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24 THE JUGGERNAUT A POST-PRODUCTION FILM STUDIO GETS A RUGGED NEW INTERIOR FROM GIANNONE ASSOCIATES ARCHITECTS. TEXT JOHN BENTLEY MAYS

30 SUPERKÜL STUDIO TAKING THEMSELVES ON AS CLIENTS, SUPERKÜL PRINCIPALS DESIGN A HOME/OFFICE IN A SLOWLY GENTRIFYING TORONTO NEIGHBOURHOOD. TEXT DAVID STEINER

36 DIALOGUE 38 INTERIOR DESIGN FIRM DIALOGUE 38 BLAZES NEW TRAILS IN HOSPITALITY AND RETAIL DESIGN. TEXT LESLIE JEN

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CONTENTS

11 NEWS La Biennale di Venezia 11th Annual Architecture Exhibition; 2008 National Urban Design Awards.

50 INSITES Peter MacCallum’s photographs capture the surprising beauty and diverse activities of Toronto’s iconic Yonge Street, a process that is revealed when interviewed by Ian Chodikoff.

57 REPORT Léa-Catherine Szacka raises some questions concerning the Vancouverism: West Coast Architecture and City Building exhibition held at Canada House in London’s Trafalgar Square that was part of the London Festival of Architecture.

60 BOOKS Four new publications are reviewed by Peter Sampson, Jennifer Haliburton, Ian Chodikoff and Leslie Jen.

64 CALENDAR Radiant Dark: 29 Designs on Darkness and Luxury in Cambridge; IIDEX/NeoCon Canada 2008 in Toronto.

66 BACKPAGE Tanya Southcott reports on how the neglect of the Alma College heritage landmark led to destruction by fire and irrevocable loss.

SEPTEMBER 2008, V.53 N.09

THE NATIONAL REVIEW OF DESIGN AND PRACTICE/ THE JOURNAL OF RECORD OF THE RAIC

COVER EKO 1 JEWELRY SHOP IN TORONTO BY DIALOGUE 38. PHOTOGRAPH BY ERIC LAU.

09/08 CANADIAN ARCHITECT

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VIEWPOINT

EDITOR IAN CHODIKOFF, OAA, MRAIC ASSOCIATE EDITOR LESLIE JEN, MRAIC EDITORIAL ADVISORS JOHN MCMINN, AADIPL. MARCO POLO, OAA, MRAIC CHARLES WALDHEIM, OALA(HON.), FAAR CONTRIBUTING EDITORS GAVIN AFFLECK, OAQ, MRAIC HERBERT ENNS, MAA, MRAIC DOUGLAS MACLEOD, NCARB ABOVE, LEFT TO RIGHT ALTHOUGH STILL CONSIDERED TO BE AN ENDANGERED HERITAGE SITE, FORT LANGLEY, BC CONTINUES TO DRAW VISITORS; A PAINTED CHINESE CHARACTER, SYMBOLIZING “WILL BE DISMANTLED,” IS A COMMON SIGHT IN BEIJING WHERE MANY HUTONGS ARE DEMOLISHED FOR NEW ROADS AND BUILDINGS; BEIJING’S STUNNING OLYMPIC STADIUM SYMBOLIZES PROGRESS, ALTHOUGH MUCH OF THE CITY’S HERITAGE WAS DESTROYED TO MAKE ROOM FOR IT.

REGIONAL CORRESPONDENTS HALIFAX CHRISTINE MACY, OAA MONTREAL DAVID THEODORE WINNIPEG HERBERT ENNS, MAA REGINA BERNARD FLAMAN, SAA CALGARY DAVID A. DOWN, AAA EDMONTON BRIAN ALLSOPP, AAA PUBLISHER TOM ARKELL 416-510-6806

While it does not face the threat of imminent demolition, in Fort Langley, British Columbia, the battle continues to preserve a historic fort that was established as a small trading post, which eventually led to the creation of British Columbia. Fort Langley is an officially designated heritage site, one of 7,200 in Canada. Often requiring complex maintenance and expensive upkeep, these heritage properties are in constant danger of being demolished. Both the UK and the US have effective broad-based programs for preserving built heritage properties through taxincentive programs for developers or communities who choose to preserve these properties.

Canada lacks such programs. However, Conservative MP Mark Warwara, whose riding encompasses Fort Langley, is attempting to develop Canada’s own National Heritage Trust, a mechanism to facilitate the raising of capital to restore or maintain endangered heritage properties.

Until recently, Canada had a financial incentive program designed to safeguard heritage properties from the wrecking ball. Established in 2003 with a $30-million cash injection, the Canadian Commercial Heritage Properties Incentive Fund once offered money for revitalizing buildings, which helped to preserve 52 buildings in nine provinces. Killed by the current government, it remains to be seen whether Warwara can convince his party to restart the program or morph it into a new national trust. Canada has lost 20 percent of its pre-1920 buildings over the past 30 years, but nothing compares to the transformation of Beijing where the costs associated with erasing cultural history are strikingly apparent.

For the sake of presenting China as a progressive nation, several beautiful and iconic examples of contemporary architecture resulted from the 2008 Beijing Olympics: Herzog & de Meuron’s National Stadium, PTW Architects’ National Aquatic Centre and Studio Pei-Zhu’s Digital Beijing, to name a few. The gargantuan efforts to create the Olympics have caused considerable 8 CANADIAN ARCHITECT 09/08

destruction to China’s heritage. Two recently published books, The Last Days of Old Beijing by Michael Meyer and Thomas J. Campanella’s The Concrete Dragon discuss the issue of heritage and its destruction in the name of progress.

China is a country that excels in destroying its national heritage, performing a ritualized cleansing of its own culture at least twice in the last 60 years—in the Great Leap Forward and the Cultural Revolution. Living as the only Westerner in a Beijing hutong—the rapidly disappearing traditional lanes of linked courtyard houses—Meyer witnessed and documented the daily demolition of these characterful buildings, from which residents and businesses were being evicted, often with only a few weeks’ notice. Neglected by the state for decades and lacking adequate plumbing or heat, the conditions of these hutongs worsened, eventually leading to their destruction.

For Campanella, the story is less nostalgic.

Surging economic growth has created a construction boom unlike anything the planet has ever seen. China is demolishing buildings by the billions of square feet every year, many of which hold tremendous cultural or heritage value.

Sprawling into the Chinese landscape, gigantic Western-inspired housing developments and high-rises are being built alongside superhighways studded with big-box retail outlets like Ikea and Wal-Mart.

It is unfair to compare the rate at which Canada and China erode their heritage inventory, but it is useful to look at extreme examples to reinforce one’s value system at home. Similarly, most of us will never earn a gold medal at the Olympics, yet watching athletes compete in China inspires us to renew our interest in sports. Observing China’s drive for progress—at great social and cultural cost to its people—drives home the importance of recognizing and preserving the value of heritage as our link to the past.

IAN CHODIKOFF

ICHODIKOFF@CANADIANARCHITECT.COM

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NEWS

ZEIDLER PARTNERSHIP

PROJECTS Zeidler Partnership Architects to design new atrium roof for Toronto’s Union Station.

GO Transit has embarked on an extensive renewal program for its Union Station Rail Corridor in Toronto, which aims to double Union Station’s capacity to more than 80 million passengers per year, improve train operations and reliability and reduce operating costs. A part of this initiative, GO Transit intends to fully rehabilitate the 1920s industrial Bush trainshed. The 350-metre-long roof is of a type that was built extensively throughout the USA and Canada at the time, with only two remaining today. While most of the seven-acre trainshed will be refurbished, the central portion will be removed and replaced with a new glass atrium to indicate the importance of the station as the hub of GO Transit. On a team led by Halcrow Yolles, Zeidler Partnership Architects’ role has been the design of the new atrium roof which will be a simple, elegant translucent glass box of 70 metres × 94 metres, framed by a grid of 3-metre-deep steel trusses raised 15.5 metres above passenger platform level. On all four sides, the glass roof will overhang the much lower refurbished roof by 9 metres. Midway in this overlap, delicate curtains of clear glass louvers will be suspended from the roof on a minimal network of steel tubes and cables. The west window in the Great Hall was the precedent for this design. The translucency of the glass will allow for the steel truss structure and catwalks to be glimpsed in a poetic and somewhat expressionistic manner. The new roof design attempts to build on the west window image by introducing patterned screens between the layers of glass. Additional access stairs and elevators

ZEIDLER PARTNERSHIP

will be added to increase the number of connections between the concourse level and the platforms. When completed, more than 50 new sets of stairs and elevators will have been added to greatly improve passenger access to and from the trains. GO Transit is also working with the City of Toronto to increase the concourse space in the station. As the seven-acre trainshed roof is highly visible from the surrounding office and condo towers, its appearance will be much enhanced by a proposed green roof on the historic trainshed roof and solar panels may also be provided either on the Bush roof or on the new glass atrium roof.

These installations will help to reduce the heatisland effect, improve storm-water runoff and generate electricity to illuminate the glass roof.

AWARDS Dockside Green’s integrated design team celebrates groundbreaking achievement.

Busby Perkins+Will announced that the completion of the highest-scoring LEED Platinum-certified building on record marks its fourth LEED Platinum-certified project and the firm’s 29th LEED-certified project. In addition to designing Phase 1 of Dockside Green in Victoria, Busby Perkins+Will was responsible for the design of the master plan for the entire 15-acre mixed-use Dockside Green development, which is expected to become the first LEED Platinum community in the world. Dockside Green Phase I, also referred to as “Synergy,” includes four detached buildings constructed over a common underground parking structure, including a nine-storey residential tower with minor commercial units on the ground floors, a two-storey townhouse, a sixstorey building with minor commercial units on the ground floor, and a four-storey residential

ABOVE ZEIDLER PARTNERSHIP ARCHITECTS IS CURRENTLY WORKING WITH GO TRANSIT TO REHABILITATE AN EXISTING TRAIN SHED BEHIND TORONTO’S UNION STATION, DOUBLING ITS ANNUAL CAPACITY TO HANDLE THE NUMBER OF DAILY COMMUTERS.

building. Dockside Green is employing an integrated energy system that ensures the development will be greenhouse gas-neutral, while also providing the opportunity for the project to become a net-energy provider. The system includes a biomass gasification plant that converts locally sourced wood waste into a clean burning gas to produce heat and hot water. Among the development’s many other sustainable features are: an on-site wastewater treatment that is expected to save more than 70,000 gallons of water annually; rooftop gardens; a car co-op with Smart Car; and additional energy-saving features including Energy Star appliances, heat recovery ventilations units, Low-E double-glazed windows and exterior blinds on the west and south faces of each building. A series of ponds spread throughout Dockside’s central greenway also assist in onsite stormwater storage while the greenway itself provides the development with significant public open space. When complete, the Dockside Green development will be a community of approximately 2,500 residents and will also include live/work, hotel, retail, office and light industrial uses, as well as numerous public amenities. Each of the development’s 26 buildings is designed for LEED Platinum certification. www.docksidegreen.com 2008 National Urban Design Awards.

The Royal Architectural Institute of Canada, the Canadian Institute of Planners, and the Cana09/08 CANADIAN ARCHITECT

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dian Society of Landscape Architects announced the recipients of the 2008 National Urban Design Awards, in recognizing that urban design and architectural excellence play an important role in maintaining and enhancing the quality of life in Canadian cities. The recipients are as follows. Le Campus Outremont in Montreal by Groupe Cardinal Hardy in collaboration with Provencher Roy + Associés architectes won in the Conceptual/Theoretical Urban Design Plans category, and in the Urban Architecture category, the award was captured by Canada’s National Ballet School/Project Grand Jeté: Stage 1 Jarvis Street Campus and Radio City in Toronto by Goldsmith Borgal & Company Limited, Kuwabara Payne McKenna Blumberg Architects, architectsAlliance, and Urban Strategies. The Corktown Footbridge in Ottawa by Delcan and Du Toit Allsopp Hillier/Du Toit Architects Limited won in the Civic Design Projects category, and Making the Edible Campus in Montreal by the Minimum Cost Housing Group at the McGill University School of Architecture won in the Urban Fragments category. A Special Jury Award for Sustainable Development was given to the Lower Don Lands project in Toronto by Michael Van Valkenburgh Associates, Inc. A Special Jury Award for Small or Medium Community Urban Design was given to the University of Ontario Institute of Technology in Oshawa by Diamond and Schmitt Architects. A Student Award for an Individual Thesis was given to

Allison Wood from the University of Calgary for iCITY: Public Space v2.0. Finally, Certificates of Merit were given to the following projects. The River Landing Riverfront Master Plan in Saskatoon by Crosby Hanna & Associates, Landscape Architecture & Planning won in the Approved or Adopted Urban Design Plans category, and two projects snagged awards in the Urban Architecture category—the Four Seasons Centre for the Performing Arts in Toronto by Diamond and Schmitt Architects, and the Biological Sciences Buildings at the Université du Québec in Montreal by Saia Barbarese Topouzanov architectes in consortium with Tétreault Languedoc architectes. Two projects were awarded in the Civic Design Projects category—the 7 Avenue LRT Refurbishment in Calgary by Sturgess Architecture and Leigh Square in Port Coquitlam by Boldwing Continuum Architects Inc. Calgary Starts Here: Olympic Plaza Cultural District Strategy in Calgary by Cultural District Renaissance Society of Alberta (operating as the Olympic Plaza Cultural District) was recognized in the Community Improvement Projects category. And finally, one winning team was awarded in the Student Work/Projects—Studio-Based Work category: False Creek, Vancouver, BC by the Faculty of Architecture, University of Manitoba: Professor Alan Tate, CSLA with students Erin Ediger, Hope Gunn, Christine Haylock, Qi Liao, Suzy Melo, Leanne Muir, Charles Sands, Elizabeth Thiel, and Linda Yee.

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Kasian projects win City of Calgary Awards.

The City of Calgary has awarded 2007 Calgary Awards to the University of Calgary Child Development Centre (Environmental Achievement) and the Alberta Children’s Hospital (Accessibility). Both projects were designed by Kasian Architecture Interior Design and Planning Ltd. Presented to the University of Calgary, the Calgary Health Region and other recipients, the Calgary Awards were established to celebrate and recognize outstanding achievements and contributions made by Calgarians. Each year, individuals, corporations, community groups, schools, and organizations are nominated in five major award categories, for a total of 17 awards. The University of Calgary Child Development Centre received the Environmental Achievement Award for an educational institution as recognition for the facility’s advanced technology, management, conservation, protection, enhancement, education, stewardship, and promotion of the city’s environment. The Alberta Children’s Hospital received the Award for Accessibility as recognition of the facility’s commitment to go above and beyond the minimum requirements of the Alberta Building Code for accessibility by persons with disabilities. www.calgary.ca/docgallery/bu/cityclerks/award_ recipients/2007_receipients.pdf

Copper industry honours recipients of architecture awards program.

Winners of the Torsanlorenzo International Prize 2008 announced.

The Copper Development Association (CDA), in collaboration with the Canadian Copper & Brass Development Association (CCBDA) recently announced the recipients of the North American Copper in Architecture Awards program. The awards recognize the innovative use of copper in both historic restoration and new construction projects.

In the Historic Restoration category, two Canadian projects were selected: La Basilique Notre-Dame de Montreal by Les Architectes Faucher Aubertin Brodeur Gauthier along with contractor Les Couvertures St-Léonard, Inc.; and the Library of Parliament in Ottawa by Ogilvie & Hogg, Les Architectes Desnoyers Mercure & Associés, Spencer R. Higgens Architect Incorporated, and Heather & Little Limited. In the New Construction category, the Canadian War Museum in Ottawa by Moriyama & Teshima Architects, Griffiths Rankin Cook Architects and Flynn Canada, Ltd. captured an award. The program is intended to increase public awareness and promote excellence in architectural copper design for buildings constructed throughout the United States and Canada during the past five years. All of the projects, including photos, are currently featured on CDA’s newly designed website. www.copper.org/applications/architecture/awards

This international prize was created to highlight landscape projects to and promote the quality of urban green spaces and forests. Organized for the sixth time, this annual prize receives the support of the International Union of Architects (UIA). Two prizes were awarded in each of three categories: landscape design in transformation of the territory; urban green spaces; and private gardens in cities and suburbs. The winners are as follows. In the landscape design in transformation of the territory, first prize was given to the Paulinum School in Schwaz, Austria by architect Rainer Schmidt (Austria); second prize to the restoration of the Sforza Cesarini garden in Rome, Italy, by architects Virginio Melaranci, Cinzia Giuliani, Dimitri Ticconi, Ilia Monachesi (Italy). In the Urban Green Spaces category, first prize was given to the restoration of the “Colline de la Paix” in Finocchio, Italy by architects Luigi Franciosini, Paola Porretta, Antonella Tittoni, Paolo Uliana, Giovanna White (Italy); second prize to the General Maister Memorial Park in Ljubno ob Savinji, Slovenia by architects Matej Kucina, Tanja Maljevac, Primoz Pugelj, Marjan Pobolsaj, Toncek Zizek, architects (Slovenia). In the Private Gardens category, first prize was given to Villengarten St. Gilgen, Salzbourg, Austria by architect Rainer Schmidt (Austria); and second prize was given to the Atlas Apartments, Sydney, Australia by architects Adrian McGregor and Larissa Ward (Australia).

COMPETITIONS Prototype: Design Ideas for the Home Competition.

Interior Design Show 2009 invites independent designers and studios to submit creative concepts not currently in production for furniture, lighting, textiles, products and accessories to the Prototype Competition/Exhibition. Successful Prototype participants will be promoted in an exhibit display in the centre of Studio North during the Interior Design Show at the Direct Energy Centre in Toronto from February 5-8, 2009.

Selected participants will be listed in the IDS show guide and website and promoted to Canadian and international media. Once selected by the jury, participants are required to pay a participation fee of $425 + GST (includes submission fee) for inclusion in the exhibit. Only full-scale prototypes or limited editions are permitted for the final exhibit. Drawings or photographs will not be accepted for display. The professional jury will be evaluating the following criteria for selection: function, aesthetics, use of materials, design innovation, market potential, suitability for mass production and sustainability. To download the application form, please visit www.interiordesignshow.com/2008/userfiles/ file/IDS%20PROTOTYPE%20FINAL.pdf. Please submit proposals to prototype@interiordesignshow.com or fax to 416.599.3224. The deadline for submission is October 20, 2008.

Competition for House of Arts and Culture in Beirut.

Tarek Mitri, Minister of Culture of Lebanon, announced the launch of an international competition for the design of the House of Arts and Culture in Beirut city centre during the UIA General Assembly. In conformity with the UNESCO-UIA regulations, this project competition, open and anonymous, has been approved by the International Union of Architects. This landmark building is part of the reconstruction process of the Lebanese capital and will be realized with the support of the Sultanate of Oman.

