed completely with BIM (Building Information Modelling); Manitoba Hydro Place; and SC3, Smith Carter’s third purpose-built headquarters, winner of a Governor General’s

Award and the first building in Manitoba to achieve LEED Platinum certification. SC3 serves as a beta test site to investigate and develop new understandings of how buildings and people work. Arguably the most health-care-experienced architect in Canada, Parkin Architects Limited is a longstanding, award-winning leader in this highly specialized field, providing services to clients across Canada and internationally. Ninety percent of Parkin’s staff of over 100 architects, planners, designers and project managers are engaged solely in hospital commissions. Clients include some of the foremost institutions in Canada, many of which have worked with Parkin for over 20 years, and continue to return for their ongoing planning and design needs. In addition to the more traditional servi-

ces such as master planning, design of new and renovated buildings, site planning and project management, Parkin plays a significant leading role in strategic and operational planning with many of its clients. Smith Carter Architects and Engineers team members in above left photo, from left to right: Javier Uribe, Lynne WilsonOrr, Jaret Klymchuk, Jim Weselake, Bhavana Bonde, Tam Nguyen, Doug Corbett, Clifford Goodwill, Scott Stirton. Parkin Architects Limited team members in above right photo, from left to right: Sohail Akhtar, Chantal Trudel, Cameron Shantz, Jennifer Haliburton, Joy Raymer, Sarah Rahimaldeen, Oksana Posatskaya, Lynne WilsonOrr, Angelique Lucas-Witte, Farima Vahid.

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Cannon Design is an ideas-based practice, ranked among the leading international firms in planning and design for health care, research, education, corporate, sports and government clients. At present, the firm employs a staff of over 1,000, delivering services in 17 offices throughout North America, as well as abroad in Shanghai and Mumbai. Cannon Design strives to create environments that are a thoughtful response to the program mission, physical setting and functional purpose, reflecting the spirit and person-

ality of each owner. The firm is focused on quality—with client satisfaction as the ultimate measurement. Cannon Design works continuously to advance the state of the art, contributing to the built environment and quality of life of the people for whom it creates living and working spaces. Top row, left to right: Orest Klufas, Jorge Remolina, Vincent Yen, Marion La Rue, Winston Chong, Andrew King. Bottom row, left to right: Greg Fenske, Larry Podbora, Jennifer Beagan, James Wu.

Alexi Hobbs

Founded in 1983 by Claude Provencher and Michel Roy, the Montreal architectural firm of Provencher Roy + Associés Architectes has won many awards for its work in Canada. During the 1990s, the initial partnership was strengthened with the appointment of Line Belhumeur and Alain Compera, and then in 2000 with the appointment of Marius Bouchard—renowned for his technical and legal knowledge. In 2005, Provencher Roy + Associés Architectes widened the breadth of its expertise with the addition of interior design firm Moureaux Hauspy + Associés, along with Beauchamp & Bourbeau, a firm that has built its reputation on a strong commitment to sustainable design. Today, the highly trained team of 105 multidisciplinary professionals apply their knowledge toward the design and construction of museums, universities, hospitals, hotels, airports, conference centres, corporate headquarters, and sports facilities. Additionally, urban planning, programming, feasibility studies, technical consultation, and interior and exhibition design are all part of the firm’s scope of services. Open-mindedness and an unwavering commitment to innovation have allowed the Provencher Roy team to adapt its practice to the major transformations that have shaped the firm’s design process. Left to right: Eugenio Carelli, Denis Gamache, Claude Provencher, Jean-Luc Rémy, Matthieu Geoffrion. 14 canadian architect 12/10


Kongats Architects is gaining a national reputation for the innovation they bring to a wide range of important educational, cultural and public institutions. In addition to the University of Toronto’s Mississauga Academy of Medicine, current projects include Centennial College’s Athletic and Wellness Centre, Lambton Art Gallery in Sarnia, and the Foundry District Energy Centre for Waterfront Toronto. The design work of the firm is rational and strictly edited to ensure the projects’ fundamental ambitions are never compromised while architecturally creating exceptional experiences for daily life. Offering an exceptional experience for daily life also means living in sync with our environment. “Green building” is an evident characteristic of the firm’s built projects and feasibility studies, reinforced by their ongoing research into the use of self-sustaining materials and building systems, and by an inventiveness in the design of the exterior building skin. The firm’s work has been honoured with several awards including a Canadian Architect Award of Excellence for Hespeler Library. In 2006, the firm was nominated for the prestigious New York Architectural League’s Emerging Voices Prize. Their work has been featured extensively in various publications and has been exhibited in Canada and abroad. Clockwise from top left: Alar Kongats, Danielle Lam-Kulczak, Philip Toms, Sukie Leung, Alessia Soppelsa, David Sasaki. Missing from photo: Dieter Janssen, Andrea Ling, Derek McCallum, Tyler Walker, Steven Addeo, Tymea Sarkozy.

In 1995, Eric Pelletier co-founded Croft Pelletier architectes, where he evolved his skills as an architect through a variety of cultural and institutional projects, many of which have won awards. Some of the more significant buildings include the Charlesbourg Library, the Gaspésie Museum and the Montreal Planetarium. His work has been published widely, both in Quebec and Canada, as well as internationally. In 2009, Pelletier established his own architectural practice, Eric Pelletier architectes (EPA), taking with him the same dynamic and passionate team. The firm has since worked on numerous projects with a broad scope, including architecture, interior design, urban design, landscape design, furniture, exhibition and stage design, and even civil engineering. Recently, the firm received an honourable mention for their proposal for a new open-air amphitheatre in Trois-Rivières, the subject of an open competition. Left to right: Eric Pelletier, Amélie Turgeon, Annie Martineau. Cardinal Hardy (CHA) was founded in 1986 by Michel Hardy and Aurèle Cardinal. Led by seven partners, the firm currently employs 70 full-time employees, including 36 architects, nine landscape architects and six urban designers, many with LEED accreditation. Five professionals teach at the university level in the field of urban design and landscape architecture. For the past several years, Cardinal Hardy has been most actively engaged in the rebirth of the Montreal waterfront. The success of the Old Port of Montreal, Cité du Multimédia, Quartier Concordia, and residential communities in Old Montreal and on the Lachine Canal—are all the result of their commitment and planning efforts. The office specializes in landscape architecture, urban studies, restoration and recycling of historical sites and buildings, transportation, mixed-use projects and housing. As the firm strongly believes that successful planning is the product of teamwork and the collaborative effort of all professionals, they are particularly well-known for a multidisciplinary approach and for their rigour in urban planning. Cardinal Hardy has been recognized by numerous awards, such as National and Regional Merit

Awards from the Canadian Landscape Architecture Association, an Honour Award for the Waterfront Center in Washington, a Governor General’s Award for architecture, and a Prix d’excellence from the Ordre des Architectes du Québec. Recently, the firm won the architecture competition for Les Bassins du Nouveau Havre, a master plan proposal of a sustainable mixed-use project for the old Canada Post site on the Lachine Canal. Les Architectes Labonté Marcil was founded in 1986. Today, its two founding partners—Pierre Labonté and Jean Marcil—lead the 14-person firm. Their work focuses primarily on the cultural and institutional sectors, along with many heritage restoration projects. Labonté Marcil is known for its 12/10 canadian architect

15


research and technical expertise, in addition to its project management skills. Its three core values focus on creativity, practicality and rationality. Eric Pelletier Architectes team members in top photo, from left to right: Eric Pelletier, Amélie Turgeon, Annie Martineau, Laura Didier, Emmanuelle Champagne, Olivier Bourgeois. Cardinal Hardy team members in above left photo, from left to right: Bao Nguyen, Claude Jean. Labonté Marcil team members in above right photo, from left to right: Pierre Labonté, Denis Clermont, Jean Marcil.

3.875”

Jeffrey Ma was born in 1985 in Hong Kong, and graduated from the School of Architecture at McGill University in 2010, where he was awarded the Ray Affleck Prize in Design for distinction in his final thesis project. During the Master’s program, he had the opportunity to participate in several speculative studios and theoretical courses with some of the most respected professors in the field of architecture. Amongst others, professors Alberto Pérez-Gómez, Michael Jemtrud, Robert Claiborne, Torben Berns and Andrew King have changed his perception of architecture as a profession. Throughout the two years of his Master of Architecture degree, Ma was faced with the constant battle between logic, understanding and the built environment, from which his thesis entitled Logic Shift was derived. Further, his colleagues in the architecture program contributed significantly to the development of his thesis. Without the continuing dialogue with his colleagues and professors throughout the evolution of this project, Ma believes that Logic Shift would not have achieved the same degree of success.

Taraneh Meshkani recently received her Master of Architecture degree from the John H. Daniels Faculty of Architecture, Landscape and Design at the University of Toronto. Previously, she earned her undergraduate architecture degree from Azad University in Tehran, during which time she worked in several architectural firms. In 2008, Meshkani received the Professional Experience Program Award from the University of Toronto and was rewarded internships at Morphosis Architects and Kohn Pedersen Fox Associates. In 2009-2010, she received the Toronto Society of Architects scholarship, which is awarded to a graduating student of the Master of Architecture (M.Arch.) or Master of Urban Design (MUD) program whose thesis project demonstrates an innovative approach to city building and urban form. Meshkani is currently working on the topic of public and private spaces as a continuation of her research for her thesis project.