The deadline for registration is September 29, 2008, and the deadline for delivery or mailing entries is January 30, 2009. The deadline for receipt of posted projects is February 10, 2009.

The competition is open to licenced architects practicing architecture in their country and multidisciplinary teams headed by an architect. The non-refundable registration fee of $250 US may be paid online or by direct bank transfer. The total prize money to be awarded is $90,000 US to be apportioned as follows: 1st prize of $40,000 US; 2nd prize of $30,000 US; and 3rd prize of $20,000 US. www.darbayrut.org Diamond + Schmitt Architects selected for Boettcher Concert Hall.

Following an international competition, the Colorado Symphony Orchestra (CSO) and offi-

cials from the City and County of Denver announced that Toronto architectural firm Diamond and Schmitt Architects has been chosen to lead the design of the Boettcher Concert Hall project. For this project, Diamond and Schmitt Architects have partnered with Denver-based Oz Architecture. Principal Jack Diamond leads the design team that includes principal Gary McCluskie and associates Michael Treacy and Matthew Lella, the same team that spearheaded the design of Toronto’s Four Seasons Centre for the Performing Arts. From an initial group of firms that included KPMB, Barton Myers, Bing Thom, Holzman Moss and Snøhetta, Diamond and Schmitt Architects in joint venture with Oz Architecture was chosen from among six finalists who presented their design concepts at the end of June. The competing design teams included Skidmore Owings and Merrill, Grimshaw Architects, LMN Architects, David M. Schwarz, and the Zeidler Partnership. Built in 1978 and suffering from severe acoustical and accessibility issues, as well as major deterioration and a lack of support space, Boettcher Concert Hall will undergo a redesign thanks to Denver voters who approved a $60-million bond initiative in November 2007.

With an additional financial commitment of at least $30 million from the Colorado Symphony Orchestra, Denver’s new symphony centre will provide the orchestra with an elegant and beautiful home that will include a state-of-the-art acoustical hall and dedicated spaces for public

gatherings, educational offerings, artist dressing rooms, a music library, and rehearsal and office space. Construction on Boettcher Concert Hall is anticipated to begin in 2010.

WHAT’S NEW La Biennale di Venezia: 11th Annual Architecture Exhibition.

The 11th International Architecture Exhibition is directed by Aaron Betsky and entitled Out There: Architecture Beyond Building. The exhibition is organized by La Biennale di Venezia and presided over by Paolo Baratta, and will take place in Venice from Sunday, September 14th to Sunday, November 23rd, 2008. According to Betsky, the 11th Architecture Biennale points out what should be an obvious fact: architecture is not building.

Betsky has for six years been the director of the Netherlands Architecture Institute (NAI) in Rotterdam, one of the most prestigious museums and architecture centres in the world. He states that, “Buildings are objects and the act of building leads to such objects, but architecture is something else. It is the way we think and talk about buildings, how we represent them, how we build them. This is architecture.” Out There: Architecture Beyond Building will present, in the Venice Arsenale, more than a dozen large-scale sitespecific installations that will ask the question of how we can be at home in the modern world.

There it will offer an alternative to urban planning

*2 *5((1

in viral architecture. It will present manifestos for an architecture beyond building, and will show visions that might become the building blocks for such an architecture, finally bringing us back to Eden. Participants will include Diller Scofidio + Renfro, UN Studio, Jurgen Mayer H., Massimiliano Fuksas, Nigel Coates, Erik Adigard, Work Architecture, Droog Design, Philippe Rahm and Kathryn Gustafson, as well as architects who will create viral forms. In the Padiglione Italia, a survey of experimental architecture will show the work of firms from around the world who are engaged in such endeavours. This survey will be anchored by small monographic shows on firms whose work has been based on such experimentation: Frank Gehry, Herzog & de Meuron, Morphosis, Zaha Hadid and Coop Himmelb(l)au. www.labiennale.org Australian architect Louise Cox becomes president of the International Union of Architects (UIA).

Following the General Assembly held in Turin, Italy, from July 3-6, 2008, Louise Cox succeeded Gaetan Siew as president of the International Union of Architects for the triennial period 2008-2011. She has been actively involved in the UIA structures dedicated to education since 1996, as a member of the UIA Architectural Education commission and the UNESCO-UIA Validation Council for Architectural Education.

From 2005 to 2008, she also represented UIA

region IV (Asia and Oceania) on the joint oversight committee (JOC) for the UIA international continuing professional development program.

Cox was coordinator of the UIA work programs on architectural heritage and helped establish closer collaboration with ICOMOS and DoCoMoMo. She also participated in the creation of the UIA website on 20th-century architectural heritage and continues to participate in its evolution. Cox has placed sustainable professional practices at the heart of her presidential program and is committed to energetically supporting the international continuing education system. In her own words, she â&#x20AC;&#x153;wants to make UIA an inclusive, respectful, tolerant, and visionary organization, working to ameliorate poverty and homelessness.â&#x20AC;? Candidate to the UIA presidency along with Giancarlo Ius, who passed away tragically on the day of the elections, Cox has committed to pursuing, along with her own, the goals elaborated by Ius for the coming triennial period. Cox is the second woman to serve as UIA president, following Sara Topelson de Grinberg who held the post from 1996 to 1999. www.uia-architectes.org RAIC 2030 Wiki launched at the Festival of Architecture 2008.

The RAIC 2030 Task Force announced the launch of the RAIC 2030 Challenge Wiki site at the AANB/RAIC Conference and Festival of Architecture in Fredericton in June of this year. Con-

figured like Wikipedia.org, the RAIC 2030 Challenge Wiki site will provide an up-to-date and evolving source of technical information and advice from peers on design approaches, methods and materials for enhanced energy performance. The evolving information within the site will help ensure all the elements of building performance have an energy signature. The Wiki site will push a broader set of environmental or sustainable design imperatives needed to achieve net zero carbon emissions in buildings. www.raic.org/raic/green_architecture/2030_ index_e.htm First provincial chapter of the Royal Architectural Institute of Canada looks back, then sets sights on future.

Architects from across Alberta came together to mark the first changing of the guard of the provincial chapter of the Royal Architectural Institute of Canada (RAIC). New executive joined the pioneering members of the inaugural committee to reflect on past successes and to look forward to future possibilities. Two years ago the formation of the Alberta Chapter achieved a historic first for the nation-wide and century-old organization. Developing provincial or local chapters will energize the organizationâ&#x20AC;&#x2122;s grassroots. The RAIC believes that architectureâ&#x20AC;&#x2122;s place in this larger but local context has economic, cultural and environmental dimensions that are of significant benefit to all Albertans. The Alberta

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Chapter, by framing, highlighting and affirming these dimensions for the widest possible audience, hopes to build relationships and form alliances with like-minded citizens, associations and institutions from across the province.

Alberta is currently home to over 400 RAIC members. http://raicalberta.org/ First-ever summit brings the benefits of green building to wide Canadian audience.

After exceeding attendance projections and helping to educate a diverse audience about the benefits of green building, the Canada Green Building Council (CaGBC) has declared their Shifting Into the Mainstream summit a success. The national green building summit, held in Toronto on June 11-12, 2008, was host to more than 1,200 delegates, 150 exhibitors, 65 journalists, and 40 speakers and panellists. At the summit, CaGBC announced the Green Building Performance Initiative (GBPI), which includes setting baselines for energy and water performance with hundreds of commercial office buildings, schools, and government and utility company buildings. Pilots with other building types will roll out over the next three years, and once complete, the energy and water performance benchmarks will be included in the Green Building Performance System (GBPS). The GBPS will provide building owners and managers with a set of integrated energy and environmental manage-

ment tools and resources, allowing them to compare energy and water use and GHG emissions against national and regional performance standards. By establishing performance and benchmarking against other buildings in their category, owners and managers will be better able to adopt performance improvements and reduce GHG emissions. www.cagbc.org Cities Are More Important Than Countries: IHS celebrates its 50th anniversary.

The Institute for Housing and Urban Development Studies (IHS) is celebrating its 50th anniversary this year. IHS was founded in Rotterdam after the Second World War, during the postwar reconstruction of the city. IHS was established to communicate the knowledge concerning housing and urban planning that was garnered in Rotterdam to governments in the developing world.

After 50 years, IHS has harnessed its leading role as the international knowledge centre that makes cities work. This autumn, several events will mark the 50-year celebrations, including a photo and essay competition, the release of a documentary film and a series of urban meetings. The anniversary theme is “Cities Are More Important than Countries.” In 2008, the world has reached an invisible but momentous milestone: for the first time in history, more than half of the human population is living in urban areas. Along with this rise in urbanization, both production and

wealth are increasingly located in cities. City councils cut direct deals with multinationals concerning their location requirements and investment opportunities. People make use of the amenities in their direct urban surroundings, created and maintained by city authorities. Cities are becoming more important than countries. As a gift to the city of Rotterdam, IHS—in close collaboration with the International Architecture Biennale Rotterdam (IABR) and Architecture Institute Rotterdam (AIR)—is organizing a series of urban meetings that explore the need for an Urban Agenda for an Urban Age. These urban meetings will take place in October and November 2008. The meetings will be held in English.

Leading academics give their insights on the economic aspects of the world’s rapid urbanization at an academic conference entitled “Are Cities More Important Than Countries?” The conference will take place from October 30-31, 2008 at the IHS. Keynote speakers are: Edward Glaeser (Harvard University, USA); Gianmarco Ottaviano (University of Bologna, Italy); Henry Overman (London School of Economics, UK); and Jacques Thisse (Core and UCL, Belgium). The IHS helps individuals, organizations and cities to find suitable approaches to housing and sustainable urban development and management. IHS offers postgraduate education and training, provides advisory services and conducts research in these fields. www.ihs.nl

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Highly anticipated Modern Wing of the Art Institute of Chicago by Renzo Piano to open to the public in May 2009.

The Art Institute of Chicago has announced that the Modern Wing, designed by Renzo Piano, will open to the public on May 16, 2009. The Nichols Bridgeway, a pedestrian bridge designed by Piano that connects the Modern Wing to Millennium Park, will open the same day. The 264,000-square-foot Modern Wing will house the Art Institute’s collections of modern European art and contemporary art, with new gallery space for the collections in photography, architecture and design. The permanent collection galleries on the third floor will be installed with the museum’s worldrenowned collection of European painting and sculpture from approximately 1900, including the work of Pablo Picasso, Henri Matisse, Constantin Brancusi, Wassily Kandinsky, Piet Mondrian, Salvador Dalí, and other leading artists. The permanent collection galleries on the second floor will house the museum’s revelatory collection of contemporary art, from the work of mid-20th-century American artists such as Jackson Pollock and Willem de Kooning to installations of the work of Andy Warhol, Gerhard Richter, Robert Gober, Charles Ray, the Chicago “Imagist” school, and Eva Hesse.

Photography galleries and a “black box”—or new media—gallery will be found on the first floor, with additional second-floor galleries

devoted to the museum’s collection in the fields of architecture and design. The gallery spaces in the new building will be augmented by a number of distinctive public areas. The Modern Wing will be oriented around Griffin Court, which forms the building’s “main street,” offering dramatic views north to Millennium Park and the downtown Chicago skyline.

Also on the first floor of the building will be the new Ryan Education Center, a 20,000square-foot facility that includes classroom and studio space for school children and families, and a garden with a specially commissioned sculpture.

20th-century architectural heritage website updated.

In 1999, a collaborative effort was instigated between the French Ministry of Culture and Communication (Direction of Architecture and Heritage—DAPA), the French National Centre for Scientific Research (UMR-CNRS 694 MAP), and the International Union of Architects for the development of an Internet project dedicated to the architectural heritage of the 20th century. The goal of the project was to create a catalogue of the architectural realizations around the world that marked the 20th century, spotlighting the work carried out in this area by the UIA’s Member Sections. The new version of the website offers a simplified indexation system, a more attractive and dynamic visual KITCHEN

BATH

interface, advanced research possibilities, and new functionalities such as the possibility to attach PDF files and URL addresses to descriptions and to access data in several forms and formats. Users can now find information through a timeline and test their knowledge in an interactive quiz. www.archi.fr/UIA2/ Singapore hosts Archifest 08: Man + Environment.

The Singapore Institute of Architects (SIA) announces the launch of Archifest 08, to be held in Singapore during the month of October 2008.

This month-long festival celebrating architecture and the built environment is due to return for a second year after the success of last year’s event. Look forward to a myriad of exciting events including exhibitions, forums, architours and other fringe events at Archifest. Organized by the Singapore Institute of Architects (SIA), Archifest 08’s main events will be featured at the festival hub at the National Library Building on Victoria Street. Archifest 08 is an initiative supported and co-funded under the Architecture and Urban Design Excellence (A+UDE) Promotion Programme by the Urban Redevelopment Authority (URA), and is sponsored by BlueScope Steel and Johnson Suisse Bathroom Solutions. www.archifest.sg

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EXPERIENCE TOMORROWâ&#x20AC;&#x2122;S IDEAS TODAY

Architects looking for inspiration or validation of new shifts in architectural process that are taking place around the globe will find the lineup of keynote speakers and seminar topics at IIDEX/ NeoCon Canada 2008 most relevant. Of particular interest to the industry are two keynotes that relate, complement and advance current architectural approaches.

As a champion of the Scandinavian aesthetic of functionality, clarity and beauty, Kim Herforth Nielsen, Partner and Principal Architect of 3XN located in Copenhagen, is this yearâ&#x20AC;&#x2122;s Architecture Keynote Speaker, and will relate his experience of 20 years at one of Europeâ&#x20AC;&#x2122;s most imaginative architectural practices. It should then come as no surprise that with this degree of experience, accomplishment and lasting impressionable design, there would be a book.

Herforth Nielsen and his team have coined the

concept of â&#x20AC;&#x153;life between buildings.â&#x20AC;? At its core, the concept is about bringing an isolated objectâ&#x20AC;&#x201D; say, a houseâ&#x20AC;&#x201D;into the living world where it needs to connect with the people, the space, the landscape, and the community. The architect then becomes the life force, the creator and the conduit between the object and the end user. â&#x20AC;&#x153;The architect is the mainstay in the process, and he must be able to listen to the site and to assimilate what it is trying to tell him,â&#x20AC;? says Herforth Nielsen. â&#x20AC;&#x153;To an increasing degree, it is a question of being sensitive. Architecture is interpretative.â&#x20AC;?

The 3XN team has developed this philosophy into a working method represented by five simple words, which is also the title of the book: Investigate, Ask,Tell, Draw, Build.The process will come to life through various 3XN projects from around the world.

And if shifting paradigms of are interest, architects would benefit from attending the Environmental Keynote presentation, Dr. Michael Braungartâ&#x20AC;&#x2122;s â&#x20AC;&#x153;The New Design Paradigm.â&#x20AC;? As the German chemist behind the influential 2002 bestseller Cradle to Cradle: Remaking the Way We Make Things, Braungart helped establish a framework for the

next Industrial Revolution. Co-authored by American architect William McDonough, the book makes the case that human industry can be transformed through ecologically intelligent design to benefit nature, people and business.

The phrase â&#x20AC;&#x153;eco-effectivenessâ&#x20AC;? is at the heart of his presentation, and speaks to sustainable practices to be driven by human ingenuity. It also holds appeal for a new approach to architectural designâ&#x20AC;&#x201D;as pressure to use sustainable products increases, but also as humankind starts to pressure designers to be more responsive to space and landscape, and to interaction between structures and the community.

Braungart will share case studies working with world-class brands, and will show how through reinventing manufacturing processes, he is creating an entirely new way of thinking that will impact all design disciplines.

The IIDEX/NeoCon Canada show runs September 25th and 26th at the Direct Energy Centre.

The show will focus on innovation and will share products and knowledge with attendees. To learn more about the products, seminars, additional keynotes and special programming for architects, or to register, please visit www.iidexneocon.com.

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update ISSUE 30.3 SUMMER 2008

The Royal Architectural Institute of Canada The leading voice of architecture in Canada

Architecture matters ... immensely

By Paule Boutin RAIC President

photo: Michelle Valberg

I consider it as quite an honour to be entrusted with the role of president of the Royal Architectural Institute of Canada (RAIC) for the coming year. As the leading voice of architecture in Canada, the RAIC has been doing great work, for just over a century, in building awareness and appreciation of the contribution of architecture to the physical and cultural well-being of Canada.

Through its awards programs, such as the RAIC Awards of Excellence, the Urban Design Awards, the RAIC Gold Medal and the Governor General’s Medals, the RAIC celebrates the richness and diversity of architecture in Canada.

Through its practice support services, such as the publication of the Canadian Handbook of Practice, the development of contract documents, and the development and delivery of Continued Education courses, the RAIC supports architects in achieving excellence.

For more about our mission and values, visit our website at www.raic.org.

As for affirming that “Architecture matters”, this is a message that will be heard more and more. This message is timely and it’s important for everyone to understand how the quality of architecture is a key ingredient of the overall quality of life of Canadians and of our society.

Architecture matters, of course, because of the need for environmentally sustainable construction, which we are now becoming more and more acutely aware of.

The design and construction of buildings are rapidly continued on next page

2008-2009 RAIC Board Members President Paule Boutin, FIRAC 1st Vice-President and President-Elect Ranjit (Randy) K. Dhar, FRAIC 2nd Vice-President and Treasurer Stuart Howard, FRAIC Immediate Past President Kiyoshi Matsuzaki, PP/FRAIC Regional Directors Stuart Howard, FRAIC (British Columbia/Yukon) Wayne Guy, FRAIC (Alberta/NWT)

AANB/RAIC Conference and Festival of Architecture a hit

Charles Olfert, MRAIC (Saskatchewan/Manitoba) Vacant (Ontario Southwest)

photos: Keith Minchin

Ralph Wiesbrock, FRAIC (Ontario North and East/Nunavut) Claude Hamelin Lalonde, FIRAC (Quebec) Paul E. Frank, FRAIC (Atlantic)

More than 200 people gathered in Fredericton for compelling courses, inspiring presentations and an opportunity to network in one of Canada’s historic capitals.

RAIC 2030 Wiki launched The RAIC 2030 Task Force launched its RAIC 2030 Challenge Wiki site at the Festival.

The award, offered annually, recognizes a unique story, article or radio or television piece for its contribution to the wide-spread dissemination of Architectural values and ideas. The winner is chosen by a jury of RAIC past presidents including Manasc, Yves Gosselin, AP/FIRAC and Kiyoshi Matsuzaki, PP/FRAIC, now immediate Past President.

Configured like wikipedia.org, the site provides an upto-date and evolving source of technical information and advice from peers on design approaches, methods and materials for enhanced energy performance. The evolving information within the site will help ensure all the elements of building performance have an energy signature. Visit it at www.raic.org/2030wiki.