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award of excellence

cottages at fallingwater

architect location

Patkau architects inc. Mill run, Pennsylvania

The larger ambition of this project is to stitch together a sense of community from a disparate set of existing buildings and a collection of frag­ mented and differentiated landscapes. The re­ tained meadowland above Fallingwater, which is the proposed site of six new cottages, is a frag­ ment of a “recent” cultural landscape. It provides a complementary experience to the surrounding native forest from which to appreciate and understand both native ecology and cultural hist­ ory. The meadow opens a clearing in the forest and within this clearing, the design of the six cot­ tages is intended to construct synergetic, sus­ tainable relationships between dwelling and the sun’s energy. Frank Lloyd Wright’s Fallingwater is an ac­ knowledged architectural masterpiece, a signifi­ cant artifact of the cultural heritage of the last century. Other Conservancy buildings on the ex­ panded Fallingwater site are a collection of the vernacular and the architectural. All are inten­ tional and functional but unrelated and unrecog­ nizable as the presence of a community of com­ mon purpose. The introduction of the six new cottages could benefit the whole; they could act as a kind of glue, binding the community together, making linkages between things, setting parts into a new relationship with one another. The existing Conservancy buildings at Falling­

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water are linked together by the regional land­ scape of the Laurel Highlands, a gentle landform of swells and falls. No cottage here can compete with Wright’s masterpiece. No building form can address the disparate assembly of current Con­ servancy building facilities. Faced with such a predicament, this project suggests that the six proposed cottages take on the role of the binding landscape, becoming part of the regional land­ form. In so doing, they add their own immediacy of swell and fall to that of the larger vistas and topographic histories. They have no need of as­ suming yet another form of architecture on site; they are part of the site. Cuts are made into the landscape: Sunset Cut opens the forest to occasion, and a Pond Cut is located northeast of the meadow, linked to both Sunset Cut and the assorted Conservancy build­ ings adjacent to the main trail crossing on Route 38. This large pond retains excess water on site, recycles treated wastewater back into the natural water cycle, and increases on­site biodiversity. An enlarged narrative for educational programs is suggested and an on­site source of building material is provided to facilitate the earthworks associated with cottage construction. Cottage form is an intensification of landscape form. Just as Fallingwater is an intensification of the rock outcroppings that characterize Bear Run, the meadow cottages are an intensification of the swelling ground plane of the meadow, made from the very soil and grasses of the meadow itself.

Each cottage forms a small ridge facing due south. In series, the cottages form swells and falls of landform, creating a sheltering micro­climate of sunny prospect. Openings in the landforms connect cottage interiors to the meadowland beyond, silently and passively gathering the sun’s energy in the shoulder and winter seasons, shading openings and providing ventilation during the summer’s heat. Inside, the cottages are open in plan, gen­ erous with a sense of luminous space. Interiors are surfaced in light­toned wood, grounded by concrete floors and sculpted by daylight. A large opening to the southern meadow focuses the living space, allowing easy access to an outdoor terrace. Bedrooms are more enclosed, with double or two single beds as required, and extra guests can sleep on the long couch in the living space. Sustainable building practices take the form of a Net Zero Energy strategy, achievable within the constraints of a modest budget and taking into account material choice, energy, water, and air­ quality considerations. a rendered iMage of one of the new cottages that is literally iMMersed in this significant Pennsylvania cul­ tural landscaPe. oPPosite Bottom one of the Many anticiPated jet­setting archi­ tourists enjoying his Morning news­ PaPer while the beauty of the natural world surrounds hiM. Bottom


Jc: This is a wonderful project that is a landscape

sculpture on the exterior, and a cave­like cocoon on the interior—in contrast to Wright’s famous bold and open cantilevers over falling water. aK: This project represents quiet excellence. The earth­sheltered house is almost a “must do” of the critical architecture practice, an essential part of the repertoire. It’s a tough challenge that de­ fines a designer. What this project bravely and succinctly does is almost nothing. It steps back, disappears and is nearing silence. It operates as a foil and counterpoint to the iconic presence of Fallingwater, receding into and becoming the landscape. It is defined only by a series of ele­ mental window and skylight voids, set into undu­ lating rows of berms. Within, the project is equally mute, allowing itself to sculpt space from the earth through light and simple undulations. This is a brave project, a John Cage­like sympho­ ny of almost nothing.

the retained Meadowland near frank lloyd wright’s fallingwater will be the site of six new cottages de­ signed by Patkau architects. right a ser­ ies of drawings illustrates the Process of building —and burying —the new cottages. aBoVe

client western Pennsylvania conservancy architect team john Patkau, Pat Patkau, thoMas schroeder, luke stern, jaMes eidse structural read jones christoffersen ltd., robert silMan asso­ ciates landscaPe Mtr landscaPe architects llc interiors Patkau architects sustainaBility consultant recollective area 5,625 ft2 Budget $900,000 us comPletion tbd

Jl: This proposal is really in the private realm,

and as such allows the architects much greater freedom of expression. They really ran with it very beautifully. I think it takes a very mature practitioner to tackle a design that so severely controls all views and infiltration of light. In ad­ dition, this is the only project this year that is multivalent in its reading: it is both a very build­ able proposition and it can also be appreciated as a speculative essay on a desirable way to live.

section

12/10 canadian architect

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award of excellence

capilano film centre

architect location

Cannon Design north VanCouVer, British ColumBia

The design of the Capilano University Film Centre addresses many fundamental conceptual issues—including creating an environment where the study of film and its allied arts and technologies are fostered and nourished, as well as completing the campus as a legible, compelling and easily accessible building that acts as a gateway to the northern side of the campus. These primary issues form the foundation for the integrated design intent for the building form. The building’s purpose is the driver for many of the formal, spatial and material development design decisions in the work. Recognizing this, the building is defined as a “machine for film.” In this sense, it addresses notions of film on multiple levels. It becomes a device in support of the teaching of film, it creates moments of potentially cinematic power, and it acts on many scales as a metaphor for cinematic qualities and devices. This is based on an understanding of where architecture and cinema merge. This common ground is becoming increasingly understood as a powerful critical and conceptual generator of ideas and work in both disciplines. The project has a few undeniable givens. First is the very large sound stage component of the

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building. This becomes the armature around which all the other building components must exist. Its placement is paramount for the functional considerations of the building, but this component gives little support for nuanced or delicate public spaces. Secondly, the project must navigate the larger-scale issues of maximum build-out, infrastructural access, and various pathways into the campus as a whole. Thirdly, the project has limited and definite program, budget and schedule requirements that cannot be exceeded under any circumstance. The design of the project evolved from a large, sound stage-driven object building into a delicate series of elevated bars and thin support components that wrap, skirt and rise over the massive sound stage element. These can be seen as three clear programmatic components with their own massing, material and special strategies. These are organized on the site such that they allow a large public plaza on the southwest quadrant of the site and a clearly defined conclusion to the primary north/south circulation path of the campus. The first of these primary programmatic components is the sound stage, which is pushed as far north and west as possible, allowing extensive vehicular access to the north. It has been seen as a black box, necessarily sealed and enclosed and as such is perceived as a massive concrete indus-

trial object. It becomes the foundation on and around which the remaining primary programmatic components are placed. The second of the components is the support spaces. These are placed as a screen or shroud around the southern and eastern faces of the sound stage, and include meeting rooms, support for the sound stage as well as extensive accessible circulation spaces. They are interconnected, multi-floor public spaces that tell the story of the building, comprising publicly accessible programming such as cafés, the primary screening room, and the various bridges and connections to the bus access, the north/south campus pathway, the landscape, and the public plaza. This building component is composed of glass and wood. The third primary building component is the elevated bar, which houses classrooms and smaller-scale spaces of learning. This sits atop the soundstage/support building components and pushes across the site to hover over the eastern side of the site, supported by a stair tower near its eastern end. It is the primary iconic component of the project, dramatically hanging across the site, 120 metres long, glazed to the south and north. The raised element defines a true gateway to the campus as the user actually moves under the bar in various ways. It allows protection and enclosure, defines the entry to the building as well as to the campus, and becomes


inspireD By a Camera’s lens, the proJeCt is DefineD By the Composition of apertures along its axes anD eleVations; the site plan highlights the proJeCt’s Views; the CompleteD massing with its two highly artiCulateD axes. aBove, left to riGht a series of sKetChes illustrate the proJeCt’s Design eVolution.

oppoSite top, left to riGht

an iconic symbol for the university. This building component is defined in steel and glass, with its extensive exposed structural strategy, zinc cladding and glass screen-like façades addressing the exterior public spaces. The fact that the building does not act neutrally a series of Computer renDerings helps artiCulate the struCture’s linearity anD rhythm while inCorporating CinematiC metaphors of CompresseD spaCe, montage anD Collage.

oppoSite Bottom, left to riGht

but rather engages the creative possibilities of its academic program (film) and its context (buses, mountains, buildings) enhances its power as a gateway to the campus from the north and a formal terminus from the south. Jc: This project takes apart the traditional hermetic black-box type of solution for film studios and turns its program into a strong formal parti of open “bars” anchored by the closed sound stage. These long horizontal bars ground the entire project in response to the landscape and the rest of the campus in the best of the West Coast traditions. aK: Andrew King recused himself from commentary and judging due to his professional association with this project. Jl: This is a juicy building type that every archi-

tect wants to tackle! The Film Centre is a self-

conscious building in the best possible way, as the site, construction technique, conjoining of program and meaning are all equally rendered. The architects have resisted the temptation to become too literal by simply employing cinematic techniques—splicing, framing, editing, cropping—to assign architectural meaning. Rather, they have done the really difficult work of drilling down to express these attributes in architectural spaces. client Bill thumm, Capilano uniVersity architect team anDrew King, larry poDhora, James wu, winston Chong, Jorge remolina, DaVe reeVes, VinCent yen, JonsCott Kohli, marion la rue, orest Klufas, Jennifer Beagan, wil wiens, greg fensKe Structural equiliBrium Consulting inC. (eriC Karsh) mechanical aerius engineering (geoff mCDonell) electrical mmm group ( anDrew tashiro) civil DelCan (Colin Kristiansen) landScape pwl partnership ( Chris sterry) Geotechnical horizon ( troy issigonis) code conSultant lmDg ( geoff triggs) coSt conSultant Bty ( toBy mallinDer, ellis pang) area 97,000 ft2 BudGet $37 m completion april 2011

12/10 canadian architect

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award of excellence

Bloc_10

architect location

5468796 Architecture inc. Winnipeg, MAnitobA

Bloc_10 is a condominium project situated on a busy Winnipeg corridor. Each of the 10 units is a distinct three-storey walkup with expansive interior spaces that traverse the site as they ascend each level. This allows occupants to have views in at least two directions within their unit, as well as making eight of the 10 units into three-sided corner suites. Conceived as “white box” layouts, a strict service core contains all mechanical services and circulation space. This frees the open living spaces to accommodate a wide range of layout opportunities.

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Dotted across each elevation are cantilevered projections that extend the floor plates for a variety of expanded living spaces. Alternating with the projections are intermediate decks crisscrossing the façade, shielded from the street by a vertical wood screen. The standard three-storey walkup building typology is distorted—to instead provide 10 unique layouts that are distributed across and through the site. Jc: It is an extremely fresh and innovative solu-

tion to perhaps the most common and mundane form of the three-storey walkup wood-frame apartment typology. It is both simple and complex. Multiple orientations and spatial diversity

A vieW looking doWn niAgArA Street. Bottom A SerieS of vignetteS thAt eMphASize the unitS’ AdAptAbility.

aBoVe

within a single unit is extremely inventive and appropriate on a busy corridor. aK: This project represents excellence through redefinition. The low-rise condominium project is not often the context for the redefinition of architectural experience. The forces at play are powerful and the momentum is often away from innovation and experimentation. Bloc_10 unpacks completely the way in which multi-unit projects are conceptualized, redefining much of


core

Bloc

Shell

Screen

componentS diagram

HW

HVAC

air water power SerViceS diagram

our preconceived ideas on how a habitation project is conceived and developed. Program is challenged through entry sequences, building and unit circulation and unit room adjacencies. As a result, notions of “house” are challenged through the resulting lack of unit definition and identity. Bloc_10 is that achievement within critical architecture: a usable, workable, beautiful and compelling experiment that teaches us all something. Jl: This is a very canny, intelligent tweak of the

conventional (and I mean this in a positive way) stick-frame three-storey residential walkup typology. The functionalist aesthetic is upended with the inventive sectional drawing that’s like a riff of Hollywood Squares, illustrating how the design can host a panoply of independent activities.

eAch of the three-Storey condoS hAS vieWS in At leASt tWo directionS. eighty percent of the developMent coMpriSeS three-Sided corner unitS. Bottom left An AxonoMetric drAWing deScribing the ASSeMblAge of the 10 diStinct unitS.

aBoVe

client bloc10 developMent corporAtion, MArk penner, korWynn buhler architect team ShAron AckerMAn, MAndy Aldcorn, MAriA AMAgAtSu, ken borton, Michelle heAth, AynSlee hurdAl, JohAnnA hurMe, criStinA ioneScu, grAnt lAboSSiere, colin neufeld, zAch pAulS, SASA rAdulovic, ShAnnon Wiebe Structural lAvergne drAWArd & ASSociAteS mechanical g.d. StASynec & ASSociAteS ltd. electrical McW Age conSulting profeSSionAl engineerS contractor greenSeed developMent corporAtion area 11,000 ft2 Budget $1.5 M completion 2011

12/10 canadian architect

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award of excellence

women and newborn hospital

Smith Carter arChiteCtS and engineerS inCorporated in aSSoCiation with parkin arChiteCtS location winnipeg, manitoba architect

The Women and Newborn Hospital will replace the existing Women’s Pavilion at the Health Sciences Centre (HSC) campus constructed over 60 years ago. The 173-bed facility has a floor area of 37,000 square metres and is designed with the patient and family in mind. The building is a five-storey structure above one level of underground parking for patient use. An overhead link and underground tunnel connect the new hospital to the campus, linkages required for critical medical support services and connection to the central power plant systems. There are no significant surrounding buildings that directly inform the design of the new building. The east and south façades will be the public faces of the new hospital. Conceptually, they will be transparent, delicate, well-detailed, and reflective of the women’s health programs contained within. The design intent is to simplify the number of different materials in

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the hoSpital’S main entranCe at the Corner of william avenue and Sherbrook Street iS open and welComing, aS the bulk of the building iS lifted two StoreyS above grade, Supported by playfully angled ColumnS.

aboVe

the building, using products that relate to the existing scale, texture, and character of the neighbourhood. With this in mind, the building will utilize high-performance unitized fritted curtain wall and shingled zinc cladding. Green roofs will reduce rainwater runoff and provide a natural outdoor environment for patient and staff views. A dramatic and welcoming two-storey main entrance and covered dropoff area will occupy the corner of William Avenue and Sherbrook Street. Further, the south façade of the building will have a striking integrated photovoltaic array enclosing a three-storey staff lounge suspended above the entry on levels three to five that will form the architectural signature corner. Using a public consultation process, three principles were identified to guide the design such that the new building should be a place to serve the unique and diverse health-care needs of women through the life cycle; a place to advance care, through excellence in research and education; and a place that is welcoming, respectful, calming and peaceful. Fundamentally, the design is rooted in the philosophy of patient and family-centred care, environmental sustainability, and accommodation of the many different cultures of Manitoba and downtown Winnipeg. A central atrium stair orients and guides patients and families to clinic areas. Consolidation and organization of medical services is another important feature of the design. One of the most significant improvements over the existing hospital is the inclusion of a 60-bed Neonatal Intensive Care Unit (NICU). The site is located at the northeast corner of the HSC campus. In the context of the neighbourhood, this will be an important edge to the campus, as it interfaces with the community and provides an opportunity for the HSC to create a welcoming image for the campus. The critical design interface is oriented towards the residential properties on the north side of Elgin Avenue, and the building massing responds to the West Alexander and Centennial Neighbourhood Plan. The plan requires a landscaped front yard to


match the residential zoning, and a tapered façade as the building height increases to preserve sunlight and reduce the scale. The height is also restricted to five storeys, with no vehicular access off Elgin Avenue. Winnipeg has the largest remaining urban elm forest in North America. This is due to an ongoing unique “banding” program initiated locally when Dutch Elm Disease was first detected on the continent. The canopy created by the elm branches on the neighbourhood streets is striking and precious. This became the design concept for the building façade along Sherbrook Street. The building is targeting LEED Gold certification and includes plans for 100-percent fresh air in the building, as opposed to recirculated air. Heatwheel technology to reclaim heat and recycled materials from the deconstructed Weston Bakery on site are key sustainable features. Specifically, the most important sustainable criteria will be “indoor environmental quality” which will include air quality, an abundance of natural daylighting, and low VOC-emitting materials, all for the health, comfort and productivity of occupants. The interior design is feminine, sensitive to the needs of women, warm to the touch and gently exhilarating to the eye. Passive daylighting strategies have been incorporated throughout the building—most significantly through a large atrium that penetrates all floors. A woman’s need for privacy has been addressed by an entrance for new mothers separated from those used by women and families experiencing loss or other potentially devastating health issues. The building envelope is conceived as a skin, conveying support and enclosure. It is easily maintainable in the context of the severe Winnipeg climate and gritty urban location. Simplicity of design, longevity of materials, and efficient systems are the underlying objectives; the concept of biomimicry is used to design and construct a building that will function as elegantly and efficiently as a flower, a building informed by its eco-region’s native characteristics. Jc: Hospital programs are complex and rigid, which often results in cold

and hard objects that relate to neither patient comfort nor context. This project demonstrates that hospital design can be elevated to another level of excellence. aK: The urban hospital can be the anathema of critical architecture. It is a building type so subservient to its program, the orthodoxy of planning strategies, the relationship between patients and users, and the terrifyingly complex matrix of functional demands, that the normative challenges of compelling space and form often recede in priority and investment. This project delicately and convincingly finds the cracks where moments of excellence can take root. Through careful and compelling manipulation of the ground plane, massing at grade, public space, and urban linkages, it defines a delightful series of moments where the user and the building meet. It is good urbanity and good space acting in concert to engage the user. The project uses equally compelling strategies of transparency/opacity along the façade to animate and define the addition while respecting and clarifying the existing context, creating an identity that balances the complexity of the building with the necessary legibility of the building type. This project takes the urban hospital as an opportunity to redefine its context, and to delight users who are often most in need of it. Jl: This project provoked a very important discussion about how we define