Chancellor of College of Fellows Alexander Rankin, FRAIC Council of Canadian University Schools of Architecture (CCUSA) Eric Haldenby, FRAIC Editorial Liaison Ralph Wiesbrock, FRAIC Executive Director Jon Hobbs, FRAIC Editor Denise MacDonald

2008 President’s Award in Architectural Journalism

The national office of the RAIC is located at:

During the Festival, the RAIC recognized Lisa Rochon of the Globe and Mail with the 2008 President’s Award in Architectural Journalism.

330-55 Murray St Ottawa ON K1N 5M3

“Lisa is always clear and insightful, and her articles get the attention of business and community leaders across Canada,” said jury member Vivian Manasc, PP/FRAIC.

Tel.: (613) 241-3600 Fax: (613) 241-5750 E-mail: info@raic.org photo: Keith Minchin

www.raic.org

Canadian Architects host Asia-Pacific summit RAIC played host to the Third APEC Central Council meeting in Vancouver, British Columbia in early August. The gathering is an opportunity for more than 70 leaders of the architectural profession to discuss common issues and negotiate mutual recognition agreements, which allow Canadian architects to work in the Pacific Rim region.

“On the eve of the Beijing Olympics in China, which showcases so much breathtaking architecture, the RAIC is pleased to host this meeting. It brings together the architectural leadership from 14 different economies from the Asia Pacific Region to work towards the mobility of architects and the recognition of credentials in each country. This effort is working to help ensure the cities of the future in the Asia Pacific Region are beautiful, dynamic and sustainable,” said Paule Boutin, FIRAC, RAIC President.

Register now for fall courses SDCB 275: Lighting and Daylighting Strategies The development of this course is funded in part by

Bel-Air | Busby Perkins+Will Architects Co. | photo: Nic Lehoux (courtesy of Busby Perkins+Will)

A full-day course which includes a brief introduction to the principles of lighting design and new electric lighting technologies. Also providing an overview of the integration of daylight with electric lighting, applied through emerging technologies; examining how much electric lighting is typically used in buildings and demonstrating opportunities for electrical lighting reduction through design strategies; using examples and a case study exercise on the reduction of electrical lighting loads.

Explore the subject and possibilities for daylighting using building systems and products and new lighting technologies, and the effect daylighting has on building design and form.

The course is divided into three parts: 1) How much is enough light and how do we optimize its use in buildings?

2) How much electric light can we remove with the addition of daylight?

3) How can we enhance and control daylight within our buildings?

Instructors Martin Conboy, B.A., IESNA – Principal Lighting Designer Bruce Meiklejohn, B.Arch., L.C., IESNA – Senior Lighting Designer Matt Galloway, B.Arch., B.E.S., LEED – Daylighting Specialist Dates and Locations Toronto September 24, 2008 Halifax Montréal Winnipeg Calgary Vancouver Toronto

September 29, 2008 October 2, 2008 November 17, 2008 November 19, 2008 November 20, 2008 December 5, 2008

2008 Registration Fees RAIC Members and Affiliates Non-Members RAIC Interns

T course his qualifie s for 6.5 ho ur credits s of core with a provinc ial and ll the associa territorial tions.

Direct Energy Centre in conjunction with IIDEX / NEOCON Canada Four Points by Sheraton Centre Mont-Royal Fort Garry Hotel Telus Convention Centre Simon Fraser University, Harbour Centre Metro Toronto Convention Centre in conjunction with Construct Canada $325 plus GST or HST $400 plus GST or HST $185 plus GST or HST

Architecture matters ... immensely continued from previous page evolving as we aim to reduce their ecological footprint and their energy consumption, and to create healthy indoor environments. The RAIC has adopted the 2030 Challenge, with its goal of producing carbon-neutral buildings, and we have recently launched a Wiki site with information about how to achieve this.

Architecture matters because of the need for functional buildings, which positively support the human activities they shelter. Hospitals must be healing environments, schools must help the learning processes, public buildings must represent our democratic institutions, housing must be adapted to our lifestyles.

Architecture matters because, beyond the practical considerations of functionality and comfort, it can provide us with both useful and pleasant buildings and cities, and it ultimately affects both our individual and collective wellbeing.

It’s not only the architecture of large commercial and institutional buildings that matters.

The architecture of each and every building matters, as even the smaller buildings play an important role as part of the environment we live in and, combined together, form the fabric of our towns and cities.

Architecture matters, immensely, because it is the means of creating beautiful living environments that lift the spirits and can be a source of joy in our daily lives.

RAIC members – Another benefit of being an RAIC member will be arriving soon in your mailbox – a free copy of Architecture Canada 2008, a beautiful publication featuring the winning Governor General’s Medal projects. Extra copies are $37.50 for members and $75 for non-members (plus applicable taxes and shipping & handling). To order, go to the Document Order Centre at www.raic.org and click on “Other Professional Materials”.

en bref NUMÉRO 30.3 ÉTÉ 2008

L’institut royal d’architecture du Canada Le principal porte-parole de l’architecture au Canada

L’architecture a de l’importance ... énormément d’importance Par Paule Boutin Présidente de l’IRAC

photo : Michelle Valberg

C’est pour moi un réel honneur d’assumer le rôle de présidente de l’Institut royal d’architecture du Canada (IRAC) au cours de la prochaine année. En tant que principal porte-parole de l’architecture au Canada, l’IRAC joue un rôle majeur, depuis un peu plus de cent ans en faisant mieux connaître et apprécier la contribution de l’architecture au bien-être culturel et physique de la population canadienne.

Par ses programmes de prix, comme les Prix d’excellence de l’IRAC, les Prix de design urbain, la Médaille d’or de l’IRAC et les Médailles du Gouverneur général en architecture, l’IRAC célèbre la richesse et la diversité de l’architecture au Canada.

Par ses services d’aide à la pratique, comme la publication du Manuel canadien de pratique de l’architecture, l’élaboration de documents contractuels normalisés et la préparation et la présentation de cours de formation continue, l’IRAC aide les architectes à atteindre l’excellence.

Nous affirmons que l’architecture a de l’importance et vous nous entendrez très souvent diffuser ce message.

D’abord parce qu’il est d’actualité, mais aussi parce que tout le monde doit comprendre à quel point la qualité de l’architecture est un élément essentiel de la qualité de vie des Canadiens.

L’architecture a de l’importance, bien sûr, parce que nous devons construire de manière durable, ce dont nous sommes de plus en plus conscients. La conception et la construction des bâtiments évoluent rapidement, au rythme de nos efforts pour réduire leur empreinte écologique et leur consommation d’énergie et pour créer des environnements intérieurs sains. L’IRAC a adhéré au Défi 2030, suite à la page suivante

Conseil d’administration de l’IRAC de 2008-2009 Présidente Paule Boutin, FIRAC Premier vice-président et président élu Ranjit (Randy) K. Dhar, FRAIC Deuxième vice-président et trésorier Stuart Howard, FRAIC Président sortant de charge Kiyoshi Matsuzaki, PP/FRAIC Directeurs régionaux Stuart Howard, FRAIC (Colombie-Britannique/Yukon) Wayne Guy, FRAIC (Alberta/T.N.-O.)

Festival d’architecture de l’IRAC et congrès de l’AANB – un franc succès

Charles Olfert, MRAIC (Saskatchewan/Manitoba) Poste vacant (Sud et Ouest de l’Ontario)

photos : Keith Minchin

Ralph Wiesbrock, FRAIC (Est et Nord de l’Ontario/ Nunavut) Claude Hamelin Lalonde, FIRAC (Québec) Paul E. Frank, FRAIC (Atlantique)

Plus de 200 personnes se sont rassemblées à Fredericton pour assister à des cours passionnants, entendre des conférenciers inspirants et rencontrer collègues et amis dans l’une des capitales chargées d’histoire du Canada.

Lancement du site Wiki 2030 de l’IRAC Le groupe de travail Défi 2030 de l’IRAC a lancé le site Wiki sur le Défi 2030 de l’IRAC dans le cadre du Festival.

Configuré comme le site wikipedia.org, ce site offre de l’information technique à jour et évolutive et des conseils de collègues concernant des modalités conceptuelles, des méthodes et des matériaux qui améliorent la performance énergétique des bâtiments. Le caractère évolutif du site nous assure que tous les éléments liés à la performance d’un bâtiment seront abordés sous l’angle de l’efficacité énergétique. Nous vous invitons à visiter ce site, à www.raic.org/2030wiki.

des entreprises et des collectivités de tout le Canada,», a déclaré Vivian Manasc, PP/FRAIC, membre du jury.

Ce prix annuel est offert en reconnaissance d’un texte, d’un article ou d’un reportage inédit à la radio ou à la télévision, qui se distingue par sa contribution à la diffusion des valeurs et des idées propres à l’architecture. Le lauréat est choisi par un jury d’anciens présidents de l’IRAC formé cette année, outre Mme Manasc, d’Yves Gosselin, AP/FIRAC et Kiyoshi Matsuzaki, PP/FRAIC, président sortant.

Conseil canadien des écoles universitaires d’architecture (CCÉUA) Eric Haldenby, FRAIC Conseiller à la rédaction Ralph Wiesbrock, FRAIC Directeur général Jon Hobbs, FRAIC Rédactrice en chef Denise MacDonald Le siège social de l’IRAC est situé au,:

Prix de journalisme en architecture 2008 de la présidence

55, rue Murray, bureau 330 Ottawa ON K1N 5M3

Durant le festival, l’IRAC a remis à Lisa Rochon du Globe and Mail le Prix de journalisme en architecture de la présidence pour 2008. «,Lisa est toujours bien documentée et claire dans ses propos. Ses articles retiennent l’attention des dirigeants

Chancelier du Collège des fellows Alexander Rankin, FRAIC

Tél.,: (613) 241-3600 Télec.,: (613) 241-5750 Courriel,: info@raic.org photo : Keith Minchin

www.raic.org

Les architectes canadiens accueillent le sommet Asie-Pacifique L’IRAC a été l’hôte de la troisième assemblée du Conseil central de l’APEC à Vancouver, Colombie-Britannique, au début du mois d’août.

Cet événement prestigieux a donné à plus de 70 chefs de file de la profession l’occasion de discuter de problèmes communs et de négocier des ententes de reconnaissance mutuelle qui permettent aux architectes canadiens d’exercer leur profession dans la région du littoral du Pacifique. «,À la veille des Jeux olympiques de Pékin en Chine, qui nous montrent une architecture époustouflante, l’IRAC a le plaisir d’accueillir cette assemblée. Elle réunit les dirigeants de la profession de 14 économies différentes de la région Asie-Pacifique qui visent à assurer la mobilité des architectes et la reconnaissance de leurs titres de compétence dans chaque pays. Nul doute que cet effort conjoint contribuera à la création de villes dynamiques, splendides et durables,», a déclaré Paule Boutin, FIRAC, présidente de l’IRAC.

Inscrivez-vous dès maintenant aux cours de cet automne DDBC 275 : Stratégies d’éclairage naturel et artificiel Le développement de ce cours est subventionné en partie par

Bel-Air | Busby Perkins+Will Architects Co. | photo : Nic Lehoux (avec la permission de Busby Perkins+Will)

Un cours d’une journée qui comprend une brève introduction aux principes de la conception de l’éclairage et aux nouvelles technologies d’éclairage électrique. Le cours présente également un aperçu des technologies émergentes qui permettent d’intégrer la lumière naturelle à l’éclairage électrique; il traite de la quantité d’éclairage électrique généralement utilisée dans les bâtiments et explique comment la réduire à l’aide de stratégies de conception; il présente divers exemples et comporte des exercices concrets sur la réduction des charges de l’éclairage électrique.

Étudier la lumière naturelle et les possibilités offertes par les systèmes et produits de construction et les nouvelles technologies d’éclairage, de même que les répercussions de l’éclairage naturel sur la conception et la forme d’un bâtiment.

Le cours est divisé en trois parties qui tenteront de répondre aux questions suivantes : 1. À quoi correspond un éclairage suffisant et comment optimiser l’utilisation de l’éclairage dans les bâtiments?

2. Dans quelle mesure l’ajout de lumière naturelle permet-il de réduire l’éclairage électrique?

3. Comment pouvons-nous améliorer et contrôler la lumière naturelle dans nos bâtiments?

Formateurs Martin Conboy, B.A., IESNA – responsable de la conception des éclairages Bruce Meiklejohn, B.Arch., L.C., IESNA – concepteur d’éclairage principal Matt Galloway, B.Arch., B.E.S., LEED – spécialiste de l’éclairage naturel

Ce co droit à urs donne formati 6,5 heures d e on dirig ée aup de tou rès associa s les ordres e tions d es prov t inces et territ oires.

Dates et Endroits

Toronto

24 septembre 2008

Halifax Montréal Winnipeg Calgary Vancouver Toronto

29 septembre 2008 2 octobre 2008 17 novembre 2008 19 novembre 2008 20 novembre 2008 5 décembre 2008

Direct Energy Centre, de concert avec IIDEX / NEOCON Canada Four Points by Sheraton Centre Mont-Royal Hôtel Fort Garry Telus Convention Centre Simon Fraser University, Harbour Centre Palais des congrès du Toronto métropolitain, de concert avec Construct Canada

Frais d’inscription 2008

Membres de l’IRAC et affiliés Non-membres Membres stagiaires de l’IRAC

325 $ plus TPS ou TVH 400 $ plus TPS ou TVH 185 $ plus TPS ou TVH

L’architecture a de l’importance ... énormément d’importance suite de la page précédente qui vise la réalisation de bâtiments neutres en carbone et a récemment lancé un site Wiki qui fournit une foule de renseignements sur la manière d’atteindre un tel objectif.

L’architecture a de l’importance, car nous avons besoin de bâtiments fonctionnels qui soutiennent positivement les activités humaines qu’ils abritent. Les hôpitaux doivent être des lieux de guérison, les écoles doivent être des lieux d’apprentissage, les édifices publics doivent représenter nos institutions démocratiques et nos logements doivent être adaptés à nos modes de vie.

L’architecture a de l’importance, car au-delà des questions de fonctionnalité et de confort, elle nous offre des bâtiments et des villes utiles et agréables et a des incidences réelles sur notre bien-être individuel et collectif.

L’architecture de tous les bâtiments a de l’importance et pas seulement celle des grands édifices commerciaux et institutionnels. Tous les bâtiments, même les plus petits, ont leur rôle à jouer dans notre milieu de vie et ensemble, ils forment le tissu urbain de nos cités et villes.

L’architecture a de l’importance, énormément d’importance, parce qu’elle permet de créer de beaux milieux de vie qui élèvent les esprits et peuvent être source de joie dans notre quotidien.

Aux membres de l’IRAC – Un autre avantage de votre adhésion à l’IRAC vous parviendra sous peu – un exemplaire gratuit de la publication Architecture Canada 2008, un bel ouvrage qui présente les projets lauréats des Médailles du Gouverneur général en architecture. Le livre est en vente au prix de 37,50,$ pour les membres et de 75,$ pour les non-membres (taxes applicables et frais d’expédition et de manutention en sus). Consultez le Centre des commandes de documents sous l’onglet Achats en ligne du site www.raic.org et cliquez sur «,Autres documents professionnels,».

© 2008, USG Interiors Inc.

Zero emissions. Zero worries.

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WATCHING IT UNFOLD

THE RENOVATION OF A CUTTING-EDGE FILM-EDITING STUDIO REFLECTS THE ENERGY AND SPIRIT OF THE CRAFT WITHIN A HISTORIC BRICK-AND-BEAM STRUCTURE.

24 CANADIAN ARCHITECT 09/08

PROJECT

THE JUGGERNAUT, TORONTO, ONTARIO GIANNONE ASSOCIATES ARCHITECTS

ARCHITECT

INC. TEXT

JOHN BENTLEY MAYS BEN RAHN/A-FRAME

PHOTOS

Film editing is usually done in the dark, but it need not be a gloomy enterprise for that reason.

Brightening up its facilities while ensuring both the lightless solitudes and the continual interchanges essential to its business were the tasks handed to Toronto architect Pina Petricone (partner in Giannone Associates) by The Juggernaut, a post-production, design and animation studio.

Petricone’s solution is a warmly inventive reply to The Juggernaut’s commission, and an engaging architectural interpretation of this behind-thescenes company’s art.

The setting of Petricone’s project on Wellington Street West is a century-old warehouse in a downtown district of such relics from the heyday of heavy industrialization: squaredoff, multi-storey, stolid brick buildings for the most part, with oblong windows punched in plain façades. Entering the reception area of The Juggernaut’s ground-floor offices, the visitor is not immediately transported from the industrial neighbourhood into the weightlessness of the firm’s activity. The sandblasted brick walls and timber frames of the old building are still visible, and they define the rectilinear shape of the 3,600-square-foot space. Light spills in through standard-issue windows that open to the side and toward the street.

But step inside, and you know you’re not in Kansas any longer. Video monitors mounted in cold-rolled steel cases boldly announce The Juggernaut’s métier of mass-mediated digital imagery. In a striking gesture of industry-based symbolism, Petricone has dropped between walls and reception area a number of large, long plywood boxes that resemble film strips scaled up into three dimensions. These ribbon-like features lunge into the space at floor level, creating benches and tabletops, soar up the walls in front of the windows, then arc over the interior.

Instead of wholly blocking the historic husk of the building, they generate an attractive visual flutter of old and new, structure and image, loadbearing modernity and postmodern lightness.

The boxes have been clad with blue rubber to suggest what the architect calls the “tranquility” THE ENTRANCE TO THE JUGGERNAUT ENTICES VISITORS TO WALK OFF THE STREET AND DIRECTLY INTO THE RECEPTION AREA. TOP RIGHT LAMINATE-COVERED PLYWOOD FORMS A FOLDED INNER LINER WRAPPING THE NEW STUDIO SPACE, LOCATED INSIDE AN EXISTING POST-AND-BEAM BUILDING. RIGHT AT NIGHT, THE FOLDED PLYWOOD STRIPS THAT COMPRISE SEATING AND OFFER PRIVACY FROM THE OUTSIDE WORLD APPEAR AS A SKELETAL STRUCTURE CONTAINED WITHIN THE BRICK EXTERIOR OF THE EXISTING BUILDING. OPPOSITE

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of the hard, highly focused editing work that goes on within the studio. They also connote the energetic moves intrinsic to the editor’s craft—the jump cuts and splices, slashing and stitching and the like. Viewed as a total ensemble, the reception area serves as a strategic transition from the early 20th-century streetscape into the dark editing suites beyond—a zone in which external illumination is lessened and the building’s sturdy structure lightened, and in which The Juggernaut’s basic mission is poetically articulated.

Employees have been encouraged to make something personal of the editing rooms at the heart of this complex. Each of the suites features an editing console and a conference area, but one also contains a drum set and an electric guitar, and another has been decorated with a few sticks of favourite furniture from home. These intimate touches in the editing areas speak of a corporate philosophy attuned to the idiosyncrasies and work rhythms of its disciplined creative people— to their needs for solitary labour at some times, and, at others, for meetings with colleagues and clients in comfortable surroundings.