“excellence.” The architects of this building took on a very difficult mandate which is to open up the ground floor of the hospital. In doing so, they virtually inverted the type as it is currently designed— which is, typically, hermetic. In addition, they extended their reach to the landscape and made a very open and civic institution. That’s a remarkable achievement.

aboVe, top to bottom the hoSpital’S main entranCe; the north elevation in the Context of elgin avenue; a photomontage of the northeaSt Corner in itS urban Context.

client provinCe of manitoba/winnipeg regional health authority/health SCienCeS Centre architect team Smith Carter arChiteCtS and engineerS inCorporated (prime ConSultant): SCott Stirton, Jim weSelake, doug Corbett, Jaret klymChuk, Javier uribe, lori penner, larry hamilton, bhavana bonde, ron pidwerbeSky, donna todd, geoff bulmer, philip harmS, tam nguyen, Clifford goodwill, daniel melendez, galen JohnSon. parkin arChiteCtS (health-Care planning and CliniCal areaS deSign): lynne wilSon-orr, Cameron Shantz, Sohail akhtar, Chantal trudel, angelique luCaS-witte, Jennifer haliburton, farima vahid. structural CroSier kilgour and partnerS mechanical/electrical SmS engineering landscape/interiors Smith Carter arChiteCtS and engineerS architectural rendering norm li ag+i photography Smith Carter arChiteCtS and engineerS inC./david lipnowSki area 280,000 ft2 budget n/a completion fall 2014

12/10 canadian architect

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award of excellence

U

architect location

Atelier Big City MontreAl, QueBeC

U is the third project developed over the years in relation to the Unity Building, a historic property situated on Paper Hill in Montreal. It is a 77-unit housing project, with mixed commercial and professional spaces on the lower levels, and an important urban courtyard space. U is inspired by diverse Montreal typologies: the deeply set-back entrance evokes Montreal’s typical porte cochère and helps articulate a proper sense of arrival, comprising a drop-off, parking entry, and the principal access to offices on the lobby mezzanine. A three-storey-high gymnasium space is situated above the entry hall, with 30 small studio apartments grouped around this vertical atrium. An exterior courtyard contains the circulation for the upper eight floors of the building. The morphology of the new building responds to that of the Unity building and Unity 2. The alignment of the cornice is respected, and the entrance is reminiscent of the tall double-height lobby of Unity 2. U offers varying views up and down rue de la Gauchetière as it bends along the 28 canadian architect 12/10

St. Jacques ridge. The envelope is an interpretation of a contemporary curtain wall. Floor-to-ceiling windows of mullion-free glazing, with coloured glass spandrel panels and Stanstead granite vertical piers, seamlessly hug the faceted form. An architecturally sensitive issue, the façade of the new project distinguishes itself clearly from its neighbours while addressing their architectural characteristics subtly and significantly. Great care is taken in developing a particular relationship with the Unity Building. An architectural reveal is created at the junction between the two buildings that follows the advancing and retreating movements of the new façade, revealing at times the red brick and concrete frame of the Unity Building. As a vertical city, this project is structured upon the transformative qualities of the inner courtyard typology. A four-storey-deep service core is located in the parking spiral, and a twostorey “mall” space contains the lobby, business centre, and commercial heart of the project. The first three floors of studio apartments surround the gym/atrium, while the majority of residential units are organized around the outdoor terrace/

circulation spine. Extending out from the courtyard façade is a staccato sequence of light wells, privacy screens and handrails arranged in such a way that daylight can penetrate deep within the courtyard, and the boundaries between public and private domains are maintained. The project emphasizes quality, and the generously sized apartments feature imported fixtures,

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pre-fab kitchens, closets and door units to create fluid interior environments.

the undulAting fAçAde of u is A dynAMiC juxtAposition to unity 2, An eArlier projeCt Also designed By Atelier Big City And CoMpleted in the fAll of 2005. aBoVe, left to riGht As in unity 2, u’s interior CourtyArd plAys An iMportAnt role in proMoting lively ground-floor ACtivity in this developMent.

oPPoSite

Jc: It is often very difficult to push the bound-

aries in high-density multi-family projects. This project excels in all aspects, from the formal resolution of the façade to the innovative unit planning and stacking, resulting in the sophisticated resolution of urban infill. aK: The high-density commercial housing project

is an enigma within architectural history. Moments of brilliance have emerged from what is generally considered a context for, at best, unrealized potential, or worst, fodder for the marketplace. Creating excellence within this context demands thoughtful strategies and a cunning sense of priority. This project is a superlative example of what can happen when a talented design team has a mature understanding of typology and context in addtion to the making of commercially viable housing. As such, it creates an intensely interesting façade that is tied to unit amenities, a compelling and powerful entry sequence and a complex series of shared public spaces. The project creates its own opportunities and then exploits them in a very mature, convincing and rigorous way. Jl: This is a truly outstanding design—intelligent,

careful, and spare—grammatically correct keeps coming to mind. The variegation of the front elevation is a four-for-one story, relating the con-

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temporary with the heritage, offering individual identity within a larger whole, which gives an urban edge and an exegesis of curtain-wall potential. The fact that the architects convinced the developer to do an interior courtyard and a primarily single-loaded corridor proves their commitment to pushing a high-level architectural goal with every project. client federiCo Bizzotto architect team howArd dAvies, rAndy Cohen, seBAstien st. lAurent, trAiAn diMA StrUctUral silverio MArzin mechanical/electrical Blondin fortin area 90,000 ft2 BUdGet $9 M comPletion tBd

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award of excellence

Brian c. nevin welcome center, cornell Plantations

architect location

Baird SampSon neuert architectS cornell univerSity, ithaca, new york

Sited within Cornell University’s botanical garden, the Welcome Center and related site improvements provide integrated visitor and educational experiences that advance the identity of Plantations as a “green” garden. A new organizational framework was developed for the overall garden that reinforces the primacy of the existing topography, vegetated states, and resulting spatial conditions. This framework establishes an armature that interconnects existing formal and naturalized garden systems, and anticipates ongoing garden development. The components of this Stage 1 project consist of a 6,000-square-foot visitor services and education center, parking facility, fire access route, and stormwater bioswale. These components emerged through an extended facility and garden planning effort undertaken at the outset of the project. This compact botanical garden possesses an extraordinary topography. The southern edge of the site is defined by an expansive “bowl,” and a glacial “knoll” defines its northern edge. Both of these landforms are planted with naturalized vegetation and are criss-crossed by a series of curvilinear pathways that negotiate steep grades. Flatland extends between these two naturalized landforms, and contains a geometric patchwork of plots, formal

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gardens and a surface parking lot which currently occupies the central region of the site. Conceived as a pavilion that forms an integral part of the garden experience, the Center is sited deep within the garden at the transition between flatland and knoll where a series of existing pathways converge. Organized into two levels that respond to these two topographic conditions, the lower level of the Center forms an active terrace that accommodates visitor service needs. Educational and events programming are located on the upper level within a flexible multipurpose space. Both levels are organized to connect with outdoor terraces that facilitate programmatic and spatial extensions between architectural and landscape environments. Parking facilities are relocated to the periphery of the site adjacent to established planting. Organized in response to the curved landform of the surrounding bowl, the new parking lot and arrival terrace engage pedestrian linkages from the main campus, and consolidate systems for visitors arriving by foot, bicycle, car, tour bus and public transit. This common point of arrival promotes visitor orientation and interpretation of the facility’s objectives, and directs visitors along a new route that extends between arrival terrace, the Welcome Center and the adjoining campus community. The legible passage of water across the site, the expression of its containment and on-site use, the dependence of plants and people on water—all


client plantationS Botanical Garden, cornell univerSity architect team Jon neuert, yveS Bonnardeaux, harvey wu, andrea macecek, teddy Benedicto, winda lau, cyril charron, huGh clark, JeSSe dormody structural Blackwell Bowick enGineerinG mechanical/electrical m&e enGineerinG civil tG miller enGineerinG landscaPe halvorSen deSiGn partnerShip sustainaBility/leed consultant Baird SampSon neuert architectS area 6,000 ft2 + 3.2 acreS Sitework Budget $5.5 m includinG Sitework and ServicinG comPletion January 2011

provides a thematic framework that extends through the site, linking new and existing gardens, landscape and architectural environments, advancing the project’s educational objectives and green garden mandate. Building materials are used in an elemental manner to advance the idea of an interior topography. Stone is deployed to engage, manipulate and retain the ground plane, and extends the system of dry-laid garden walls used extensively throughout the site. Wood is deployed as an overhead element that provides shelter and modulates light. An expansive ipe louvre extends across the southern face of the building, unifying the façade of the building while providing passive solar shading for the south-facing glazing. Opaque portions of exterior wood walls and roof are super-insulated using spray foam insulation. A rooftop solar thermal system is connected to an in-floor radiant heating system, supplying 80% of the building’s heating needs. Operating systems are designed to achieve an overall 49% energy reduction, addressing all energy optimization credits within the LEED rating system, exceeding current Architecture 2030 Challenge benchmarks. Jc: This beautiful facility is a highly sophisticated and sensitive insertion

into an existing university botanical garden by an architect in full control of his craft. The finely resolved building with simple materials, mediating between a knoll and the flatland, is also highly environmentally responsive.