But they also express the relaxed sociability that Petricone has celebrated in every dimension of her Juggernaut scheme. Instead of burying the kitchen in a dark interior room, for example, she has moved it forward into the reception area.

Result: an entry area that can quickly morph from an informative interface between The Juggernaut and its clients into a place for casual lunches and large parties. In both the large elements and small details of The Juggernaut refitting, Petricone has accommodated well the fluidity and post-industrial flow that so vividly characterize the universe of digital media. CA John Bentley Mays is a Toronto writer.

RUBBER-LINED SEATS FOLD UPWARD TO FORM A DYNAMIC INNER LINING TO THIS BUSY STUDIO WHILE THE COFFEE BAR SERVES AS A FOCAL POINT FOR BOTH CLIENTS AND STAFF. LEFT ALLUDING TO STRIPS OF FILM, THE SCULPTURAL CEILING DESCENDS INTO THE BACK WALL OF THE RECEPTION AREA, OFFERING A DYNAMIC ENCLOSURE TO A RECEPTION DESK WHICH ITSELF CONTAINS FLATSCREEN TELEVISIONS THAT SHOW OFF THE STUDIO’S WORK. TOP LEFT

26 CANADIAN ARCHITECT 09/08

ABOVE THE NEW SEAT-TO-CEILING ASSEMBLY IS SHOWN PULLED BACK FROM THE EXISTING MASONRY STRUCTURE. RIGHT THROUGHOUT THE STUDIO, FOLDED PLANES NOT ONLY TRANSFORM INTO SEATING AND WALL DETAILS, BUT ALSO BECOME COUNTERTOPS AND STORAGE SPACES.

CLIENT THE JUGGERNAUT ARCHITECT TEAM RALPH GIANNONE, PINA PETRICONE, MICHAEL RIETTA, SARAH IWATA MECHANICAL/ELECTRICAL VENNERI MECHANICAL & ELECTRICAL CONSULTING ENGINEERS CONTRACTOR JEVLAN CONTRACTING & INTERIORS AREA 3,595 FT2 BUDGET WITHHELD COMPLETION MARCH 2008

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ร ร ร ยฐ>ร V>ร ยฐVย ย CIRCLE REPLY CARD 23

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To learn more call 800 267 2149 ext 2128 or visit us online at www.interfaceflor.ca. © 2008 InterfaceFLOR Canada, Inc. Mission Zero and the Mission Zero mark are trademarks of Interface, Inc.

UPSTAIRS, DOWNSTAIRS

ABOVE THE HOME/OFFICE OF SUPERKÜL IS A REFINED AESTHETIC ADDITION TO A BUSY, GRITTY SECTION OF TORONTO’S DUNDAS STREET WEST.

30 CANADIAN ARCHITECT 09/08

ARCHITECTS SET UP SHOP IN A GENTRIFYING NEIGHBOURHOOD, LIVING UPSTAIRS AND WORKING DOWNSTAIRS, WHILE THE FUTURE TAKES SHAPE AROUND THEM. ARCHITECTS’ HOME/OFFICE, TORONTO, ONTARIO SUPERKÜL INC | ARCHITECT TEXT DAVID STEINER PHOTOS BEN RAHN/A-FRAME INC. PROJECT

ARCHITECT

Home/Office, as the Toronto architecture firm Superkül has titled their recently constructed residence and workspace, is located at the junction of two neighbourhoods. To the west is High Park, one of Toronto’s most bucolic districts, where a century-old tree canopy covers the street and stately brick homes are lined up beside one another. To the east is Parkdale, an area that was until recently, a mix of mainly working class and marginalized folk. Many of the local buildings are in dire need of repair. A network of civic streetcars, a subway line and a commuter train criss-cross the surrounding area.

With a degree of foresight, the principals of this firm of eight, Andre D’Elia and Margaret Graham, bought what was then a two-storey, streetfront wreck, and rebuilt it as a simple manifesto on how to live and work in a tight, urban space. The renovated building exudes competence. It is an exercise in creating simple open spaces that bring in a maximum

amount of light. Finicky, expensive details have been omitted in favour of common materials (mainly gypsum board, paint and metal siding) and a compact, clever plan allows for future flexibility.

For those in the city who fret about their neighbours fitting in, Superkül’s architecture causes no worry. Home/Office faces the street with horizontal cedar planks and dark-grey block, laid in a stack bond.

Even with the additional height from the third storey, set well back, the renovated building sits quietly on a gently curving portion of busy Dundas Street West, squeezed in by other brick buildings of early-20thcentury vintage.

Starting from below, tucked under the wood joists of the dug-out basement is a small meeting space with a plywood table, a library and a kitchenette. Above, the old storefront has been revived as an airy office. The glass to the south, set in aluminum frames, is frosted, allowing in light and a glimpse of passing streetcars. To the back, through a new wall of windows, is a view of the courtyard, where four white birch trees have been planted amongst pea gravel. An original tin ceiling, the sole survivor of the renovation, has been repaired and painted white. Stud walls were erected in front of the existing brick side walls to allow for insulation, a clean surface and a place to install wiring.

A staircase at the back, accessible from inside or out, leads to the second floor. At a glance you can see clear across the house, with views through both front and back windows. A custom Ikea kitchen (even the best architects use this Swedish cost-saver) is set in the middle of the

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CLIENT ANDRE D’ELIA AND MEG GRAHAM ARCHITECT TEAM ANDRE D’ELIA AND MEG GRAHAM STRUCTURAL ROBERT E. BROWN AND ASSOCIATES LIMITED MECHANICAL KEYNON MECHANICAL DESIGN INC. LANDSCAPE SUPERKÜL INC | ARCHITECT INTERIORS SUPERKÜL INC | ARCHITECT CONTRACTOR KEYSTONE CONSTRUCTION (TORONTO) WITH ANDRE D’ELIA AND MEG GRAHAM AREA 2,800 FT2 (INCLUDING BASEMENT) BUDGET $275,000 (BUILDING), $50,000 (GARAGE/STUDIO), $20,000 (LANDSCAPE) COMPLETION JULY 2006

11 3

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ABOVE, LEFT TO RIGHT TWO CONTRASTING IMAGES—ONE DEPICTS THE BEEHIVE OF ACTIVITY IN AN ARCHITECTURAL OFFICE ON THE GROUND FLOOR, WHILE THE OTHER ILLUSTRATES A FOCUS ON DOMESTICITY ON THE SECOND LEVEL.

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1 GARDEN 2 OFFICE 3 RECEPTION 4 LIVING/DINING 5 BEDROOM 6 ROOF TERRACE 7 STUDY 8 CONFERENCE ROOM 9 STORAGE 10 HOME ENTRANCE 11 GARAGE 12 STUDIO 13 MECHANICAL 14 KITCHENETTE 15 UNEXCAVATED

plan, while the living and dining spaces are oriented to the front of the house to receive south light. The study is situated at the rear of the second floor.

A one-storey addition, with bedrooms at either end, was built with the new structure spanning across the existing roof. Both rooms look out onto cedar-clad terraces. The front wall of each terrace rises up 1.1 metres, giving the adjacent rooms visual privacy, which allows the architects to sit outside, unseen from the street. When the sliding exterior doors are open in both bedrooms, a cross-breeze whistles through. Or, pop open the skylight near the top of the stairs, and the warm air of the house is drawn up and out.

Despite the privacy and protected views, Home/Office is still definitively urban: when standing in the master bedroom, it sounds like the street traffic might well be coming right out of the closet. Graham describes it like “living in a hotel,” where a connection to the city is felt all the time. And the city is indeed close at hand: to the south, on the main street, is a peninsula of asphalt—formed by two streets crossing at an acute angle. A coffee shop inhabits an old bank at the corner, and streetcars circle all day long. To the north are a jumble of garages, squat brick buildings and an inland lake of parking for a grocery store. Two residential towers, both square brutes, mark the end of the view from the back bedroom.

Superkül used their Home/Office to explore what Graham calls a “bigger idea about life and work,” where the buildings they inhabit can be sustainable and flexible. The office portion has been configured to expand, and the house component to retract. When they grow (they now have a waiting list of clients), a partition wall will be erected on the second floor. The office meeting room will be relocated from below to where the dining room is now. Everything else will be part of a one-bedroom rental, accessed by a covered staircase to be built in the alleyway.

With an economy of resources and design decisions, Superkül have crafted a prototype for development along the city’s main streets. This kind of housing could be affordable (relatively), flexible and convenient, relieving the burden of commuting and revitalizing city streets in an intensive way. Its modest scale and refined style is adaptable to almost any location, making Home/Office a catalyst for progressive change in an area of the city looking to redefine itself. CA David Steiner is a freelance writer living in Ontario.

RIGHT, TOP TO BOTTOM THE ARCHITECTS’ MASTER BEDROOM LOOKS OUT ONTO THEIR OWN PRIVATE DECK AND THE BUSY STREET BELOW; THE BASEMENT FLOOR WAS LOWERED TO ACCOMMODATE THIS MODEST MEETING ROOM; CLEARLY A STAFF FAVOURITE, THE COURTYARD SEPARATES THE MAIN HOME/OFFICE FROM THE GARAGE AND STUDIO ANNEX.

09/08 CANADIAN ARCHITECT

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2008 Light Canada Expo + Conference The Official Guide to Light Canada Expo + Conference at IIDEX/NeoCon Canada

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Alter Concept continues Lightolier’s 100-year reputation as the source for stylish, high-performance lighting products that let creativity soar.

LIGHTS, CAMERA, ACTION! LIGHT CANADA EXPO AND CONFERENCE EXPANDS

Light Canada Expo is Canada’s largest lighting exposition and conference, and hosts over 100 exhibitors from across North America and Europe.

IIDEX/NeoCon Canada in partnership with the Illuminating Engineering Society, Toronto Section (IES) will showcase the latest in interior, exterior, commercial and architectural lighting products plus lamps and lighting controls in 15,000 square feet of exposition space. With over 100 new Canadian and international exhibitors, Light Canada will deliver not only cutting-edge design, but will also showcase the monumental advances in sustainable lighting, LED technology, new materials and advances in lighting design. An added feature is the hands-on learning initiative which is delivered via 30-minute learning labs on the show floor featuring the latest news about lighting products and trends in the industry.

Highlights include an innovative multimedia lighting keynote address by award-winning Abhay Wadhwa of AWA Lighting Designers in New York on Thursday, September 25th from 9:30 am to 10:30 am. Please join us immeLIGHTING SEMINARS Wednesday, September 24

W02 Daylighting And Artificial Lighting Technologies For Buildings (RAIC) W03 LightShift—LED Solutions Mean Business Thursday, September 25

T04 Healthcare Lighting That Saves Lives T15 LED City Lighting: Case Study Of The Palace Pier T18 Modern Lighting Design: The Computer As The Lighting Tool, Not The Master T20 Urban Lighting: Exterior Case Study Of Royal Ontario Museum T26 Custom Lighting: Pushing The Limits T35 The White Light Story: Is It Possible To Do More With Less?

diately following our lighting keynote at the Light Canada official opening, as new IES Toronto Section President Diane Potts, Past President Ellen Godson, and ARIDO President Franca Rezza officially open Light Canada with a reception and ribbon-cutting ceremony. Then feel free to unwind in the Experiential Light Café located adjacent to Light Canada. A special CEUaccredited seminar stream developed by industry experts will cover all aspects of lighting design, applications, technology and special case studies to ensure seminar attendees are up to date on the latest education on lighting design engineering and technology. New for this year is the “ARIDO Intern Challenge: In a Different Light,” which is a design competition for ARIDO intern members who have been faced with the challenge of repurposing a familiar item into a lighting fixture. While this competition began in the summer, all of the entries will be featured at the ARIDO Awards gala.

The event wraps up with the IES Toronto Section Gala on Saturday, September 27th at the Royal York Hotel.

Friday, September 26

F01 The Myths And Reality Of LED Lighting F12 Maintaining Visual Quality In An Age Of Shrinking Energy Budgets F23 Colour Temperature, Chromaticity & LEDs F28 Museum Lighting At The Smithsonian Institute F37 Evoking Emotions With Lighting Of Large Structures (IALD) LIGHTING LEARNING LABS

Make sure to stop by these exciting hands-on learning sessions on the show floor.

Thursday, September 25

TLL08 LEDs For General Lighting: What Applications Make Sense Today?

TLL11 The Perfect Source For The Perfect Design

TLL09 Lighting Design Using Basic Optical Principles TLL10 Site Lighting: Optical System Design For Site, Roadway & Architecture TLL14 Energy Star And Lighting Friday, September 26

FLL08 Sustainable Lighting Design FLL09 It’s Not Disneyland! The Art Of Landscape Lighting FLL12 New Technologies In Lamps & Ballast FLL10 Integration Of Furniture & Lighting Systems FLL11 LEED—An Introduction And Strategies For Success FLL17 Lighting Regulations In Canada For more information, please visit www.iidexneocon. com/2008/index.php/highlights/light_canada/

LIGHTING SHOW GUIDE 2008 CANADIAN ARCHITECT/CANADIAN INTERIORS

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SOFT CELL AN AMBITIOUS VANCOUVER DESIGN FIRM HAS GONE GLOBAL WITH AN INVENTIVE APPROACH TO LIGHTING AND PRODUCTS. MOLO SOFT PRODUCT LINE FORSYTHE + MACALLEN DESIGN TEXT IAN CHODIKOFF PHOTOS TODD MACALLEN, UNLESS OTHERWISE NOTED PROJECT

DESIGN TEAM

Stephanie Forsythe and Todd MacAllen have been tirelessly building their multidisciplinary design practice since they both graduated from Dalhousie University with Master of Architecture degrees in 2000. Picking up numerous design awards and recognition for their work over the past eight years, the Vancouver design team continues to impress the global design community with their series of ingenious product designs.

The work of Forsythe + MacAllen Design has already appeared in several books such as: Young Designers Americas; Great Spaces: Flexible Homes, a publication featuring their softwall and softhousing concepts amongst a

collection of flexible space designs by various designers; and the popular Phaidon publication 10x10_2, a book featuring the work of 100 young architects selected by a group of respected architecture critics, practitioners and curators. In between busily working on their competition-winning entry for a 200-unit development in the northern Japanese city of Aomori and promoting themselves around the world, Forsythe and MacAllen have continued to achieve tremendous success with their experiments in the design and manufacture of glassware, modular walls, seating and lighting, all commercially available and all of which have received considerable acclaim. Through their

ABOVE MOLOâ&#x20AC;&#x2122;S EAST VANCOUVER STUDIO GLOWS WITH THEIR URCHIN LIGHT FIXTURES PROMINENTLY ON DISPLAY.

LIGHTING SHOW GUIDE 2008 CANADIAN ARCHITECT/CANADIAN INTERIORS LS5

TOM VACK

TOM VACK

commitment to craft, the two designers believe in understanding every stage of the manufacturing process.

Apart from the continued operation of their architectural design office, it is the couple’s separate product design arm and manufacturing company known as molo that has garnered the majority of the design duo’s success. molo emerged in 2003 when Forsythe and MacAllen partnered with long-time friend Robert Pasut. Working with factories and learning about the entire product development and manufacturing process

has taught Forsythe and MacAllen about the pragmatics of good business while helping them to understand prefabricated construction techniques and efficient building systems that waste less energy and materials. molo’s first successful venture was float, a line of thermally resistant glassware made of borosilicate glass.

The suspended bowl design of each piece creates a lens through which light can pass, projecting the colour of whatever liquid is in the receptacle onto the tabletop, creating a shimmering effect.

LS6 CANADIAN ARCHITECT/CANADIAN INTERIORS LIGHTING SHOW GUIDE 2008

AN ARRAY OF SOFTLIGHTS. ABOVE, LEFT TO AT THE MOLO INSTALLATION AT THE SPAZIO KRIZIA IN MILAN, THE ZUFALL LIGHT FIXTURE AND TABLE DESIGNED BY INGO MAURER IS INSTALLED IN FRONT OF MOLO’S SOFTWALL; A DETAIL OF HAND-CUTTING THE SOFTWALL TEXTILE. TOP

RIGHT

After the success of float, molo introduced its softwall product line, which allows for a flexible use of space through the innovative application of an expandable wall system. Comprised of a

TOM VACK

honeycomb structural system that uses 400 layers of white or black fire retardant-coated paper bound by natural wool felt ends, the cellular structure of softwall expands to widths that vary from 12 to 18 inches (depending on the model) and range in height from one to eight feet. The walls can also be made of a fire retardant-treated polyethylene non-woven textile that is tear-, UV- and water-resistant, and 100 percent recyclable. softwall is a lightweight, easily bendable, freestanding, flexible wall system that can be arranged into almost any shape. It can be compressed down to a couple of inches to be stored away when not needed—and as an added bonus to people with sensitive ears, the system dampens sound due to its air-filled cellular structure. The white walls have a soft translucent glow, whereas the black walls are opaque and absorb light. The black softwall creates an interesting optical effect—Forsythe describes this as “vertical fins that catch light with a sheen that shifts as you move along the wall, somewhat reminiscent of a blackened charcoal log.”

The limits of softwall are boundless. Using similar technology to softwall, softroom is an expandable room designed to create a private, fully enclosed space. Thinking on an even larger scale, softhousing seeks to address the issue of homelessness in a novel way. A non-profit project currently under development, the first instance of softhousing—entitled the First Step Softhouse—was conceived for installation in a former lodging house in New York City’s Bowery, and consists of several expandable singleoccupancy rooms located within the shell of an existing building. Here also, the walls can be squeezed back to create an enlarged common area when not in use. Both softwall and softseating, a circular seating system, are held in the permanent collection of the Museum of Modern Art in New York.

Belonging to molo’s larger family of cellular structures is their dramatic and recently launched softlight collection, a series of sculptural lamps made from flexible honeycomb paper.

These lights can be adjusted in a variety of shapes by stretching, pushing or pulling their elastic honeycomb structure. molo’s urchins—ranging in size from 11 to 21 inches—are the first generation of molo’s light prototypes and were first displayed in molo’s studio in Vancouver. In the studio, Forsythe and MacAllen removed the existing building’s dilapidated contents to expose its raw interior space, then painted it completely white to showcase the wares against a neutral backdrop.

Only the most essential elements were added back in: lights, water, storage, and work surfaces.

The newest line of lights are larger than the MAURER’S ZUFALL LIGHT FIXTURE IN FRONT OF MOLO’S SOFTWALL. RIGHT THE CUTTING AWAY OF SOFTWALL WITH A PAIR OF SCISSORS GIVES A WONDERFUL LAYERED EFFECT. TOP RIGHT

LIGHTING SHOW GUIDE 2008 CANADIAN ARCHITECT/CANADIAN INTERIORS

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original urchin models. Entitled tom-tom and bomba, the largest of these lamps measures 37 x 33.5 inches.