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aK: This project represents excellence and the sublime, in that the sublime context is a mixed blessing. The Welcome Center is located in a place of beauty and its job is to curate our experience of that place in a variety of ways. It must somehow find a presence within this beauty without undermining it. It would, at best, do all this and function as a meaningful public amenity; it exceeds the highest of these expectations. Through architecture, it evidences how truly meaningful the landscape/architecture construct can be. The Welcome Center relates to the landscape in myriad ways. As an object, it emerges from, nestles within, frames and defines views to the landscape. As a curatorial device, it discusses the history, potential and ecological systems of the site. As a spatial construct, it beautifully moves one through spaces and sequences that heighten one’s understanding of the building, and of the world the building inhabits. This project achieves the highest aspirations of architecture by moving beyond it.

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a renderinG illuStratinG the vew from the Botanical GardenS to the entry court and exterior café. toP right the ex­ hiBition hall leadinG towardS the entry court. aBove right the entrance veStiBule and Gift Shop in the exhiBition hall.

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landscape precisely by the surgical insertion of a beautifully scaled and articulated building without in any way deferring to the natural elements. There isn’t one false note or cloying move. In addition, this is one of the submissions where every drawing, diagram and image serves to illuminate an intention.

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Jl: This project represents such a successful architectural act of honouring a

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vehicle entrance/exit arrival plaza urBan foreSt rain Garden walkway and pedeStrian BridGeS rain Garden/BioSwale new Stormwater outfall pathway rock Garden/alpine plantS tranSitional Garden

10 roadway and pedeStrian path 11 entry court 12 SeaSonal terrace 13 welcome center 14 knoll plateau 15 pavilion 16 lewiS BuildinG 17 container Garden 18 roBiSon york herB Garden

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younG flower Garden mulleStein winter Garden GardenS event lawn tree Grove pounder heritaGe veGetaBle Garden 25 mcclintock Shed 26 BeeBe lake

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GA-2002/0070

ED-0009/2010

CirCle reply Card 20


1968 Social environmental movements take hold.

WHO SHapeS tHe future Of green deSign? You do.

1978 Earth Day brings awareness to Earth’s need for continual care.

What was once a quiet evolution has become a revolutionary force. Your desire for sustainable design has helped redefine the meaning of green. Since we began making nora® rubber flooring over 50 years ago, we’ve evolved with you.

1988 1,000 communities in America initiate curbside recycling.

Your concern for the environment continues to create new standards for designing in harmony with nature. it is why we continually explore ways to blend the best of technology with greener thinking.

1998 EPA launches voluntary programs for energy, water, indoor air quality, waste and smart growth.

it starts with you. You and your challenges. You and your world. You and nora.

2008 U.S. Green Building Council member organizations grow to 15,000.

800-332-nOra www.nora.com/us/green34 follow us: @noraflooring

CirCle reply Card 21


award of Merit

Mississauga acadeMy of Medicine

Kongats architects University of toronto, MississaUga, ontario architect

the Massing of the MUlti-tiered facility is intended to create a More hUMane and intiMate scale. Left a detail of the stainless steel fins.

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The new Mississauga Academy of Medicine (MAM) at the University of Toronto Mississauga will accommodate teaching and research facilities for the new medical program to be based out of the Mississauga campus. The campus is home to several recent and important buildings that have been recognized for their excellence in design: the Student Centre; the Communications, Culture and Technology Building; the Hazel McCallion Academic Learning Centre; and Erindale Hall. The MAM is the first of three proposed new buildings within the University of Toronto Mis-

sissauga’s South Campus. These three buildings, together with the constructed Hazel McCallion Learning Centre and CCT Building, will define a new academic quad for the campus. The MAM is situated on sloped terrain rising up from the outer campus defined by Ring Drive, and will landmark the entrance to the proposed academic quad. The shifting floor plates of the MAM accentuate the soft landscape to the east, south and west, while the Health Science Centre’s north face in its vertical uniformity provides a more formal façade to the academic quad. The faceted façades of stainless steel will capture both natural

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and ambient artificial light, ensuring its landmark presence is articulated day and night. The innovative design provides an iconic image for this newest branch of the University of Toronto’s Academy of Medicine that exemplifies the faculty’s high level of education and professionalism in the fields of medicine and research. The program for the new Academy of Medicine includes video conference-ready lecture theatres and a studio, classrooms, seminar rooms, faculty offices and an instructional laboratory. The lecture theatres and studio will be connected to the University of Toronto St. George Medical Sciences Building, Trillium Health Centre and Credit Valley Hospital for shared lectures and communication. The new facility will also house the faculties of Biomedical Communications, Anthropology and Forensics, including faculty offices, studios and research laboratories. A skin of glass and undulating stainless steel fins wrap a series of stacked “boxes” that step up the existing hill of the site. These boxes enlarge and shrink from floor to floor to suit the program tWo rendered vignettes illUstrate tWo different aPProaches to the bUilding; one version of the acadeMy’s distinctive fins, betWeen Which stUdents can be seen socializing on the oUtdoor terrace.

cLocKwise froM BeLow

requirements, with a focus on maximizing views and access to daylight. The residual interstitial outdoor spaces created between the stacked boxes will accommodate accessible terraces and indigenously planted roof gardens with protective overhangs for the occupants on each floor. The project is currently under construction, and will be open for classes in the Fall of 2011.

scheme. However, this is one of the submissions that suffered from a lack of information both with the graphic material and the text. It made it virtually impossible for the jury to independently verify the architect’s assertions about such items as innovation and site appropriateness.

Jc: The development of the glass skin and undu-

cLient University of toronto architect teaM alar Kongats, danielle laM-KUlczaK, PhiliP toMs, dieter Jensen, dave sasaKi, alessia soPPelsa, sUKie leUng, andrea ling, dereK MccallUM, tyler WalKer, steven addeo, eric van ziffle, tyMea sarKozy structuraL halsall associates liMited MechanicaL/eLectricaL crossey engineering ltd. Landscape corban and goode interiors Kongats architects contractor harbridge + cross liMited site serVices MbM consUlting inc. acoustics engineering harMonics LaBoratory Watson MaceWen teraMUra architects code consuLtant randal broWn & associates ltd. proJect Manager PMX inc. area 64,155 ft2 Budget $25 M coMpLetion March 2011

lating stainless steel fins is the most interesting aspect of this project. aK: At its essence, this project is a tough program box with a delicate skin. It effectively achieves what great architecture often aspires to: understanding and assessing a complex and challenging program to the degree that a great building can emerge. This project is defined by very clear, nuanced and beautiful formal and tectonic strategies. Its completeness is evidenced by its structural strategies, its spatial sequencing, and most succinctly in the articulation of its skin. It ultimately acts as a very serious object in a context that is perhaps a bit too architecturally selfconscious, showing the depth that the discipline can achieve without flourish or whimsy.

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to the curtain wall is a beautiful moment in the Vp of research BioMedicaL coMMunications anthropoLogy forensic science

MedicaL acadeMy adMinistration facuLty offices pBLs

MedicaL acadeMy cLassrooMs & Lecture theatre Video-conferencing studio

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award of Merit

canadian art Pavilion, Musée des Beaux-arts de Montréal architect location

Provencher roy + Associés Architectes MontreAl, Quebec

Since its founding in 1860, the Musée des BeauxArts de Montréal (Montreal Museum of Fine Arts) has moved and expanded a number of times. Its growth, in the form of pavilions, has always evolved from a profound reflection on museum architecture. The Michal and Renata Hornstein Pavilion, the Liliane and David M. Stewart Pavilion, and the Jean-Noël Desmarais Pavilion are all tectonic expressions of strong museological visions inspired by cultural and technical concerns specific to the periods in which they were built. The new pavilion is also in keeping with this tradition of continuity and proposes a distinct expression that reflects today’s concerns and knowledge. The result is the dynamic integration of a heritage building with an architectural whole that has a strong presence in the urban environment, utilizes the latest museum-building techniques, and creates a harmonious dialogue with the other museum buildings. It does not, however, fall back on stylistic mimicry. The transformation of the Erskine and American Church and the construction of the new Canadian Art Pavilion for the Musée des BeauxArts de Montréal demonstrates the museum’s willingness to preserve the heritage of our built environment while pursuing its goal of preserving and publicly exhibiting Canadian artwork dating all the way back to the 17th century. The project satisfies contemporary museum requirements and blends harmoniously with its existing architectural whole, providing a unique opportunity to create an exceptionally rich heritage environment while legitimately integrating the Erskine and American Church with the museum’s permanent collection of Canadian art. The Musée des Beaux-Arts de Montréal was relocated to its current location on rue Sherbrooke in 1912, after having spent more than 50 years on Phillips Square. In constant need of more exhibition space, the museum developed as a campus-style urban typology. Three new buildings were constructed, each with a contemporary approach to form, materials, technique looking eAst towArd rue sherbrooke, the new cAnAdiAn Art PAvilion is seen froM Avenue du Musée. left A cutAwAy view illustrAting the coMPlete Addition And renovAtion to the erskine And AMericAn church.