Throughout 2008, Forsythe and MacAllen took their paper and textile inventions and participated in exhibitions across Europe, in cities such as London, Paris, Milan, and the Spanish city of Burgos. In Milan, the duo installed a series of softwalls which they began to artfully cut with scissors on site. Entitled Delicate Erosion: A Study in Light and Ephemeral Space, the temporary installation was on display at the Spazio Krizia during the month of April. Sometimes the process of deconstructing a design can provide new insights for a designer. molo, who have been installing their products in a variety of light conditions and environmental situations, recently exhibited their inventions alongside light fixtures and furniture

LS8 CANADIAN ARCHITECT/CANADIAN INTERIORS LIGHTING SHOW GUIDE 2008

ABOVE, LEFT TO RIGHT BLACK KRAFT PAPER SOFTBLOCKS ARE STACKED TO CREATE A SCULPTURAL WALL; THE SUBTLE ORGANIC SHAPES OF MOLO’S LINE OF SOFTLIGHTS ARE CONTRASTED AGAINST A BLACK BACKGROUND. BELOW, LEFT TO RIGHT MOLO’S KRAFT PAPER FANNING LOUNGER AND FANNING STOOLS—PART OF THEIR SOFTSEATING PRODUCT LINE— ARE TESTED IN A VARIETY OF ENVIRONMENTS.

by designer par excellence Ingo Maurer, and these experiments have generated subtle yet incredibly rich results. We can only wait and see what molo will come up with next. In the meantime, we should applaud their efforts in experimenting with flexible systems that convey a variety of light and spatial qualities.

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Please visit us at IIDEX, booth # L307.

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A GLOWING REPORT

A YOUNG TORONTO LANDSCAPE ARCHITECTURE FIRM WINS A COMPETITION IN CLEVELAND, ALLOWING ITS MEMBERS TO EXPERIMENT WITH IDEAS WHILE REVITALIZING AN IMPORTANT CITY PARK. THE VERDANT WALK, CLEVELAND, OHIO LANDSCAPE ARCHITECTS NORTH DESIGN OFFICE TEXT IAN CHODIKOFF PHOTOS PETE NORTH PROJECT

It often takes grassroots support to facilitate a city’s turnaround. Even the smallest of initiatives can have a positive impact, engendering a sense of pride in place while enriching the imaginations of decision-makers. Such local initiative has already taken root in Cleveland, a city with a new strategic plan and sustainable design agenda. Once a major urban centre, the decline of Cleveland’s heavy manufacturing industries left the city with the challenge of diversifying itself into a service economy that includes financial, insurance, and health-care sectors. At one time, Cleveland was the fifth-largest city in the US, but its population continued to decline, becoming the 40th-largest city with a population of around 450,000 in 2001.

Including its larger metropolitan area, Cleveland is home to around 2.5 million inhabitants.

To help envision a new future for the city, the staff of Cleveland Public Art, a non-profit organization dedicated to improving the quality of life through site-specific installations and creative urban design, held an invited design competition in May 2007 to improve public life in and around the Cleveland Mall. Sponsored by the Cleveland Mall Plaza Beautification Fund and managed by Cleveland Public Art, the $130,000 installation opened in September.

The design competition was won by partners in life and work—Pete and

ABOVE ILLUMINATED BY SOLAR-POWERED LED LIGHTS, THE TENT-LIKE ORBS OF VERDANT WALK HELP ANIMATE THE HISTORIC CLEVELAND MALL.

Alissa North—who established North Design Office in 2005. The Toronto landscape architecture firm has been hard at work ever since, managing clients, entering design competitions and teaching at the John H. Daniels Faculty of Architecture, Landscape and Design at the University of Toronto.

As landscape architects who straddle theory and practice, they have recently been engaging in site-specific art installations that question the role of landscape and which provide opportunities for research and development in technology, materials and design.

Their winning project, entitled Verdant Walk, is situated on Mall B of the Cleveland Mall. Conceived as part of the 1903 Group Plan by the great urban planner Daniel Burnham, the Cleveland Mall is divided into three sections, Malls A, B and C. This vast “public room,” considered one of the finest examples of the City Beautiful movement in the US, is flanked by civic and governmental buildings, all built in the Neoclassical style. Verdant Walk acknowledges the city’s industrial heritage and its newly adopted green agenda. Comprised of aluminum frames, a reference to the city’s relationship with manufacturing and industry, the installation’s sphere-like forms are covered with a fabric which integrates flexible solar panels. Using custom-made LED lighting, the orbs are illuminated from within and capture changing light conditions which depend upon the presence of sun, rain, shade, and the movement of newly planted native grasses. And just as a tree loses its leaves, the fabric is removed during the winter months, the aluminum frames of the orbs casting long shadows on the snow. Alluding to moving water and responding to wind and weather, the Norths installed planting strips composed of a diverse mixture of native Ohio grasses that LIGHTING SHOW GUIDE 2008 CANADIAN ARCHITECT/CANADIAN INTERIORS

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THE TRANSLUCENT QUALITY OF THE ORBS CHANGE THROUGHOUT THE DAY; SOLAR-POWERED COLLECTORS ARE STITCHED INTO THE STRUCTURES’ FABRIC CASING, ENABLING THE ORBS TO GLOW AT NIGHT; THE FLUID DESIGN OF THE STRUCTURE’S ALUMINUM FRAME.

CLOCKWISE FROM TOP

celebrate Cleveland’s connection to its natural landscape—the Cuyahoga River and the adjacent Lake Erie waterfront.

The lighting strategy for Verdant Walk incorporates state-of-the-art technologies associated

with solar power and outdoor LED floodlighting into a collection of tent-like pods that draw increased numbers of visitors to the Mall at night, when the outdoor public space is typically devoid of any activity. In developing their glow-

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in-the-dark pods, the logical first step was to make the pods solar-powered but there were no affordable or appropriate lighting applications available. Quickly determining that solar panels produce DC power while most incandescent bulbs use AC power, the couple realized that a considerable amount of energy would be lost through the inverter’s conversion process, so the light source would thus require a DC power source. Using storage batteries and LED outdoor floodlights, the flexible solar panels were stitched into the fabric covering the pods, forming an integral part of the sculpture. Several solar power and lighting experts were consulted, only to offer conflicting advice. Faced with no other option, the Norths assembled, tested and installed the components themselves.

Cleveland is currently working on a long-term replacement for an outdated convention centre that has been moved underneath Malls B and C. There is also talk of extending the Mall, thereby completing Burnham’s original vision. If such a redesign were to happen, the classical landscaping would be replaced with a more contemporary design, complete with footpaths across the lawns and skylights for the underground exhibition halls. Verdant Walk represents a first step in increasing the public’s appreciation of this important and historic civic landscape.

RADIANT DARK AN EXHIBITION FOCUSED ON THEMES OF DARK AND LIGHT SHOWCASES THE WORK OF TALENTED CANADIAN DESIGNERS WHO MARRY INNOVATIVE LIGHTING STRATEGIES WITH IMAGINATIVE FORMS.

TEXT

LESLIE JEN ANDREW ROBERTSON

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TOP TAMARA RUSHLOW’S JAGGED CHANDELIER EMPLOYS LASER-CUT STRANDS OF POWDER-COATED STEEL. ABOVE SHADOW BOX, DESIGNED

BY CONNIE CHISHOLM, TAKES THE FORM OF A WALNUT CURIO CABINET ILLUMINATED BY LED LIGHTING.

A provocative exhibition assembling an array of industrial designs dealing with lightness and darkness, Radiant Dark: 29 Designs on Darkness and Luxury surveys the Canadian zeitgeist with new works from artists, architects, industrial designers and craftspeople. Themes of darkness and luxury are examined through the lenses of decoration, historical reference, social issues and material investigations. The resulting objects express the designers’ desire to place value on acquiring experience and deeper meaning over wealth, exclusivity or temporal beauty. Ultimately, Radiant Dark is a melding of thoughtful expression and modern Canadian design practice.

The show made its Toronto debut earlier this year in February, during the same weekend as the popular Interior Design Show and the Gladstone Hotel’s alternative “Come Up To My Room” event. Radiant Dark is enjoying another run at the Cambridge Galleries, Design at Riverside in Cambridge, Ontario until October 19, 2008.

Curatorial duties were undertaken by Shaun Moore and Julie Nicholson, the founders of MADE, a modern Canadian design product retailer located on Toronto’s Dundas Street West. Moore and Nicholson’s combined backgrounds in showroom management, furniture design and manufacture, display and curatorial experience led them to form their collaborative design partnership in 2005, followed by the launch of their retail enterprise a year later.

As one might expect from the title of the exhibition, lighting enjoys the primary focus in Radiant Dark. Only a few of the designers are profiled here, and they represent just a handful of the many, many talented individuals involved in the show.

Industrial designer Tamara Rushlow engages in rigorous technical and material investigations, and all of her designs are developed with the intent of engaging the user to interact and discover new materials and techniques.

Featured in the show, the deep red Jagged Chandelier employs powdercoated laser-cut steel and measures 19 inches in diameter. The fixture is a modern interpretation of Venini chandeliers from the 1970s, in which long, blown glass pieces were arranged in symmetrical and layered configurations.

Connie Chisholm is a Toronto-based designer whose work is characterized by minimalist forms often augmented with strong sculptural elements.

Her Shadow Box display cabinet is made with walnut, glass and LED lights, and measures 32 inches in height and 12 inches in depth. Since curio cabinets are often made of luxurious materials and are intended to showcase precious objets d’art, Shadow Box references the traditional concept while using shadow and light to partially obscure the collection within, offering a sense of mystery and intrigue.

Mazzie Design and Kelly Palmer’s jointly designed room installation entitled Combo Synchronic forms the backdrop for Jennifer Graham’s Strand Chandelier. The room is a theatrical showcase of dark, lush textures and materials, an appropriate contrast to Graham’s delicately wrought chandelier. Inspired by textiles, Graham often embosses her porcelain works with woven textures or stitched patterns and uses fabric molds for handbuilt ceramic forms. The Strand Chandelier uses the salvaged frame of a decrepit light fixture as the armature for an elegant new porcelain light sculpture. Graduating in size, the highly detailed pendants are laid strand upon strand to create a textured assemblage of light-capturing objects.

Bright colours and captivating geometries in the Sonobe Lights are courtesy of self-taught artist Andrew Ooi. Making hanging and freestanding geometric origami shapes infused with light, his focus on reusable and LIGHTING SHOW GUIDE 2008 CANADIAN ARCHITECT/CANADIAN INTERIORS

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HANGING IN THE COMBO SYNCHRONIC ROOM BY MAZZIE DESIGN AND KELLY PALMER, THE STRAND CHANDELIER BY JENNIFER GRAHAM INCORPORATES TEXTURED PORCELAIN IN ITS DESIGN. BOTTOM, LEFT TO RIGHT SONOBE PAPER LIGHTS BY ANDREW OOI DELIGHT WITH THEIR GEOMETRIC ORIGAMI-DERIVED SHAPES; COE & WAITO’S HIDDEN FIRES CHANDELIER QUIETLY SEDUCES WITH ITS LOW-TECH ASSEMBLAGE OF PORCELAIN, OILED MAPLE AND TEA LIGHT CANDLES. LEFT

renewable resources led to his use of recycled and recyclable papers and energy-saving light sources. The Sonobe Lights, made with Fabriano Tiziano Paper and compact fluorescent bulbs, measure eight inches in diameter and are a blending of ancient origami techniques and modern lighting technologies. The clustered, luminous shapes employ a rhythmic geometry, and the simple paper materials radiate their golden layers when lit from within.

Comprised of industrial designers Alissa Coe and Carly Waito, Coe & Waito have contributed their Hidden Fires Chandelier to Radiant Dark.

This piece incorporates the low-tech materials of oiled maple, porcelain and tea light candles to form a quietly elegant source of ambient lighting.

The tips of its branches emit a muted glow that is only visible in a dark space.

It’s clear that through this exhibition, MADE has emerged as a valuable public and design-trade resource with a focus on the promotion of emerging Canadian design. The works in this show are representative of what Moore and Nicholson offer in their shop, and the pair are succeeding in showcasing outstanding but underexposed Canadian design through in-store displays and themed off-site exhibitions such as Radiant Dark.

Radiant Dark: 29 Designs on Darkness and Luxury is on display at Cambridge Galleries, Design at Riverside until October 19, 2008. For more information on MADE, please visit www.madedesign.ca.

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CONSTRUCTIVE DIALOGUE

AN EMERGING TORONTO FIRM MAKES SIGNIFICANT ADVANCES IN REDEFINING RETAIL AND HOSPITALITY DESIGN IN CANADA. DIALOGUE 38 LESLIE JEN PHOTOS ERIC LAU DESIGNER TEXT

As Canada’s largest city, Toronto hasn’t yet seemed to fulfill its potential as a leader in interior design, particularly in the retail and hospitality market. That distinction belongs to cities such as New York, London and Barcelona. However, there are a few local emerging firms that are starting to make significant advances, setting a new standard for dynamic and innovative interiors that provoke and delight. One of these is Toronto-based Dialogue 38, led by graduate architect Bennett Lo and his team of six. The sophistication and refinement evident in Dialogue 38’s design has its roots in Lo’s varied educational and career path. Born in Hong Kong, he received his Master of Architecture degree from Virginia Tech, after which he honed his skills in Aldo Rossi’s New York office. Time was also spent during school on work terms in Germany, giving Lo a taste of design in a European context. But by the mid-1990s, the pull of family lured him to Toronto, and he ended up working for Kramer Design Associates, led by prominent graphic designer and artist Burton Kramer, who in 1974 designed one of Canada’s most identifiable icons, the CBC logo. For six years in Kramer’s employ, Lo’s design skills were utilized on a smaller scale—in graphic, product and industrial design, all of which is evident in the level of considered detail apparent in his growing body of interior design work.

From a portfolio comprised almost exclusively of retail and hospitality design, two projects stand out for their unorthodox approach.

Shoppers on Queen Street West have enjoyed the sophisticated jewelry selections at Eko since 2000, but owner Mina Yoon found the shop and standard display options too limiting for her carefully curated collections from around the world. So in 2006, she hired her good friend Lo, 36 CANADIAN ARCHITECT 09/08

THE EKO JEWELRY SHOP ON QUEEN STREET WEST IS AN EXERCISE IN MINIMAL RESTRAINT. CLOCKWISE FROM ABOVE MAGNETIC ALUMINUM BLOCKS PROVIDE AN INGENIOUS FLEXIBLE DISPLAY SOLUTION FOR VARIOUS PIECES OF JEWELRY; A VIEW INTO THE EKO SHOP ON QUEEN STREET WEST ENTICES WITH ITS PRISTINE BRIGHTNESS AND COMPELLING GEOMETRIES; THE SECOND EKO LOCATION ON EGLINTON AVENUE REFERENCES ITS OLDER SISTER, BUT INSTEAD BOASTS FLUID ORGANIC CURVES.

OPPOSITE

and requested his help in reconceptualizing the design of her shop, her primary goal to increase display space for her stock.

To address Yoon’s needs, Lo’s initial move was to enlarge the shop from 580 to 850 square feet by opening up the back zone that was previously used for storage, creating a raised platform area/gallery that can accommodate more display space. The back wall was conceived of as an art wall, upon which a constantly rotating display of local artists’ work is hung.

Conventional jewelry display usually translates into an arrangement of freestanding glass cases where customers bend over and peer downward.

Lo felt that the space should mimic the minimalist blank space of a gallery, where the art and artifacts are allowed to dominate, and where viewers can more comfortably peruse the pieces at eye level without stooping over. The concept that emerged here was a sequence of vertically oriented glass display cases, running the entire length of both walls and separated at regular rhythmic intervals with an armature of sorts, structural ribs that run vertically from the floor right to the top of the 13-foot ceiling, and which continue straight across the ceiling and back down the opposing wall, forming a succession of orthogonal archways that run all the way to the back of the long shop.

Because of Lo’s clever manipulation of the side walls by progressively narrowing them from front to back, it creates an illusion of a larger space from the resulting exaggerated perspective, but it also offers a view of the rhythmic framing of the EKO 1 AND EKO 2, TORONTO, ONTARIO CLIENT MINA YOON DESIGN TEAM BENNETT LO, JERICHO LEE (EKO 2 ONLY) CONTRACTOR CANSON BUILDING LTD AREA 850 FT2 (EKO 1), 875 FT2 (EKO 2) COMPLETION DECEMBER 2006 (EKO 1), MAY 2008 (EKO 2)

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archways to street traffic. But the ribs protrude sufficiently from the surface of the glass display cases that one can’t actually see past them.

Counterintuitively, this über-minimalist design erases all suggestion of what the shop actually contains, as views into the shopfront reveal nothing but the pristinely articulated interior space and a single “floating” Cipollini marble display counter/cash desk. In a competitive retail environment, this could be seen as a very risky move, but Yoon was confident in Lo’s direction.

A fairly limited budget meant an economical material palette, which translated into pale blonde ash laminate floors, and structural ribs made of MDF which were then painted white.

The ingenious design of the display system for the individual pieces of jewelry was a joint effort CLOCKWISE FROM LEFT IN SPRING ROLLS SUSSEX, TRANSPARENT RED VINYL AND SINUOUS STRIPS OF BLACK STYRENE SHEATHE A 20-FOOT GLASS WALL SEPARATING THE RESTAURANT FROM THE ATRIUM; FLORAL-PRINTED GLASS LIGHTBOXES ARE USED TO GREAT EFFECT IN THE MAIN DINING ROOM; ORGANICISM AND NATURE ARE APPARENT IN THE NATURALLY INSPIRED MOTIFS OF THE BACKLIT BAR AND THE CURVING PLYWOOD FINS DESCENDING FROM THE CEILING; THE AMORPHICALLY SHAPED ATRIUM DINING ROOM IS SIMPLY ENCLOSED WITH AN OPEN WOOD SCREEN WRAPPED IN IRIDESCENT BORDEAUX SILK, CREATING AN ENTICING ADJACENT PATHWAY LINED WITH TALL VASES OF FLOWERS.

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between Lo and Yoon; magnetic aluminum blocks affix to the back wall of the cases, and allow for endless flexibility in display arrangements.

Yoon’s established customer base and dedicated following continues to grow, to the extent that she expanded her business and opened a second location earlier this year on Eglinton Street, a well-heeled neighbourhood north of the downtown core. The design is entirely consistent with that of its sister shop, but a fluid organicism characterizes Eko 2. The same system of vertical display units between clearly articulated structural ribs is utilized, but the white ribs are canted, and they do not continue across the ceiling plane as the ceiling height in Eko 2 is considerably lower.

Most evident though, is the fact that the walls serpentine from the front of the shop right to the back, creating a sort of rounded fish shape in plan. Importantly, this gesture offers passersby oblique views of what is actually in the display cases, unlike the Queen Street location where the intrigue and mystery ends only after entry into the shop. This decision addresses the fact that the Eglinton market, perhaps a little more conventional than the downtown market, would need to actually see the merchandise to be sufficiently enticed to “bite.”