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and spatial organization. Built across the street in the early 1990s, the Jean-Noël Desmarais Pavilion was established with its underground gallery, and a tightly knit cultural network in this dense urban area emerged. In 2004, the museum acquired the Erskine and American Church and selected it as the home of the new Canadian Art Pavilion. The project includes five new exhibition halls and an underground gallery linking the existing network to a new concert hall in the church. Modelled as a journey through time, the exhibition halls are stacked one above each other, and each represents a particular period in Canadian art. From Colonial to Modern, visitors can explore different periods, beginning in the underground gallery and visiting each level, connected via a main staircase. As they ascend, the relationship between light and environment changes, each floor gradually allowing in more and more natural light. The top level, with its glass roof and walls, is literally drenched in daylight and offers visitors a stunning view of the city. From here, one can see all of the museum’s pavilions, its sculpture garden, and the church’s impressive rooftop. With architectural unity in mind, the exterior cladding is comprised of Vermont white marble originating from the same quarry as the other pavilions, which covers the entirety of the new Canadian Art Pavilion’s exterior surfaces. The cladding system utilizes a rain screen with a pressurized cavity in the back. The Musée des Beaux-Arts de Montréal recognizes the value of the Erskine and American Church as part of the architectural heritage of Montreal and Canada, and wishes to restore and preserve it. Consequently, the museum has restored the church’s envelope and interior finishes, repaired its exterior walls, showcased the stained glass windows, and has also ensured that the organ is in optimum condition. Ultimately, this project represents a decisively contemporary undertaking that complements the existing building in a most sensitive manner.

Jc: While I appreciate the way this project ad-

dresses the urban context, program and historic precedence, I do have reservations about the way the new engages the old, and also about the formal architectural resolution of the new addition. aK: This project simultaneously represents urban stitching, artifact and parasite, evidencing a clear and beautiful strategy for the way a city uses and animates its artifacts. It is a wonderfully parasitic but formally distinct addition to an iconic object on a very important street within a loaded context. The project is quietly aggressive, finding crevasses and cracks in the urbanity, topography and geology to link disparate objects into a cohesive and extremely compelling composition of forms and spaces. This success continues as one moves through the public spaces, performance venue and galleries, culminating in a series of buoyant, sky-filled spaces that engage

the complicit buildings and the city beyond. It is a beautifully complex, intelligent and satisfying work. Jl: This is a very challenging project in that it is

part restoration, part adaptive reuse, and part new build. Each aspect in itself is very convincing and the underground connection looks like it will be stunning. It appears to be a very compressed site, but again the submission made it difficult to understand the overarching ideas. client Musée des beAux-Arts de MontréAl architect teaM André beAudette, AlAin blAnchette, clAude Provencher, dAnielle dewAr, denis gAMAche, eugenio cArelli, JonAthAn bélisle, JeAn-luc réMy, kiA MoAzAMi fArAhAni, lAurent Putzolu, MélAnie cAron, MArie-clAude lAMbert, MAtthieu geoffrion structural nicolet chArtrAnd knoll liMitée Mechanical/electrical enerPro & le grouPe conseil berMAn landscaPe/interiors Provencher roy + Associés Architectes contractor PoMerleAu inc. existing stone restoration dfs Architecture + design scenograPhy go MultiMédiA area 5,400 M2 Budget $28.5 M coMPletion februAry 2011

clocKwise froM toP left the drAMAtic sloPing glAss roof; the design MAkes A conscious effort to exPress verticAl sPAces within the new Art PAvilion’s fourstorey gAllery voluMe; A section illustrAting the Architects’ APProAch to renovAting the church And Adding five levels of gAllery sPAce.

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award of Merit

Ville Saint-laurent library

architectS Cardinal Hardy | labonté MarCil | EriC PEllEtiEr arCHitECtEs, arCHitECtEs En ConsortiuM location saint-laurEnt, MontrEal, QuEbEC

It is rare to witness social and cultural environments as diverse as in the borough of SaintLaurent, and the wealth of cultures introduced by newcomers enriches the community. The library must therefore support a wide range of activities where everyone, no matter where they are from, can learn more about themselves and each other. Consequently, the architecture of such a library should encourage interaction and a feeling of belonging, promote exploration and discovery, and provide places to meet and exchange ideas. The first gesture, on an urban scale, is the creation of a large linear park, a band of vegetation that runs parallel to the library, providing a segue from the existing buildings to Boulevard Thimens and creating a strong, cohesive space. This linear threshold of a wide, planted plaza is dotted with a number of variably sized hard surface areas that form public and cultural spaces. A linear series of planting beds reinforces the visual aspect of the boulevard and immediately introduces the library building, which then extends towards the city. The second gesture is the formation of a landscaped “strip” that crosses the city to the forest,

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which is raised above ground to form a direct outdoor link between the city and the park. Here, the library acts as an important interface between these two components. A true connection between the city and nature is established, offering passersby a visual opening towards the park. In this project, architecture is landscape and landscape is architecture. The architecture changes shape, unfolds, spreads out and rises up, reducing the boundaries between the built space and the site. There are several means of access to the building—a simple footpath for contemplation along the way, a paved square, a suspended walkway through the trees, or an enclosed space at the heart of the project. All of these mechanisms encourage interaction and discovery. These different paths weave the city and park together, and break down the boundaries between the built form and the site. The library functions as a living environment rather than merely as a public building. The great hall is like an immense forecourt—a space that is at once spectacular and intimate. Located at the heart of the building, it is similar to a Roman piazza, a place for events, shows and temporary exhibitions, and a place for gathering and interaction. Here, the great hall offers more than one perspective. The vast space beneath the skylight is a spectacle of extraordinary scale, offering

tHE draMatiC rooflinE of tHE nEw library. bottoM, left to riGht tHE soutHfaCing tErraCE lEads visitors uP to tHE building’s grEEn roof; tHE glass atriuM ProvidEs an iMPrEssivE CountErPoint to tHE strEngtH of tHE building’s roof gEoMEtry.

aboVe

a vertical connection to the landscape. The roof is an imposing wooden shell that floats above the library, stretching over the spaces in a way that seems to change the geometry, controlling the way the light penetrates the building and the way that sound travels. It projects over the exterior spaces in continuity with the interior, and thus appears boundless. At the very centre of the space, the shell opens towards the sky, allowing a shaft of natural light to illuminate the main reading room. This luminous opening is a beacon to visitors. A poetic yet forceful response to the natural setting, the shell adds richness to the site and helps to architecturally define the space. The clarity of the building materials contributes greatly to the understanding of the structure, but there is also innovation in the library’s mechanical systems: a stormwater recovery system supplies water to the wetland area, a geothermal system connects to a heat exchange loop,


and a passive heating system utilizes the heat that has accumulated in the glass prism for redistribution. Low-flow ventilation through the floors reduces the number of ducts required, and green shelving installed in several locations throughout the library filters out the CO2 emissions. Additionally, the abundance of natural daylight combined with special task lighting translates into major energy-cost savings. Jc: The idea that architecture is landscape and

aK: This project is an example of mediated urbanity, whose primary power is not in its interpretation of a potentially laden program, the community library. It achieves excellence in its complex urbanity and its aspiration to define a community in flux. The project makes a strong argument for the integration of landscape and community architecture, mediated by formal strategies sympathetic to both. The borough of Saint-Laurent is a growing and densifying community, moving from a suburban to an urban condition. The project works hard to define the street, animate the linear park, and mediate access to the wooded area and sports fields behind. The library acts as both a constructed landscape, formally finding a middle ground between the dense housing units, the adjacent schools and big-box sports facilities, and finally, the landscape elements behind. It is architecture as mediator, beautifully creating thresholds and limits necessary to define the parameters of spaces and communities in flux. Jl: The roof was an intelligent metaphor and area

of operation for this design, as the library program is, essentially, one large room. Although the submission hints at a level of interdependency of the building and the site, the drawings do not convey enough information to make this either apparent or convincing. Finally, there is no indication of the material palette for the building which is essential.

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client villE dE Montréal—arrondissEMEnt dE saint-laurEnt architect teaM Cardinal Hardy: bao nguyEn, ClaudE JEan. labonté MarCil: PiErrE labonté, dEnis ClErMont, JEan MarCil. EriC PEllEtiEr arCHitECtEs: EriC PEllEtiEr, aMéliE turgEon, anniE MartinEau, laura didiEr, EMManuEllE CHaMPagnE, oliviEr bourgEois. Structural sdk Et assoCiés inC. Mechanical/electrical lbHa inC. landScaPe/interiorS Cardinal Hardy | labonté MarCil | EriC PEllEtiEr arCHitECtEs leed conSultant tEknika–Hba area 5,700 M2 budGet $25 M coMPletion 2012

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award of Merit

Millipede

architect location

Eric PEllEtiEr ArchitEctEs QuEbEc city, QuEbEc

The Millipede footbridge is part of Quebec City’s bicycle path development project that crosses the entire municipality before reaching the shores of the St. Lawrence River. This particular section of the path is located in an industrial and railway site just below a main overpass—a hostile and unsightly environment that is worrisome for both cyclists and pedestrians. Integrating dedicated bike paths is difficult to achieve in urban areas, but when they are located in an industrial site, the problems are very different. This project’s site is primarily characterized by the concrete superstructure of the abovegrade highway, in addition to an existing railway. The main purpose of the Millipede project is to establish a safe bike crossing over the railway of a busy switching yard. The architectural response was to introduce, in the words of the architects, “a bit of craziness, a touch of colour, and a new sense of chaos.” Rather than integrating a subtle piece of new cycling infrastructure, it was agreed upon that a brightly coloured footbridge would work its way through existing concrete columns. The design intent is to make a clear visual statement when arriving at the site. A long red glazed ribbon with its sides folded and positioned at various angles is able to reflect the lights coming at it from all directions. Perceptible through the existing concrete columns, the new structure will be supported with steel columns arranged in a seemingly random pattern that will only heighten the contrast between the existing and new 40 canadian architect 12/10

thE EntirE milliPEdE ArmAturE; thE nEw stEEl bikE PAth snAkEs its wAy through thE Existing highwAy infrAstructurE; An AEriAl Photo illustrAting thE nEw instAllAtion PlAcEd on toP of its chAllEnging contExt; milliPEdE works its wAy undErnEAth bridgEs And ovEr rAilwAys to ExtEnd QuEbEc city’s rEcrEAtionAl trAil nEtwork.

clocKwiSe froM above

structures. Millipede acts as an object of discovery and site experience, a stroll at various levels and scales that is intended to be an object of curiosity and a new landmark, capable of elevating the cyclist’s experience. Jc: It is a very interesting and poetic gesture, one

that would be welcomed in any city, especially in

contrast to typically banal highway infrastructure. Unfortunately, the resolution of the bridge itself seems underdeveloped. aK: As an urban suture, this project is a radical mending. It is active in its attempt to deal with the disastrous results of the ubiquitous 1960s and ’70s infrastructure projects which scarred so many of our cities. The project’s success is that it


Jl: The proposition is very engaging in that it

doesn’t shy away from acknowledging/represent-

galvanized Steel Structure

red glazed light concrete panel

ing the harsh environment in which it is to be inserted. We all found that although there was much to commend with its conceptual vitality, there was a lack of information about the tectonics—particularly how it’s made and with what material—that acted as a barrier to letting us engage fully with the proposition. If more detail were included, I think it would have made the submission more satisfying.

client villE dE QuébEc architect teaM Eric PEllEtiEr, AméliE turgEon, AnniE mArtinEAu Structural Ems ingéniériE landScape Eric PEllEtiEr ArchitEctEs photographer Eric PEllEtiEr ArchitEctEs budget $2 m coMpletion 2012

varieS (1400MM Min.)

does so not through the normative methods of demolition, gentrification and denial, but through a delicate threading, suturing and mediation. Millipede has a critical neutrality. On one hand, it inherently celebrates what was great about these large-scale infrastructural projects: their ambition, clarity, scale and willfulness. On the other hand, it quietly critiques its context through formal tension and by creating spaces of movement and repose, human scale, and material engagement. Most powerfully, Millipede does all this while beautifully and carefully curating the user’s experience within this part of the city.

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12/10 canadian architect

41


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Student award of excellence

logic Shift

Student

­Jeffrey­Ma,­McGill­University

A decade ago, Alberto Pérez-Gómez mapped for us the history of architectural representation in his book Architectural Representation and the Perspective Hinge (1997). He saw that one of the major shifts in our mode of understanding was derived from the collapse of the image and the represented objects near the end of the 20th century. This thesis continues one of his arguments on the fallacy of neutral techniques regarding the tools of the architect. Logic Shift uses Photosynth, a Microsoft software application, as a visual tool for Ma’s critique. Microsoft’s intention for Photosynth is to provide a platform in which users around the world can upload photographs of a particular place from different points of view, under differ-

ent conditions and on different dates, to recreate a virtual scene that resembles the represented place. Ma’s thesis is about reconciling the space of Photosynth, making manifest the space in which the built environment has left traces within the process of Photosynth. Asking the same question that Pérez-Gómez left unanswered, can a recording of traces be translated (rather than transcribed) in built architectural projects? Ma belives that a recording of traces can be translated into built architectural projects, but it requires a strong determination on the architect’s part to dismiss our roots in an object-based understanding. This shift in logic established the foundation for this thesis project. Jc: This is a thorough exploration of the potential

of digital media to generate form. The project is

­Ma’s­point­cloUd­iMaGe­is­derived­ froM­a­process­that­deconstrUcts­an­ obJect­and­then­rebUilds­it­diGitally­ froM­varioUs­vantaGe­points.­ BottoM, left to right­Ma­has­constrUcted­an­installation­where­a­diGital­aniMation­can­be­ read­siMUltaneoUsly,­allowinG­the­viewer­to­experience­More­than­one­fixed­ point­of­view­in­the­spatial­constrUct­ at­the­saMe­tiMe. toP

very well presented, and it would be interesting to see if some of these investigations could be developed into design strategies. aK: Somewhat in tension with its radical imagery and compelling mark-making, on first blush this project seems to fall readily into the “representational” bucket, where questions of the relation-

12/10­­canadian architect

­43


A series of thumbnAil sketches thAt, to quote Alberto Pérez-Gómez, questions “the Possibility thAt wholeness cAn be evoked throuGh A frAGment.” FAR LEFT A sketch illustrAtes how four screenshots from different cAmerA Positions Provide us with the freedom to tAlk About sPAce more effectively thAn sinGulAr PlAnAr imAGes cAn. LEFT A sinGulAr imAGe thAt merGes four sePArAte imAGes cAPtured by A virtuAl cAmerA from four different AnGles. ABOVE

scent virtual construct to the act of making and ship between image and methodology drive the back again. In doing so, it challenges the disciexperiment. The work quickly moves past the pline of architecture and the schools in which we reverentially gathered nuggets dropped from the teach it to keep up. well-worn satchel of academic discourse. It engages current and challenging ways in which the world is reconstructing itself, taking these tools JL: I always love students who turn an idea on its and asking what architecture can do with them. head and set out to recapture essential architecVicwest Cndn Arch Half Horz ads:Layout 1 8/23/10 11:04 AM Page 2 The work bounces rapidly and radically from natural ideas, and this is what this thesis does. Em-

ploying a clear methodology, the work illuminates another way in which makers of space can use other, more contemporary means for generating the parameters. The design applications are significant and that’s a high note that any great thesis should end on.

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student award of excellence

a Manual for non-Violent resistance ­taraneh­meshkani,­university­of­ toronto

student

This thesis is concerned with empowering the resistance of sociopolitical movements and their relationship to time and space. At the beginning of the 21st century, grassroots resistance tends to happen in urban settings, challenging the authority of totalitarian regimes. In this context, space plays an important role: spaces of defiance are critical in any power struggle. They can be utilized and activated by both sides of the conflict—governments and opposition movements. This thesis provides a spatiotemporal analysis of non-violent resistance, situating the practice in the sociopolitical sphere of Iran throughout its history. In analyzing spaces of defiance, Meshkani has chosen non-violent methods of resistance, in particular the 198 methods of nonviolent action articulated by Gene Sharp. These methods can be categorized into three different groups. Firstly, there are methods which look at the possibility of creating extreme multitudes in spaces of defiance. For example, a civic protest becomes a powerful manifestation of the political agenda of the resistance when it goes beyond a specific number of people. After a certain number, it reaches the tipping point and then it becomes difficult to control. In order to meet this critical mass, we need to know the optimal time to take to the streets, and the particularities of the spaces that are host to the demonstrations. Secondly, there are other methods of nonviolent action which use the city as a stage for communicating the message of the movement. Wearing symbols, and using paint and light are some examples of methods that can be adopted. Thirdly, a set of methods can be employed to communicate and disseminate information. Most of the means of communication and mass media are controlled by governments. Totalitarian governments also shut down any alternative means of communication that rely on the infrastructure of the city. If the resistance cannot communicate and disseminate information, there is no way to reach critical mass and orchestrate groups of people. Since in totalitarian systems the government controls mass media sources such as television, radio and newspapers, people must then rely on non-substantial means of communication for informing each other about upcoming events. Ultimately, Meshkani’s goal in this thesis is to analyze spaces of defiance and implement all the technologies and new types of media available to enhance the spatial aspect of the conflicts.