Another evolution in Toronto’s retail and hospitality landscape is the recent rapid proliferation of high-style yet economically priced restaurants. The city of Toronto is often praised for its dynamic multicultural mix, and the dining options reflect this diversity. But anyone living in the city over the past several years will have noticed a curious phenomenon—Asian restaurants, long noted for being cheap ’n cheerful, have been elevated to new heights, largely through the efforts of Dialogue 38. Harsh fluorescent lighting, grease-streaked Formica tables and sticky faded menus have given way to flattering and diffuse lighting strategies, an elegant and rich material palette, and easily identifiable icons of modern design, such as George Nelson bubble lamps and Eames plywood chairs.

The Spring Rolls pan-Asian restaurant chain comes to mind, as locations keep popping up everywhere, migrating from their origins in the downtown core to the furthest reaches of suburbia. A family-owned empire led by Thai Hua, Spring Rolls Corporation has clearly developed a successful formula that began more than a decade ago when they opened their first location on bustling Yonge Street. Lo was a frequent customer back in the early days, and talked his way into first redesigning the graphics and menu for the restaurant. His client was so taken with Lo’s design skills that he commissioned him to redesign the entire restaurant. From that point onwards, a successful partnership was born and Dialogue 38 has designed 12 separate locations for Spring Rolls over the past eight years.

As the restaurants spread to the outer reaches of the city, their sizes increase dramatically. And

ABOVE A SOPHISTICATED LAYERED LIGHTING STRATEGY AND LEVEL CHANGES IN THE GROUND PLANE CREATE ZONES OF INTIMACY IN THE VAST SPACE OF THE RESTAURANT.

so, in the heart of Mississauga opposite from the imposing Square One—one of the largest shopping malls in the country—is Sussex Centre, a nondescript business complex in which a massive 6,500-square-foot Spring Rolls opened in December of 2007. This outpost of Spring Rolls, however, is far from nondescript. Its enormous size and throbbing, hot colour scheme of pinks, oranges and reds gives the space a distinctly nightclubby feel, and transports the dining experience into the realm of the theatrical.

An organic theme is also present, apparent in the floral patterns, wavy lines and amorphous shapes visible everywhere. This relationship with nature and the outdoors was a driving concept from the very outset, and the elaborate entry sequence to the restaurant was orchestrated in great detail to reinforce this connection to nature. Visitors must engage in a pleasantly circuitous route, passing through an entry portal and crossing a series of bridges, ponds and a waterfall before arriving at the restaurant proper and the sizeable outdoor dining patio.

Inside the restaurant, the vast space does not overwhelm due to a skillful delineation of an array of distinctly zoned dining spaces and level changes. The main dining room has views of the impressively long white marble bar, the back of which is lit from behind: digitally printed film

applied to the glass wall provides a vibrant explosion of red flowers that glows luminously, overtop of which the Spring Rolls signature graphic identity is subtly laid, a mesmerizingly repetitive pattern of overlapping rounded squares. This floral lightbox effect is also utilized to great effect in the partitions dividing the seating modules. The ceiling plane of the main room is not ignored in this endeavour, as the fluidity of movement is captured through the curvy bent plywood fins that descend from the ceiling in dizzying patterns.

In direct contrast to the buzzy energy of Spring Rolls Sussex is the elegant restraint of Spring Rolls’ most recent franchise unveiling in the Sheppard Centre, located at the major intersection of Yonge and Sheppard Streets in north Toronto. Again housed in a complex that comprises retail, office and residential uses, this restaurant—though considerably smaller than its Mississauga counterpart—is also divided into a number of zones, offering a diversity of environments and a greater sense of intimacy in such a SPRING ROLLS SUSSEX CENTRE, MISSISSAUGA, ONTARIO CLIENT SPRING ROLLS CORP. DESIGN TEAM BENNETT LO, RAUL DELGADO, JERICHO LEE, MARYA HWYN MECHANICAL TRAN DIEU ASSOCIATES AND HIDI RAE CONSULTING ENGINEERS INC. STRUCTURAL TRAN DIEU ASSOCIATES CONTRACTOR CONT-TOP CONSTRUCTION AREA 6,500 FT2 + 1,700 FT2 PATIO COMPLETION DECEMBER 2007

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large space. The chain’s appeal to a wide audience coupled with its affordable price point makes it a frequent choice for private group dinners and functions, requiring the provision of separate dining rooms to accommodate.

Though one would be hard-pressed to say that the location of Spring Rolls Sheppard is grittily urban, it is moreso than its sibling in Mississauga. As such, the material palette chosen for Sheppard is much more sedate to reflect a more refined and urban sensibility than the suburban Spring Rolls Sussex location. The dining rooms are all blonde wood, white walls and ceiling, white tables and chairs, and soft uplighting, delivering a muted and relaxed vibe.

In contrast, the lounge and bar area seems a little more crisp and hard-edged. As this particular restaurant is housed in a mixed-use complex, it enjoys access from both the street and from within the complex. To attract potential customers accessing the building from underground parking, the lounge and bar area opens up to the interior mall facing the cinema, drawing in customers with a well-stocked 23-foot-long gleaming white stone bar. The bottles are attractively displayed on the back wall in a checkerboard pattern of red rectangular receptacles alternating with mirrored glass panels, all dramatically spotlit for effect. The Spring Rolls graphic motif is evident here again, subtly and monochromatically, in the glazed enclosure wall of the lounge.

Frosted clear acrylic is laser-cut and laid on top of the glass to give a filtered screened view into the lounge, which hints at the interior enough to entice traffic, but which prevents a complete fishbowl experience.

Perhaps the most stunning feature of Spring Rolls Sheppard is the breathtaking chandelier hanging in the semi-private lower dining room.

Measuring an expansive 24′ × 4′, the luminous ceiling fixture is constructed of well over 10,000 cranes made from iridescent gold-tinged ivory Japanese origami paper, each painstakingly hand-folded by the Spring Rolls owners along with their family and friends. The thousands of cranes are suspended from a concealed steel grid, and are simply illuminated along the 24foot length of the fixture by eight 60W domestic bulbs. Aside from the obvious Asian connotaIN SPRING ROLLS SHEPPARD, A STUNNING 24-FOOT-LONG CHANDELIER MADE FROM OVER 10,000 HAND-FOLDED PAPER CRANES DOMINATES THE SMALLER DINING ROOM. LEFT A VIEW OF THE MAIN DINING ROOM EVIDENCES THE SOFT AND MUTED EFFECT ACHIEVED IN PART FROM CLEVER UPLIGHTING STRATEGIES. OPPOSITE, CLOCKWISE FROM TOP LEFT BEAUTIFULLY DIFFUSE LIGHT EMANATES FROM THE PAPER CRANE CHANDELIER; THE SPRING ROLLS SIGNATURE MOTIF IS VISIBLE ON THE GLASS AND FROSTED ACRYLIC ENCLOSURE OF THE BAR AND LOUNGE AREA; BOTTLES OF SPIRITS AT THE BACK OF THE BAR ENTICE WITH THEIR COLOURFUL CHECKERBOARD DISPLAY.

TOP LEFT

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tions, the paper crane chandelier developed as a response to budgetary limitations: the design called for a lighting showpiece of an impressively grand scale, and standard options on the market would have been prohibitively costly. Here, necessity proves to truly be the mother of invention.

To be sure, the insanely reasonable prices and the quality of the environment guarantees loyal repeat clientele. While the food at Spring Rolls is more than decent and offers credible interpretations of the cuisines of China, Thailand and Vietnam, it’s not a stretch to admit that the quality of the interior design probably exceeds the quality of the food. The artistry and design sensitivity apparent in the restaurant interiors have unequivocally raised the standard for a casual dining experience.

What does the future hold for Dialogue 38?

Due to the success of the Spring Rolls enterprise, other Asian restaurateurs have commissioned Lo and his team to design their interiors to remain competitive. Dialogue 38 have cornered the Asian restaurant market in Canada’s largest city, and now Caucasian restaurateurs have approached Lo and discussions are underway for future endeavours. Later this fall, another Spring Rolls will be unveiled in Fairview Mall in yet another suburban Toronto neighbourhood. The firm is currently involved in the design of a small boutique hotel in downtown Toronto, and Shanghai has also come calling with a potential hotel interiors commission. Lo says that someday, he would like to return to the world of architecture and big design, but for now, he is happy producing small packages that deliver big impact. CA

SPRING ROLLS SHEPPARD CENTRE, TORONTO, ONTARIO CLIENT SPRING ROLLS CORP. DESIGN TEAM BENNETT LO, RAUL DELGADO, JERICHO LEE, MARYA HWYN MECHANICAL GEORGE CHAN AND THE MITCHELL PARTNERSHIP (TMP CONSULTING ENGINEERS) ELECTRICAL GEORGE CHAN CONTRACTOR CONT-TOP CONSTRUCTION AREA 4,800 FT2 COMPLETION MARCH 2008

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Winnipeg’s downtown is under constant scrutiny by its own citizens who search for evidence of revitalization and relevance. It is the big moves that tend to receive the accolades of the Winnipeg Free Press or the city’s morning television shows.

Often referring to cranes as “extinct species,” even the Premier’s canned lunchtime rhetoric has it that razed city blocks and cranes would mark a sure sign of progress and success in this city. And so this month, with the city’s single crane having vanished from the downtown skyline, by that account we should expect to hear cries of mourning and public loss as if yet another era of post-progress is about to begin. But if looking upwards in this prairie city proves disheartening, the spaces in between show promise not only of progress in the downtown core, but of a healthy commitment to transition and innovation.

Tucked in between two multi-storey buildings at the edge of downtown, Webbsite is a sevensuite, three-storey condominium built on a sliver of a lot measuring 15 x 40 metres. The site stretches south from Ellice Avenue toward Webb Place and a tree-lined urban square. Over the past decade, a local development initiative, the North Portage Partnership (NPP), has been investing in this area of downtown Winnipeg bounded by the Salvation Army’s Booth College, the Winnipeg Adult Education Centre (see CA, October 2006) and Portage Place. Close to the University of Winnipeg, the neighbourhood has an obvious appeal to young professionals and students alike. In 2003, NPP retained Cohlmeyer Architects to assist in the creation of new housing that could strengthen the neighbourhood.

The site was a derelict lane serving the residences and offices of the Salvation Army. Flanked opposite by a courtyard at the rear of an adjacent apartment building, the underused lot showed potential as an infill site, provided it could be reconfigured. “The success of the infill,” says Jeff Badger, project manager for NPP, “was seen as critical to setting a precedent for downtown living in Winnipeg.” He was committed to making this site work.

As a through-lot, the project’s relationship to

RIGHT SIGNIFICANT LANDSCAPING AND PLANTINGS ENHANCE THE WEBBSITE TOWNHOUSE COMPLEX IN DOWNTOWN WINNIPEG AND IMBUE IT WITH A GREATER DOMESTIC AMBIANCE.

the existing urban fabric is provocative and ambiguous. With services at the back of the floor plan, the orientation of the suites takes advantage of fresh air and views over the newly created mews. From Ellice Avenue, the mews is a peephole to the urban square beyond. Within it, street parking is shared with modest front doors, a common walkway, and private patios, all of which feel equally inviting, yet private enough. Overhead, a rhythmic score of boxes defining each suite is syncopated with large sheets of glass and open terraces allowing the living spaces to engage with the new public territory below. The result is neighbourly and intimate.

But this same effort is absent at Ellice Avenue where Webbsiteâ&#x20AC;&#x2122;s at-grade residential side wall feels more like a detriment to the fledgling

UNITS

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ABOVE TWO VIEWS OF THE THROUGH-STREET CREATED BY THIS INFILL PROJECT. OPPOSITE, TOP TO BOTTOM THE CHALLENGE OF PROVIDING LIGHT AND VIEWS IN THE MOSTLY SINGLE-SIDED UNITS WAS RESOLVED THROUGH 18-FOOT-HIGH LIVING ROOMS AND THE STRATEGIC PLACEMENT OF LARGE WINDOWS; A SIMPLY CONFIGURED KITCHEN; THE ARTICULATION OF THE UPPER-STOREY MASSING ENABLES VISTAS ALONG THE ALLEY AND PRIVACY FOR UNITS’ TERRACES.

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avenue. It is a blunt expression along the street, and the project’s capacity to address a rather fundamental urban gesture seems altogether lost. No amount of patterning in the façade’s material treatment can rectify this shortcoming and here, the project feels heavy-handed.

Webbsite is composed of two- and threestorey suites. Marketed to the young urban dweller looking to buy a home under $150K, they are flexible and loft-like in character. Filled with natural light from a two-storey glass wall, suites have open kitchens and upper floors overlooking the living spaces below. The layout of these 600to 825-square-foot units is expanded with roof terraces created from initial shifts in the volumes. Given the tight footprint, the design is skillful in its ability to address the challenges of the narrow site and expands the potential for denser models of living. Webbsite contributes to the market by making do with modest and marginal means; it has reclaimed a residual site and helped stabilize an otherwise uncertain corner of the downtown.

For Sasa Radulovic, project architect, the success of the project is more elusive: it exists in the strong friendships that have grown between the owners of the suites. “The reasons for a strong community are hard to pin down,” says Radulovic, “[but] architecture has certainly helped to enhance a sense of belonging here. With easy access to patios, public space, and with units sharing the courtyard, higher density alone may have nurtured this condition.” And even though its market-driven name is a playful derivation of Webb Place to the south, perhaps the project name is a subtler allusion to this evolving, tight-knit social web. Webbsite suggests that small and modest strategies to fill in the gaps go far in a city like this — farther, perhaps, than raising the crane. CA Peter Sampson is the principal of PSA Studio in Winnipeg and teaches architecture at the University of Manitoba.

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YONGE LOVE

TORONTO’S FABLED YONGE STREET IS DOCUMENTED AND DECIPHERED BY PHOTOGRAPHIC ARTIST PETER MACCALLUM.

INTERVIEWER

IAN CHODIKOFF

Peter MacCallum’s significant interest in architectural photography dates back to 1984 when he was first commissioned to document existing buildings along Toronto’s Spadina Avenue. Since then, he has developed a process that describes a sense of what is important about the subject he photographs rather than fetishizing the photograph itself. In a significant body of work that includes a photographic series documenting the Lakeview Generating Station (2005) and Vimy Ridge (20052008), MacCallum is constantly searching to convey the ineffable in a clear and poetic manner.

“Each subject compels me to use composition and lighting in a different way,” claims MacCallum. His most recent project, the Yonge Street Series, is a body of work that seeks to describe concepts that can only be communicated through rigorously constructed photographs. Quietly and convincingly, his work represents a palimpsest of simultane50 CANADIAN ARCHITECT 09/08

ABOVE PHOTOGRAPHED IN 2007, THE ICONIC SAM THE RECORD MAN AT YONGE AND GOULD STREETS SITS EMPTY TODAY, BUT THE BUILDING AND SIGNAGE WILL HOPEFULLY BE INCORPORATED INTO THE NEW MASTER PLAN OF RYERSON UNIVERSITY, WHICH EXISTS JUST BEHIND THE BLOCK. OPPOSITE THE GUESS STORE, JUST ACROSS FROM DUNDAS SQUARE, EXPRESSES AN ARCHITECTURE THAT IS PURPOSE-BUILT FOR ADVERTISING.

ous social activity and architectural dialogue.

Deciphering the rag-tag mix of buildings found along Toronto’s Yonge Street, MacCallum has isolated its elements as democratically as possible. He does not favour 19th-century architecture over Modernism, kitsch or recent commercial buildings. He merely chooses to photograph subjects that respond well to appropriate light conditions, perspective and scale, including those boasting baroque flourishes on their façades.

When asked why he is interested in photographing heritage buildings, MacCallum cringes at the notion of “heritage,” preferring instead to discuss his work as documenting “social history” because it contains fewer values than “heritage.”

“People always try to suggest that I am an industrial archaeologist,” notes MacCallum.

His process has much to teach us about architectural photography. In recent years, the empha-

sis in architectural photography has become more about selling a product than revealing the dialogue between a building and the city or with the light conditions of its surrounding context.

One of the most obvious influences on MacCallum’s Yonge Street Series is French photographer Eugène Atget (1857-1927), but MacCallum is also a great admirer of the work of Italian photographer Gabriele Basilico (b. 1944), whose photography can be described as portraits of urban environments that favour areas of transition and transformation, thereby allowing the viewer to revisit overlooked places. “Basilico photographs the city by accretion of detailed views,” notes MacCallum.

It makes a lot of sense for architects to hire professional photographers, but the priority to promote one’s work through professional photography may also compromise other photo-

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graphable aspects of a building. When MacCallum shows architects his work, he finds that “they are generally receptive, but they don’t think about it as related to what they do. They think that this is art. Architectural photography has become very much about artifice and manipulation of colour and contrast. It has also lost much of its descriptive power.” When asked about what that descriptive power might be, MacCallum responds, “The work should speak as though it were a person— directly to the viewer. It is a conceit but it is always worth looking at because it is less tendentious than proceeding any other way. If I started with a title like Yonge Street Today, then I would already be circumscribing my original intentions.” So then, how can MacCallum teach us a lesson in what architectural photography can offer us in an era where we are constantly being oversaturated with fake imagery? The following interview provides some insight into his quest for truth and beauty behind the lens of his compact view camera.

Your photographic subjects often represent a kind of palimpsest of the city. How does your work show the visible and the invisible—socially or architecturally—within the same frame?

52 CANADIAN ARCHITECT 09/08

There is only so much social reality that a photograph can show. I analyze rather than directly illustrate my subject. Architectural photography can never completely show a building. Even a fairly simple façade can be taken apart photographically with its various aspects examined individually.

Some of the Modernist buildings you document are far worse for wear than buildings that are much older, such as Art Metropole, a building that has resisted change over time. What is it that attracts you to these buildings?

The camera lens craves buildings which retain a visual integrity despite the insults that are committed against them by time and commerce. The types of successful architecture that have stood out in the Yonge Street Series often follow a late19th-century vernacular style that adheres to a strict pattern-book detailing. Some postwar buildings along Yonge Street look rougher than their 19th-century neighbours. One of the problems of Modernist architecture is that many of these buildings are not designed to age gracefully.

Your work has a high degree of precision and you are very conscious of contrast and

shadow and how it brings out detail in the work. How do you choose to photograph your subject matter?

I avoid conventional lighting mostly because of the conditions of the buildings themselves which are so neglected that they don’t tolerate direct sunlight. Peeling paint and rotting wood can distract your eye from the built form. Most of the photos I use were taken at twilight, between 7:30 and 9:30 pm during the long summer days. As for the people in my images, I have allowed them to float through the photos without any attempt to articulate them deliberately.

Why do you choose to photograph in black and white?

Black and white photography is useful because it allows you to maintain a consistent style with a very large range of subject matter. You are not worried about colour taking over from the actual form of the buildings. Brightly coloured objects can simply interfere with the overall form of buildings. Sometimes I shoot using colour film but psychologically, colour photography always has something to do with the present, while black and white always has something to do with our past.

OPPOSITE, LEFT TO RIGHT MAINTAINING ITS STOIC POISE SINCE THE DAY IT OPENED, THE ART METROPOLE BUILDING JUST ACROSS FROM THE EATON CENTRE HOUSES A MONEY MART TODAY; A WONDERFUL EXAMPLE OF AN EDWARDIAN CLASSICAL BUILDING WATCHES OVER THE INTERSECTION OF YONGE AND KING STREETS. ABOVE THE EATON CENTRE ENTRANCE IS BOUNDED BY THREE-STOREY BUILDINGS TO CREATE A VIRTUAL VILLAGE ALONG YONGE STREET.

This seems to be part of our human psychology.

You seem to be interested in creating relationships, either spatially or chronologically, between the buildings you photograph without being prejudiced with respect to their architectural merits.

I’ve tried to be as democratic as possible. I didn’t want to take the usual position that all older buildings are Romantic buildings. If that becomes obvious in the photos, then I think that it might be true in real life where these buildings are more satisfying urban buildings than contemporary ones. In some photos, I’ve found that the better, more recent towers can serve as effective perspectival markers down Yonge Street, particularly the buildings at the intersections of Yonge and Bloor. These buildings don’t function so well at ground level but they add to the street well above the horizon, drawing your eye forward down the street.

One of my own personal biggest concerns is architecture’s inflexibility with regards to use.

Architects like to talk about anticipating different uses, but they are often unwilling to give up a formal purity in order to allow buildings to be used more flexibly.

Whether you are photographing a loadbearing structure or a postwar curtain wall, your work demonstrates how a wide range of architecture coexists along a linear commercial strip like Yonge Street, exhibiting a simultaneity of activity that is both coherent and visually diverse.

Vincent Scully once said that architecture is a dialogue across the ages. Yonge Street is more like gossip across the ages; chatter across the fence. There is nothing profound about what these buildings are saying, but they are all fighting for attention.

Typically, European city buildings are meant to get along with each other, whereas here, each building is meant to stand out for a variety of reasons.

Maybe this is what becomes the palimpsest of life along the street?

Yes, and one that describes different layers of use existing simultaneously. Someone might be downstairs buying a T-shirt and somebody else will go upstairs for a body rub. This is what gives the street tremendous energy. You could argue that in some cases the architecture doesn’t play a large role, but I believe that it does.

I admire your image of a man facing north at the corner of Yonge and Wellesley with a row of 19th-century buildings behind him, and then a row of condo towers in the background.

The intersection of Yonge and Wellesley is kind of a centre of a village, largely because of its decrepitude—almost like a frontier town. You can imagine that when those buildings were built, it was the edge of the city. I love that.

In front of the Eaton Centre you have framed another village of sorts. In this photograph, you reveal how most people probably don’t notice what happens beyond the surrounding three-storey buildings. Anything taller than that will become more or less irrelevant.

On Yonge Street, people don’t really look up.

Passersby often state that they don’t notice the architecture above them. Ironically, this is where commerce of a more dubious type takes place— tarot card readers, massage parlours or pornographic bookstores.

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ABOVE THE EARLY-20TH-CENTURY BUILDINGS LOCATED AT THE CORNER OF YONGE AND WELLESLEY CONVEY THE APPEARANCE OF A RAMSHACKLE FRONTIER TOWN WHILE THE TALL BUILDINGS ALONG BAY STREET RISE ABOVE IN THE DISTANCE.

Where does architecture lend beauty to the simultaneity of those events that you observe? Through ornament? Through scale?

Scale is the main thing. Small-scale ornament is a reminder of a completely different social order in the midst of a contemporary commercialism. Why are finials and volutes so important to us? Why do people talk about that decoration as something very precious? It is because we want buildings to be beautiful. We only put up with buildings that aren’t beautiful if they are useful.

As an artist, you are especially sensitive to how a building was built for ornamentation purposes, and where signage was a minimal component. Then we began to see giant two-storey signs affixed to the front façade. More recently, we see architecture that is purpose-built to include large signage such as the giant billboard for stores like GUESS at Dundas Square.

Those buildings are a contemporary phenomenon: a building constructed for the sole purpose of advertising.

54 CANADIAN ARCHITECT 09/08

Over time, some of the ornamentation on the buildings you have photographed are removed or buried with signage. Would you agree that your work rediscovers these layers of intentionality?

Again, we have a sort of palimpsest of the street.

Someone else has written their intentions over previous efforts but there is an organic quality to this process. Even if someone puts up a 100metre tower with a GAP ad on it, someone could build a bigger sign next to it. The public seems to enjoy being astounded by the audacity of each successive statement. In the 19th century it would be a five-foot-high sign declaring, “Buy your fish here.” Then someone would build a bigger sign that would read something like “We have the best fish in Canada,” or some outrageous hyperbolic statement.

How can even the modest confines of a three-storey streetscape accommodate an extraordinary range of such intentions?

My favourite is the Little House of Kebabs, a onestorey structure with signage that is at least three storeys high. Big billboards have always been

present. You can prove this by looking at photographs that date back to the 19th century. The only difference is that technology has allowed us to make signs bigger, with illumination or even the ability to display video clips on them.

Your work gives praise to the vernacular for its ability to withstand change over time. Do you think that your work can offer a toolkit for designers to anticipate ways of extending the special character of contemporary architecture over time?

Architects should look at these older buildings and not copy their ornamentation, but copy their style and learn how they can present exemplary ways of presenting their architecture on the street. These buildings stand out through their personality more than by their scale. They embody a 19th-century idea that a row of buildings that go together is somehow satisfying.

Despite the differences among them, these buildings are able to coexist without screaming about their individuality. People crave that repetition and rhythm on the street—the rhythm of dormers and architectural details. We can create rhythm in a streetscape, even if it’s through the repetition of a Modernist façade. CA

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REPORT

MORLEY VON STERNBERG

VANCOUVERITIS

A TRAVELLING EXHIBITION ATTEMPTS TO DESCRIBE THE PHENOMENON OF CONTEMPORARY VANCOUVER URBANISM, BUT THE RESULTS SPEAK ONLY TO A FEW RECENT PROJECTS AND THE CURATORIAL DIRECTION SEEMS LIMITED AT BEST.

TEXT

LÉA-CATHERINE SZACKA

From June 20 to July 20, 2008, the city of London celebrated architecture. The 2008 London Festival of Architecture featured over 600 activities around the city: exhibitions, lectures, installations in public spaces, guided walks, bicycle rides, boat tours, parties, film screenings, design workshops, and debates. Canada took part in this festival with Vancouverism: West Coast Architecture and City Building, presented at Canada House in Trafalgar Square from June 24 to September 10.

As part of the “Embassies Project” organized by the British Council and the London Festival of Architecture, Vancouverism is one of many international exhibitions and events in some of London’s 28 foreign embassies where the best examples from each country are presented. To complement the show, an evening of talks entitled “Arthur Erickson’s Vancouver” was held at

ABOVE THE INSTALLATION THAT STOLE THE SHOW: BING THOM AND GERRY EPP WRAPPED THE CORNER OF CANADA HOUSE IN TRAFALGAR SQUARE WITH THIS STUNNING WOOD SCULPTURE.

the Royal Institute of British Architects (RIBA).

Moderated by Dennis Sharp, speakers included Trevor Boddy, Bing Thom and James KM Cheng.

Unfortunately, Arthur Erickson himself was not able to attend the event in London, due to ill health.

Vancouverism: A Neologism

The curators of the show, Dennis Sharp and Trevor Boddy, developed a special exhibition around the word Vancouverism, a term first used

by American urban planners and architects who needed a label to describe what they found in the Canadian West Coast metropolis. The show opens with a quote from The New York Times, explaining what Vancouverism is all about: “Vancouverism is characterized by tall, but widely separated, slender towers, interspersed with low-rise buildings, public spaces, small parks and pedestrianfriendly streetscapes and façades to minimize the impact of a high-density population.” The press release accompanying the exhibition plays with the city’s name to define this architectural idea:

“Vancouver, Vancouverize, Vancouverism.” Thus, the name of a city became first a verb, and then a noun, a neologism that evokes a particular type of urbanism focused on high density and public amenities. In this way, Vancouver is presented to Londoners and tourists as “not Asia, not Europe, not even North America, but a new kind of city living with elements from all these.”

Even before the term Vancouverism was invented as a derivative of Manhattanism at the beginning of the 21st century, the idea of a vertical city of high-rise buildings by the sea had already been envisioned by one of Canada’s greatest architects—Arthur Erickson. In 1955, Erickson drew a beautiful sketch for Plan 56—an entirely hypothetical urban scheme for the city of Vancouver—where buildings by the sea complemented the contours of the snow-capped mountains behind Vancouver. It was there, according to Boddy, that the notion of Vancouverism really took root. And it is therefore with this striking drawing, and with an interesting written introduction (strangely, the only part of the exhibition 09/08 CANADIAN ARCHITECT

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PAUL WARCHOL ARTHUR ERICKSON TOP THE VANCOUVER SKYLINE, AS IT MORE OR LESS EXISTS TODAY. ABOVE ENTITLED PROJECT ’56, THE CASCADING FORMS OF ARTHUR ERICKSON’S SKETCH PROPOSAL FOR THE REDEVELOPMENT OF VANCOUVER’S WEST END IN 1955 APPEARS TO HAVE INFLUENCED THE SEDUCTIVE FORM OF THE EXTERIOR WOOD INSTALLATION OUTSIDE CANADA HOUSE.

that is bilingual), that the summer 2008 exhibition at Canada House begins.

Curating with Wood

Up to this point, the exhibition seemed really promising. But after this initial good start, things became rather confused and somehow inconsistent. Although “high-rise,” “high-amenity” and “high-design” seemed to be the key words tying together the show’s themes, the exhibition seemed more intent on promoting the work of a few of Vancouver’s main architecture firms.

Indeed, almost all the projects exhibited at Canada House were from Arthur Erickson, Bing Thom Architects, James KM Cheng Architects, and Fast + Epp Structural Engineers. Is it really right to imply that only these four firms—three of which were sponsors for the show—have helped to create the ideology of Vancouverism?

The exhibition consisted of four parts: the main gallery with displays, models, and a video on the construction of the 2010 Olympic speed-skating arena’s roof; a small gallery with some more examples of podium/tower constructions; an 58 CANADIAN ARCHITECT 09/08

external serpentine construction made of timber; and finally, another small wood construction, also snake-shaped, built inside Canada House. Probably the most interesting part of the exhibition, and the one that will remain in Londoners’ imaginations, was the installation conceived by Bing Thom and Gerry Epp that wrapped around the corner of Canada House—a 200-foot-long and 27foot-high wooden wall facing Trafalgar Square and the National Portrait Gallery. Named the “Trafalgar Square Demonstration Construction,” this temporary edifice was realized by Fast + Epp and StructureCraft, the innovative engineering firm also responsible for the unique roof of the Richmond Speed-Skating Oval for the 2010 Olympics. Being situated in the middle of Trafalgar Square near the National Gallery, the Strand and the church of St Martin-in-the-Fields, this curved, cedar sculptural wall on Canada House is an extraordinary showcase for our country.

The show’s methods of display were not bad at all. The curators made the decision to present architectural projects on timber panels consistent with the serpentine installation outside

Canada House. The display panels were not hung on the walls in a traditional way, but were constructed as long thin planks to lean against the walls. The upper parts of these panels each showed a large black-and-white picture of each building, whilst the lower parts displayed a combination of smaller pictures, drawings and text relating to the photo above it. Among the projects on display, four were by Arthur Erickson—the MacMillan Bloedel office tower (1969), the Museum of Anthropology at UBC (1976), Robson Square (1983), and the Waterfall Building (2002); four by Bing Thom Architects—an office/condominium tower located at 855/899 Homer Street (1992), Surrey Central City (2003), the Aberdeen Centre (2004), and the Sunset Community Centre (2008); four by James KM Cheng Architects—Concord Pacific’s Marinaside (2002), a residential tower on Georgia Street (1998), the Shaw Tower (2003), and Concord Pacific’s Spectrum Costco/Condo Complex (2007); and finally, three by Fast + Epp Structural Engineers—Surrey Central City (2003), the Sunset Community Centre (2008), and the 2010 Olympic Winter Games Speed-Skating Oval in Richmond (2010).

Trevor Boddy, the main curator of Vancouverism, is a Vancouver-based critic and curator who has written about architecture and cities in many Canadian and American newspapers as well as design magazines. Dennis Sharp, co-curator of the exhibition, is a British architect, professor, curator, historian, author and editor who was appointed Head of History Studies at the Architectural Association (AA) in 1968, and was later a senior lecturer at the AA, and AA general editor and founding editor of AA Quarterly (1968-1982).

The Message

What exactly are Boddy and Sharp trying to tell the visitors of the show? As the main Canadian contribution to the 2008 London Festival of Architecture, the exhibition Vancouverism should have provided a strong and clear manifesto of the quality and uniqueness of Canadian buildings.

Unfortunately, the main focus of the show was not made at all clear. I could not work out precisely what the core concern of the exhibition was. Was it the new urbanism of the West Coast, what they have called Vancouverism, and which is, apparently, now being copied from Hong Kong to Dubai?

Or, was it the wood industry’s development of highly sustainable buildings and the stunning quality of cedar construction in Canada? If it was this, why were only two of the projects displayed made of timber, while the remaining projects comprised an architecture of concrete and glass?

And finally, was it simply the showcase of the work of four Canadian offices that have, in the last four decades, shaped modern Vancouver? The answer is not clear. If the concept of Vancouverism was outlined quite brilliantly at the start of the exhibition, the focus was disappointingly lost in an attempt to show too many things in too little space.

In the brochure accompanying the show, two

images of Vancouver are juxtaposed to create a contrast: one black-and-white photograph depicts Vancouver in 1953 (just before Erickson’s Project ’56) and the other image is of technicolour Vancouver in 2007. There is a world of difference between these two photos. Indeed, by bearing in mind these images, one can grasp the sense of the term Vancouverism and its importance to the city’s history over the past 50 years. It is a shame that the photos were not part of the show. There were other important omissions in the exhibition: a map of Canada and a map of the Greater Vancouver region showing Vancouver and its suburbs such as Surrey and Richmond would have been beneficial, especially to a European audience.

Was this exhibition about Vancouver a bit pretentious? I am tempted to respond affirmatively in view of some of the phrases used in the show.

For example, “The Vancouverism tower-onpodium format is New York Brownstone walk-up apartment topped by thin Hong Kong towers. In other words, split the architectural distance between New Yorkers and Hong Kongers and you get Vancouverite.” This was used to describe a project in which residential towers were built on top of a Costco!

When I went to the show for the second time on a Thursday morning, it was rather empty. Perhaps some visitors wishing only to have a quick glance at the show might have been discouraged by the long and heavy security checks at the door of Canada House. Nevertheless, the strange serpentine timber construction wrapping Canada House and visible from many points in Trafalgar Square would have caught the attention of many passersby. After its stop at Canada House in London, the exhibition will travel to Paris where it will be displayed at the Canadian Culture Centre in the 7th arrondissement. In light of this fact, it was surprising to see that only the exhibition’s introductory text had been translated into French, while the remaining text was all in English.

When I got home, I Googled Vancouverism, curious to see what would come up. I found a tenminute documentary called Vancouverism in Vancouver, produced by Robin Anderson and Julia Bogdanowicz. This video explains, using testimonies by experts in construction and cityplanning, the meaning of the term Vancouverism with great clarity. Vancouverism, according to Anderson and Bogdanowicz, is “using increaseddensity Asianization of the town as well as highrise living; it is podiums and towers, towers and podiums and towers; it is using increased density to finance amenities.” Why, then, was such a concise and entertaining video not part of the show, which instead showed a less relevant film on the

MORLEY VON STERNBERG

RIGHT, TOP TO BOTTOM THE SIGNATURE SCULPTURE, AS IT EXISTS WITHIN THE CONTEXT OF CANADA HOUSE; THE FINAL INSTALLATION OF THE PANELS INCORPORATED A SCULPTED WOODEN BASE AND CAP THAT WAS MUCH MORE CUMBERSOME THAN THE SIMPLICITY OF THE ORIGINAL DESIGN PROPOSAL.

construction of the 2010 Olympics speed-skating arena’s roof? It is still a mystery to me. CA Léa-Catherine Szacka is currently a PhD student at the Bartlett Faculty of the Built Environment, Univer-

sity College in London, where she is conducting a historical inquiry on the theme of architectural exhibitions. For more information on Vancouverism, please see “Vancouverism” (CA, August 2006), concisely written and clearly illustrated by Julie Bogdanowicz.

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BOOKS REVIEWED BY

PETER SAMPSON, JENNIFER HALIBURTON, IAN CHODIKOFF AND LESLIE JEN.

MacKay-Lyons himself, and he clearly gets the point of the exercise. Ghost is about the people and sense of place that inhabit the architecture we inherit, seen or unseen. MacKay-Lyons’s musings about the act of architecting within certain physical and cultural ecologies are told in a perfect Maritime tone: stories that are straightup, human, whimsical, and purposefully informative all at once. Who could soon forget a yarn about advances in local building practice that involve cedar shingles and fish gut? These are the pieces that linger, and through them, Ghost clearly suggests that architecture without a story is not architecture. In between its essays and in between its structure is Ghost, and therein, the story. PS

Ghost: Building an Architectural Vision

By Brian MacKay-Lyons. New York: Princeton Architectural Press, 2008.

Ghost is a collection of essays written by visiting critics and professors who were involved between 1994 and 2003 with Ghost Lab, the brainchild of Canadian architect Brian MacKay-Lyons. Ghost Lab is a two-week summer internship for students who pay upwards of $4,000 to engage in a design/build workshop on the MacKay-Lyons family farm. The 400-year-old property is meant to be a sort of vernacular inspiration that puts students in touch with place. The Lab exposes students of architecture to the notion of apprenticeship—involving not only builders and architects—but land and history.

The Lab takes place near Lunenburg, Nova Scotia. As a self-fashioned village architect, MacKay-Lyons has hosted nine Ghost Labs to date, each of which has been facilitated by a renowned figure who contributes to the book. It is unfortunate that the nine essays by the contributors read like a series of self-congratulatory revelations of professionals giddy with the fact that they have finally swung a hammer without hurting anyone. While all of these essays are readable—and some enjoyable—as a body they lack the critical balance that one might hope would examine more squarely the role of design/build in architectural education. Not one of the essays sufficiently cross-examines the Lab, and the tone of the essays grows tiresome. When all is said and done, Ghost Lab is an architect’s summer camp.