Cinemas Theatres

# of Cinemas People reaching and theatres the main street

0-5 Minutes

14

5-10 Minutes

15

7000 7500

10-15 Minutes

9

4500

15-20 Minutes

5

2500 Total : 21500

­using­coloured­paint­or­other­visible­markers­sends­out­a­subtle­message­of­political­solidarity.­ aBoVe­meshkani’s­diagram­illustrates­how­information­moves­through­ cities­to­develop­momentum­for­protest­and­dissent. toP

Jc: Even though these analyses are based in Iran, the lessons learned could be applied to a better understanding of how the technologies of the information age are affecting social behaviours in our urban centres. aK: This is radical activity. Rather brilliantly, this project does not come close to proposing a building. Instead, it proposes direct ideological action within a highly critical understanding of the city. It can possibly be seen as beyond or at least outside of architecture, part of some broader interdisci-

plinary experiment not pertinent to current pedagogy or practice. It is in fact the opposite, a call to arms to designers, a manifesto pointing to spatial territory we have long since acquiesced to artists, theorists and activists. Within the academic context, it does what a thesis project should do—it expands our notion of how and where architecture should act, it points to our inadequacies and failed aspirations, and to the increasingly reduced radii of our circular world. In fundamentally questioning where architecture resides, this work is ideological, political and embedded in urbanity. 12/10­­canadian architect

­45


Jl: This is an incredible thesis that asks how an

architect can deploy a strategy of protest and civic engagement through an elastic, creative application of architectural tools. What one immediately starts to think about as a result of this work is how the spatiotemporal manual can be applied to other ways within our profession so that we can all become better at consciously engaging in great city-building.

Smoke Flag Semaphore Heliograph

Signalling Aldis lamp Optical telegraph No rider is needed

Pigeons

Technological

They need riders

Communication systems

Dogs

Horses

Reindeers

Camels

Wired

CanArc112010_Canadia Architect 10/26/10 9:17Nonsubstantial AM Page 1

­this­diagram­illustrates­how­new­ technologies­associated­with­broadcasting­political­dissent­have­the­potential­to­redefine­the­spatial­dynamics­of­ the­city.­ left­a­chart­reminds­us­of­the­ many­traditional­and­evolving­methods­of­communicating­information.­ aBoVe­the­heavy­tomes­of­meshkani’s­ research­are­beautifully­illustrated­and­ assembled. toP left

Biological

Wireless

Telegraph

Cable Internet

Telephone

Substantial Letter

Cellphone

Walkie-talkie

WiFi

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acknowledgements

list of entrants left to right Andrew King, JAmes Cheng And JAnnA Levitt.

Letellier Cyr Ricard Mathieu et associés archi­ tectes, L’Architecte Jacques Plante, Laroche & Gagné Architecture Design, Les Architectes Corriveau, Girard et Associés, Manon Asselin Architect (Atelier TAG), Saia Barbarese Topou­ zanov Architectes, Saucier + Perrotte Architectes/ Hughes Condon Marler Architects, Smith Vigeant Architectes, The Arcop Group, Workshop–Calce Dubreuil Architectes. new BrUnswick Architecture 2000. noVa scotia Fowler Bauld & Mitchell Ltd.,

MacKay­Lyons Sweetapple Architects Limited in association with Manasc Isaac Architects Ltd., Omar Gandhi, Sperry & Partners Architects. 2010 awards of eXcellence

In addition to this year’s winners, the editors thank the following individuals and firms for participat­ ing in the 2010 Canadian Architect Awards of Excellence:

newfoUndland Sheppard Case Architects. stUdent awards of eXcellence

British colUmBia Allen + Maurer Architects,

BattersbyHowat, Bevanda Architecture Inc., Bing Thom Architects, Bruce Carscadden Architect Inc., Campos Leckie Studio, Campos Leckie Studio in collaboration with Josephine Young & Sevenhaus Design, CEI Architecture, Chernoff Thompson Architects, Chow Low Hammond Architects Inc., D’AMBROSIO architecture + urbanism, Dub Architects/Hughes Condon Marler Architects, Gair Williamson Architects/ Ankenman Marchand Architects, GBL Architects Inc., Mackin Tanaka Architects, Patkau Archi­ tects Inc./Kearns Mancini Architects Inc., Patkau Architects Inc. and MacLennan Jaunkalns Miller Architects, Rural Urban Fantasy Project Ltd., TRB Architecture Inc., Urban Arts Architecture, Wensley Architecture Ltd., Yamamoto Architec­ ture Inc. and Henry B. Mayuga. alBerta AKA/Andrew King Studio, BKDI Archi­ tects, Connect Architecture Inc., David J. Fergus­ on, GEC Architecture, Gibbs Gage Architects, Kasian Architecture Interior Design and Plan­ ning Ltd. in association with Moriyama & Tesh­ ima, Manasc Isaac, Shelterbelt Architecture, Stantec Architecture Ltd., Sturgess Architecture, The Marc Boutin Architectural Collaborative. manitoBa BIOS Architecture, Cohlmeyer Architecture Limited, Herbert Enns, Number Ten Architectural Group. ontario Altius Architecture Inc., ATA Archi­

tects Inc., bbb architects Ottawa Inc., Bortolotto 50 canadian architect 12/10

Architecture & Interior Design, Breathe Archi­ tects, Bruce March Architect, COLE + Associates Architects Inc. in association with Reich + Petch, CS&P Architects Inc., Diamond and Schmitt Architects, Dimitri Papatheodorou Architect, Drew Mandel Architects, gh3, Hariri Pontarini Architects, HOK + Stantec, Ian MacDonald Architect Inc., Ivan Saleff Architect, JCI Archi­ tects Inc., Kohn Architects Inc., Kuwabara Payne McKenna Blumberg Architects, MacLennan Jaunkalns Miller Architects, MacLennan Jaun­ kalns Miller Architects in joint venture with HIP Architects, NXL Architects in association with ssg architecture inc., Parker Architects Inc., Paul Raff Studio, RAW design, RDH Architects Inc., RDH Architects Inc. & Lintack Architects, Rodolphe el­Khoury (Khoury Levit Fong) with Drew Adams, James Dixon and Fadi Masoud, Shore Tilbe Perkins & Will, ssg architecture inc., Stantec Architecture | Kuwabara Payne McKenna Blumberg Architects—Architects in Joint Ven­ ture, Sweeny Sterling Finlayson & Co. Architects Inc., Tact Architecture Inc., Teeple Architects Inc., The Kirkland Partnership Inc. in associa­ tion with Stanford Downy Architects, The Walter Fedy Partnership, Unit A Architecture Inc. + RAW Design, Whiting Design, Zeidler Partner­ ship Architects. QUeBec ACDF* architecture | TLA architectes,

Atelier Pierre Thibault, Bisson | ACDF*_Des­ gagnés architectes, Charest Parenteau & Asso­ ciés, Consortium: Rubin & Rotman Associates Architects–Douglas Cardinal Architect, Gagnon

In addition to this year’s winners, the following architecture students were chosen by their schools to enter their thesis projects in this year’s awards: Evelyne Bouchard (McGill Univer­ sity), Andrew Bramm (University of Calgary), Erica Bright (University of Waterloo), N. Paul Chafe (Dalhousie University), Gordon Chan (University of Manitoba), Guillaume Drouin Chartier (Université Laval), Andrew Chung (McGill University), Mitchell Counsell (Carleton University), Mariela Y. de Felix­Davila (Univer­ sity of Toronto), Maya Desai (University of Toronto), Michael Robert Doyle (Université Laval), Marc Häberli (University of Calgary), April Hiebert (Dalhousie University), Ken Hoshide (University of British Columbia), Julian Hou (University of British Columbia), Amy C.S. Klassen (University of Manitoba), Alexandre Landry (Université de Montréal), Amanda Law­ rence (Carleton University), Joe Yiu Ming Lee (University of British Columbia), Bryn Marler (Dalhousie University), Heather Maxwell (Uni­ versity of British Columbia), Timothy Mitanidis (Ryerson University), Mirna Monla (McGill University), Daan Murray (University of Calgary), Lejla Odobasic (University of Waterloo), Clayton Payer (Ryerson University), Brad Pickard (Dal­ housie University), Matthew Roper (University of Manitoba), Mark Siemicki (Ryerson University), Andre Silva (University of Manitoba), Andréanne Simoneau (Université Laval), David Smith (Uni­ versité Laval), Sandro B. Thordarson and Stephen Addeo (University of Toronto), Michael Ryan Trussell (University of Waterloo).


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Canadian Architect December 2010  

Canadian Architect is a magazine for architects and related professionals practicing in Canada. Canada’s only monthly design publication, Ca...

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