However, it is in the series of nine other anecdotes that follow each of these essays where Ghost the book comes alive. These are written by 60 CANADIAN ARCHITECT 09/08

anced domestic and professional life. The careers of the individual female architects are examined in the context of the development of the architectural profession in Canada as well as against the significant international events which impacted the profession.

The women profiled are organized by decade alongside lists of events and cultural timelines illustrating their effects on architecture in Canada. Each woman is profiled though a career timeline as well as through project photographs and drawings that include plans, sections and other design documentation. Individual profiles also contain a personal quote or anecdote allowing glimpses into each architect’s character as well as what attracted her to the architectural profession. For the Record concludes with the profiles of six practicing female architects who graduated from the 1970s to the mid-1980s.

Given the limited availability of information on female Canadian architects, For the Record is a valuable resource that documents architectural projects while examining the evolving role of female architects in Canada from their first acceptance into architectural education. JH 1 Eva Matsuzaki, Patricia Gibb and Imbi Harding, Con-

sultations and Roundtables on Women in Architecture in Canada. Royal Architectural Institute of Canada, 2003.

Building New Brunswick: An Architectural History

By John Leroux. Fredericton: Goose Lane, 2008.

For the Record: The First Women in Canadian Architecture Edited by Joan Grierson and the For the Record Committee. Toronto: Dundurn Press, 2008.

Like the women profiled within its pages, For the Record breaks ground by acknowledging some of the first Canadian women architects. Architecture was one of the last professions in Canada to accept women into its ranks, and today women in architecture still number significantly fewer than in other professions.1 For the Record evolved from a 1986 exhibition of the same name that was held at the University of Toronto’s Faculty of Architecture, Landscape and Design as part of the Centenary of Women celebrations. Both exhibition and book profile the 28 women who graduated in architecture from 1920-1960 at the University of Toronto.

The book takes a comprehensive look at the women’s careers as well as the cultural forces surrounding the profession. Due to the numerous obstacles to women in architecture, many of the career paths profiled in the book blended architecture with other design fields, resulting in less conventional architectural careers as women bal-

Released in conjunction with an exhibition at the Beaverbrook Art Gallery in Fredericton, Building New Brunswick: An Architectural History is a thoroughly researched volume that is accessible and lavishly illustrated. While Maritime cities such as Saint John, Moncton and Fredericton are not typically considered hotbeds of architecture and design, John Leroux has lovingly assembled images and drawings of hundreds of buildings located in these communities and throughout the province that will convince the most skeptical of readers that New Brunswick has a rich and worthwhile heritage. Although change comes slowly to New Brunswick, when it happens, the results are often earnest, modest and tentative, but occasionally exuberant and even bold.

A native of New Brunswick, Leroux is a Fredericton architect in his thirties who champions his province’s architectural legacy by contributing a biweekly column to the TelegraphJournal. Having previously worked in Toronto, he belongs to a fledgling group of New Brunswick architects who have chosen to return home to practice architecture in smaller communities.

In compiling this catalogue, Leroux engaged the assistance of Robert Leavitt, an expert on the

taking a position on what the most effective means of developing a regional identity for the province in the future might entail. Perhaps the erudite and architecture-friendly LieutenantGovernor Herménégilde Chiasson sums up the book’s intent in his preface where he writes, “What has resisted the test of time should be a source of pride and inspiration in our drive to maintain a strong identity. Building New Brunswick is an important impetus to move in that direction.” IC

history of Eastern Canadian aboriginal peoples, to write about the province’s first architects, the Mi’kmaq and Maliseet, while contrasting their traditional ways of building with the early settlement patterns of Europeans. Stuart Smith, former director of the province’s Beaverbrook Art Gallery, revisits the architecture before Confederation (1867), a period of history that brought Government House (1828), Saint John County Court House (1829) and King’s College (now known at Sir Douglas Hall)—which has served as Canada’s oldest continuously operating university building since 1829. Gary Hughes, a curator at the New Brunswick Museum in Saint John, discusses the province’s period of growth from 1840 to the First World War, a period that saw the establishment of New Brunswick as a significant centre for commerce and shipping. Buildings such as John Cunningham’s Neoclassical magnum opus—the New Custom House in Saint John (1841), have come to symbolize the province’s Golden Age. Unfortunately, the Great Fire of 1877 destroyed the building, along with much of the city. The latter half of the 19th century also saw the construction of numerous well-known churches, such as the Christ Church Cathedral (1853) in Fredericton, considered to be one of the most important Gothic Revival buildings in North America. By the late 1950s, the Modernist era had come to New Brunswick. The decade closed with the inauguration of the province’s 20th-century Modernist masterpiece—the Beaverbrook Art Gallery (1959), designed by Neil M. Stewart.

Leroux continues to thoughtfully document the ensuing periods of architecture, from curtainwalled buildings in the ’60s to the Brutalist and Postmodern buildings of the ’70s and ’80s. The book closes on a speculative note—the new facilities for the New Brunswick Museum—but resists

Informal Architectures: Space and Contemporary Culture Edited by Anthony Kiendl. London, UK: Black Dog Publishing, 2008.

This recent publication represents the ideas that emerged from several years of research and the resulting investigative symposium and exhibition—both of the same name—that, in the words of editor Anthony Kiendl, “collectively constitute a reimagining of the cultural meanings of space in contemporary Western societies.” Kiendl is the Director of the Plug In Institute of Contemporary Art in Winnipeg, and so it is not surprising that this collection of essays, photographs and drawings presents current perspectives on architecture and the built environment through a variety of lenses, mostly derived from the world of contemporary art practice and theory.

Grouped into three sections—Space/Perception, Consumption/Ruin, and Monument/Ephemerality, the numerous contributions are drawn from a wide swath of artists, curators and writers from across Canada, the US and Europe. It is useful reading for architects, as it provides unconventional and alternative views and approaches to the built environment that we might not have been exposed to in standard architectural educa-

tion and practice. Ideally, the essays will engender a consciousness of the failures and weaknesses in the structures and spaces that we design, so that we may become better architects.

In the context of current global events, “An Informal Architect: Lida Abdul” is a particularly moving entry documenting recent work by Kabul-born artist Lida Abdul. She explores themes of architecture and identity in postwar Afghanistan, locating her work in cities and urban spaces which she believes to be the byproducts of globalization and of the Western political power games that are executed on the developing world. As a refugee who escaped wartorn Afghanistan 20 years ago, her art is permeated with themes of homelessness and destruction. Stills from a video that Abdul made in 2005 when she returned to the country of her birth are poetic and haunting: in White House (Kabul), a work created specifically for the 51st Venice Biennale, Abdul captures with her camera the ruins of the city and becomes a participant in her own film, paintbrush in hand, standing atop mounds of rubble, methodically painting white the visible remnants of the War on Terror— monolithic building fragments of a ruined house amidst a wasteland of destruction. Subsequently, she moves on to a lone young Afghan man, his back turned to the camera, seemingly identityless. The image of the wide brushstrokes of white paint on the man’s black tunic could represent the bleaching or whitewashing of the city of Kabul and the imposition of Western ideology on the Afghan people—and, the painting of the house in the space of the city might represent an act of sanitization and liberation from the constraints of political ideology.

Other essays are worthy of mention: Sarah Bonnemaison and Christine Macy, both professors of design, theory and history at the School of Architecture and Planning at Dalhousie University, have together contributed “Architecture of Motion,” an exploration of the idea that human activity might better be supported by architecture, rather than the arrogant expectation that people should adapt their activities to buildings.

Ultimately, they question if such buildings would look and behave differently than they would otherwise.

And lastly, in Arni Haraldsson’s compelling photo-essay “Goldfinger Project,” social utopian ideology and the apparent failure of the Modernist project is discussed in the context of various buildings such as Ernö Goldfinger’s Trellick and Balfron Towers, along with other examples of Brutalism like the Thamesmead South estate on the outskirts of east London, a project that featured prominently in Stanley Kubrick’s filmic interpretation of Anthony Burgess’s dystopic novel A Clockwork Orange. LJ 09/08 CANADIAN ARCHITECT

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CALENDAR Home Delivery: Fabricating the Modern Dwelling

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July 20-October 20, 2008 This exhibition at the Museum of Modern Art (MoMA) in New York is both a survey of the past, present and future of the prefabricated home and a building project on MoMA’s vacant west lot. Within the gallery, 84 architectural projects spanning 180 years are presented by means of film, architectural models, original drawings and blueprints, fragments, photographs, patents, games, sales materials and propaganda, toys, and partial reconstructions. www.moma.org/homedelivery Migrating Formations

July 20-October 20, 2008 Contemporary Architecture Practice’s wall installation at the Museum of Modern Art in New York uses the latest robotic manufacturing techniques and reveals the potential of future architectural construction. Space, structure and skin respond to light, shade and opacity. www.c-a-p.net Radiant Dark: 29 Designs on Darkness & Luxury

August 26-October 19, 2008 This exhibition at Cambridge Galleries, Design at Riverside is guest-curated by Shaun Moore and Julie Nicholson of MADE, and surveys the Canadian zeitgeist with new works from artists, architects, industrial designers and craftspeople. Themes of darkness and luxury are viewed through the lenses of decoration, historical reference, social issues and material investigations, and wrought via objects that express the designers’ desire to place intrinsic value on the acquisition of experience and deeper meaning over wealth, exclusivity or temporal beauty. www.cambridgegalleries.ca Clip/Stamp/Fold: The Radical Architecture of Little Magazines 196X-197X

September 12-November 9, 2008 The West Coast edition of the Beatriz Colomina-curated exhibition that originated at New York’s Storefront for Art and Architecture takes place at the Contemporary Art Gallery in Vancouver. www.contemporaryartgallery.ca

the last two centuries, have managed to transcend the pitfalls of kitsch and cliché, while creating universal works drawn from and inspired by motifs of Canadian identity. www.utac.utoronto.ca IIDEX/NeoCon Canada 2008

September 25-26, 2008 Taking place at Toronto’s Direct Energy Centre, IIDEX/NeoCon Canada 2008 will premiere a unique lineup of special exhibits on all aspects of architecture including Canühome, a cutting-edge travelling exhibit on sustainable living; a sustainable health-care pavilion and symposium featuring a 400-squarefoot Green Patient Room designed by Anshen + Allen Architects; Material World, a 1,000square-foot hands-on material library curated by Material Connexion; and the launch of Light Canada, Canada’s largest lighting expo and conference with over 100 exhibitors, sponsored by the IES Toronto Section. On the education front, the 2008 show will feature more learning opportunities for architects such as Architecture Keynote Kim Herforth Nielsen, international awardwinning partner and principal architect of Danish firm 3XN Architects, and over 100 CEUaccredited seminars. Other events include the Ontario Association of Architects (OAA) and Royal Architectural Institute of Canada (RAIC) Awards exhibit, a career exchange for architecture students, and new for 2008, an architecture student charrette. Additionally, there will be hundreds of new products from around the world for interior, exterior, commercial and residential applications. www.iidexneocon.com/2008/index.php/highlights/ focus_architecture/ Future of Canada’s Infrastructure

September 30-October 1, 2008 Taking place at the Suites at One King West in Toronto, this conference will explore timely solutions to the following issues: funding, alternative energy and power, infrastructure deficit, transportation, environment, water and wastewater, asset management, and long-term sustainability. Hear expert presentations and panels from Canada’s leading decision-makers, and gain insights from realworld case studies including the cities of Regina, Seattle, Whistler and Ottawa. www.strategyinstitute.com

Beaver Tales: Canadian Art and Design

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September 16-December 6, 2008 Taking place at the University of Toronto Art Centre (UTAC), this exhibition showcases both emerging and established designers and craft-makers, alongside seminal artists who spearheaded the tradition of interpreting and celebrating the Canadian countryside and wildlife in their artwork. Guest curators Rachel Gotlieb and Martha Kelleher selected just over 100 pieces to illustrate how artists, designers and craft-makers, working over

Manuelle Gautrand lecture

October 1, 2008 As part of Carleton University’s Azrieli School of Architecture and Urbanism’s Forum lecture series, this lecture at Ottawa’s National Gallery of Canada is delivered by Manuelle Gautrand, whose modern European practice spans a range of commission types, from domestic housing through to institutional, cultural, industrial and infrastructure projects. www.arch.carleton.ca

PROFESSIONAL DIRECTORY Hollywood’s Anti-Modernism: An Update and Reconsideration

October 1, 2008 Part of the Hollyhock House Speakers Series on the urban and architectural history of Los Angeles, documentary filmmaker Thom Andersen will deliver this presentation about architecture and movies at 7:30pm at the Barnsdall Gallery Theater in Los Angeles. By focusing on the role of Modernist design in Hollywood movies, Andersen, narrating a range of examples from movies, will explore the changing attitudes toward Modernism especially evident in the last several years.

Explore Design ’08: The Design Education Fair for Youth

October 1-2, 2008 Explore Design is a structured two-day event at the Metro Toronto Convention Centre where students are provided with the information required to pursue an education, and ultimately a career in the world of design. Educational institutions, associations and professional groups will all be accessible to student attendees.

Interactive experiences for attendees include workshops offered in exhibitors’ booths, installation environments, and the chance to test the latest technology. www.exploredesign.ca American Society of Landscape Architects 2008 Annual Meeting and EXPO

October 3-7, 2008 The American Society of Landscape Architects (ASLA) 2008 Annual Meeting and EXPO takes place at the Pennsylvania Convention Center in Philadelphia. Featuring the world’s leading experts in landscape architecture, the meeting includes over 120 sessions and 450 exhibitors. Connect with authorities leading the next generation of sustainable design and find out how the landscape architecture profession melds environmental, social, and economic health through green infrastructure. www.asla.org/meetings/am2008/ National Green Builders Products Expo

October 15-16, 2008 This event takes place at the Las Vegas Convention Center, and will be of interest to

residential and commercial builders, developers, subcontractors, remodellers, architects, government planners, and plant/facility managers interested in finding environmentally friendly products and services. www.ngbpe.com

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Nili Portugali lecture

October 22, 2008 As part of Carleton University’s Azrieli School of Architecture and Urbanism’s Forum lecture series, this lecture at Ottawa’s National Gallery of Canada is delivered by Nili Portugali, a practicing Israeli architect and lecturer based in Jerusalem. Portugali offers her view on creating a physical environment where the human perspective is considered first. www.arch.carleton.ca

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Hot Properties: Canadian Brownfields 2008

October 22-24, 2008 Canada’s national conference on brownfields remediation, community revitalization and sustainable city building takes place at the Toronto Congress Centre. www.canadianbrownfields.ca World Architecture Festival

October 22-24, 2008 The World Architecture Festival is a three-day event taking place at the Centre Convencions Internacional Barcelona (CCIB) in Barcelona, Spain. The Festival will reflect the increasingly international nature of architecture, while also celebrating its regional roots. It will be possible—through the exhibition of awards entries—to compare and contrast different approaches to the design of 96 building types in the 16 categories. In addition to the awards gallery, other elements of the Festival will include: a thematic exhibition entitled Creativity, Capacity, Responsibility; a live ideas charrette for architecture schools; an architect-nominated product showcase; city tours and social events; and networking opportunities. www.worldarchitecturefestival.com FOR MORE INFORMATION ABOUT THESE, AND ADDITIONAL LISTINGS OF CANADIAN AND INTERNATIONAL EVENTS, PLEASE VISIT www.canadianarchitect.com CIRCLE REPLY CARD 34 09/08 CANADIAN ARCHITECT

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BACKPAGE

COURTESY OF ELGIN COUNTY ARCHIVES

UP IN SMOKE WOMEN STUDENTS GATHER IN FRONT OF ALMA COLLEGE AT THE HEIGHT OF ITS GLORY IN 1891. BELOW LEFT A DESTRUCTIVE BLAZE ENGULFS THE COLLEGE EARLIER THIS YEAR, ON MAY 28, 2008.

ROBERT CHAULK, SUN MEDIA CORP.

LEFT

YEARS OF NEGLECT AND DETERIORATION CULMINATE IN A RECENT FIRE, DEVASTATING A VICTORIAN GOTHIC LANDMARK IN SMALL-TOWN ONTARIO.

TEXT

TANYA SOUTHCOTT

When Alma College officially opened its doors in 1881 as an independent ladies’ college, the community of St. Thomas, Ontario recognized in this unique work of Victorian Gothic architecture an instant landmark. An enterprising and industrious town at the crossroads of several railway lines, St. Thomas was booming, and an institution dedicated to intellectual and academic pursuits would provide the prestige necessary to complement its 66 CANADIAN ARCHITECT 09/08

rapid industrial growth. After three years of construction, architect James Balfour’s competitionwinning design was ready to welcome prospective students from around the world. The college remained an active cultural and educational facility for over 100 years, its longevity a testament to its continued prominence and respectability in the community.

Then in 1988 after increasing financial difficulties, the school officially closed its doors to first its students, and finally the community in 1994. But significant years of deterioration, decline and abandonment left the fate of Alma College in jeopardy until the afternoon of Wednesday, May 28,

2008. Clouds of black smoke drew people in droves to watch as the fire spread quickly, engulfing the entire structure in flames. At 12:22 pm, the roof of the iconic entrance tower collapsed, and by the end of the second day Alma College was gone.

Although the fire accomplished what heritage activists, concerned citizens and city officials had been fighting against for over a decade, many cite Alma’s ultimate fate as willful demolition by neglect. Since its official closure, the building remained largely vacant and often inadequately secured. In an effort to protect both heritage fabric and structural integrity, the City designated Alma College as an Ontario Heritage site. Instead, its designation initiated a contentious and emotional debate over demolition rights to the property. Despite repeated protests, development restrictions, limited reuse alternatives and the financial burden of rehabilitation outweighed remaining heritage value and commitment to reuse. Shortly before the fire, the final demolition order was approved and the 1994 heritage designation bylaw was repealed.

Those who petitioned against Alma’s demolition are now requesting a provincial review of the protection and designation of heritage sites in Ontario as well as the establishment of the Alma College Heritage Foundation to assist smaller communities in safeguarding historic properties. Historic buildings of character like Alma College are assets for communities like St. Thomas and can enhance economic activity, tourism and public community pride if recognized as such. They are opportunities to promote and celebrate the preservation of heritage and culture, and to strengthen civic identity.

Alma College was conceived and constructed in a period of history when the relationship between architecture and identity was celebrated through grand buildings by great architects, when national and civic pride were articulated through the character and scale of the building and the quality of features and materials used. Buildings were monuments to what our cities and our nation might become.

As one of St. Thomas’s most significant architectural works, Alma College captured the collective imagination of the community who recognized in it the opportunity to celebrate its civic sense of self. While its loss is a tragedy, it is also an inspiration for the potential of our built environment to embody the collective emotion of its audience. CA Tanya Southcott grew up in St. Thomas and is now an intern architect living in Vancouver.

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