Canadian Interiors JanuaryFebuary 2012

January/February 2012

House calls

An ultramodern city house A farmhouse from scratch Cool stuff for the bathroom Hot young Spanish designers

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Official publication of the Interior Designers of Canada

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COVER — 47 Kitchen in 5/6 House by Atelier Reza Aliabadi (rzlbd).

Photo by Borzu Talaie / Borxu Design

21

Contents FEATURES

House Calls GO WITH THE FLOW — 47 In the Toronto suburb of North York, architect Reza Aliabadi’s 5/6 House sculpts space with thrusting volumes and unexpected voids.

By John Bentley Mays FARM FRESH — 53 On a hilltop in Ontario’s Northumberland County, architect Cindy Rendely tucks a modernist interior into a traditional rural silhouette.

By Leslie C. Smith

A PERFECT 10 — 59 Feria Hábitat Valencia’s NUDE exhibition, showcasing young design talent, enters the double digits.

By Michael Totzke

DEPARTMENTS INSIDE — 11 WHAT’S UP — 14 THE GOODS — 21 Turn on, tune in Cool new bathroom products.

By Michael Totzke

59

WHO’S WHO — 62 LAST WORD — 66 The drive to be green A new office at Honda’s Canadian headquarters, in Markham, Ont., is the car company’s latest LEED-certified building.

By Rhys Phillips

Following page 26

January/February 2012 VOL.49 NO.1

Publisher

Martin spreer Editor

Michael totzke Deputy Editor

Peter sobchak Associate Editors

Janet Collins, David Lasker, Rhys Phillips, Leslie C. smith Contributing Writer

John Bentley Mays Art Director

Lisa Zambri Advertising Sales

416-510-6766 Circulation Manager

Beata olechnowicz 416-442-5600, ext. 3543 Reader Services

Liz Callaghan Production

Jessica Jubb 416-510-5194 Create Ambiance with QuARTz Ambiance is an atmosphere for relaxation and opulence. Quality shower head manufacturers have brought light to a water source, QuARTz introduces light to the point of water exit.

An optional upgrade to a QuARTz shower channel is the LED light feature that is activated once the water is turnedon and turns off seconds after the water flow stops. www.QuARTzbyACO.com (877) 226-4255

Senior Publisher

tom Arkell Vice President of Canadian Publishing

Alex Papanou President of Business Information Group

Bruce Creighton Head Office

80 Valleybrook Drive toronto, on M3B 2s9 telephone 416-442-5600 Facsimile 416-510-5140 Canadian Interiors magazine is published by BIG Magazines LP, a division of Glacier BIG Holdings Company Ltd. Tel: 416-442-5600, Fax: 416-510-6875 e-mail: info@canadianinteriors.com website: www.canadianinteriors.com Canadian Interiors publishes seven issues, plus a source guide, per year.

Printed in Canada. The content of this publication is the property of Canadian Interiors and cannot be reproduced without permission from the publisher.

Subscription rates Canada $37.95 per year; plastic wrapped $40.95 per year (plus taxes) U.S.A. $70.95 US per year, Overseas $96.95 US per year.

Back issues Back copies are available for $10 for delivery in Canada, $15 US for delivery in U.S.A. and $20 overseas. Please send payment to Canadian Interiors, 12 Concorde Place, Suite 800, Toronto, ON M3C 4J2 or order online www.canadianinteriors.com For subscription and back issues inquiries please call 416-442-5600 ext.3543, e-mail: circulation@canadianinteriors.com, or go to our website at: www.canadianinteriors.com Newsstands For information on Canadian Interiors on newsstands in Canada, call 905-619-6565 Canadian Interiors is indexed in the Canadian Magazine Index by Micromedia ProQuest Company, Toronto (www.micromedia.com) and National Archive Publishing Company, Ann Arbor, Michigan (www.napubco.com).

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Inside

transported the morning this past september I stepped off a shuttle bus in the Valencia – a bus that had transported an international group of us from various hotels throughout the city to Feria Hábitat Valencia – I was not at my best. Due to an error in communication (an overseas e-mail had gone into the ether), I had flown in a day later than expected, involving two trips to the airport; added to that, my luggage was gone with the wind. (It would turn up eventually.) A tad rattled as well as jetlagged, I was in the clothes I had worn on the plane, including a black, wrinkled, long-sleeved shirt – ideal for soaking up the blazing spanish sunshine and thick, humid air I waded into.

Long story short: if at 9 a.m. I was crabby, by noon I was happy as a clam. A well-organized and -executed design show never fails to transport me to a place where there’s no lost luggage, only found treasure. After eight years of attending shows, I get a kick out of them still. As for Valencia, Feria Hábitat’s nUDe showcase of young design talent was celebrating its 10th anniversary. Who can remain glum touring a hall full of fresh, fun work, with the designers in attendance – quirkily dressed, shining of face, and basking (shyly, fetchingly) in the spotlight? (see my report, “A perfect 10,” on page 59.) touring the two houses featured in this issue, contributor John Bentley Mays and associate editor Leslie C. smith found themselves transported, as well – and the result is two heartfelt, beautifully written pieces about two artfully composed projects. these houses brought out the poet in each of them. Here’s Mays on 5/6 House by Iranian-born architect Reza Aliabadi: “It expresses Aliabadi’s flair for place-making: the very contemporary sculpting of space into novel shapes with instinctive identities, like the sunny clearnings one can find in the midst of forest gloom, or the narrow intervals between old buildings that suddenly open the city’s floor to the sky.” (see “Go with the flow” on page 47.) And here’s smith on the Farm House by architect Cindy Rendely: “Here, as elsewhere in this 3,135-square-foot accomplishment, size feels curiously intimate. sound is hushed. the soul seeks and finds satisfaction at every turn.” (see “Farm fresh” on page 53).

My hope is that this issue of the magazine takes you places. c I Can IntFebB2012_Canadian Interiors SPARK 1/16/12 3:20 PM Page 1 Michael totzke mtotzke@canadianinteriors.com

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DX Awards x 20 At a ceremony this past November in Toronto, the Design Exchange hosted its 20th annual national awards.

The DXAs were presented in seven categories: architecture, fashion, industrial design, interior design, landscape architecture, urban design and visual communications.

The interior design category is divided into three subcategories: Commercial, Residential, and Temporary & Portable.

In the Commerical category, seven projects were recognized, including two that won Gold.

The first is the sensational Espace culturel Georges-ÉmileLapalme (Montreal), by Menkès Shooner Deganais Letourneau Architectes, in consortium with Provencher Roy + Associés Architectes. The challenge was to bring Place des Arts de Montreal – Quebec’s largest cultural complex, dating back to 1972 – into the 21st century.

Along with the renovation of existing spaces, this project involved adding a new exhibit

hall, animation and service spaces, a glass canopy, access to the esplanade, a multimedia zone and an advanced outdoor lighting system. The second is Corus Quay (Toronto), by Quadrangle Architects. This new HQ for Corus Entertainment, on Toronto’s waterfront, injects serious fun into the workplace, while consolidating 1,200 employees and 70+ brands in television, radio, online and paper publishing. A giant slide spiralling through the atrium

14 CANADIAN INTERIORS January/February 2012

has become a symbol of Corus’s playfulness.

The five other Commerical winners are Aria Ristorante (Toronto), by Urszula Tokarska/ Stephen R. Pile Architect (Silver); Centre for Native Family & Child Well Being (Toronto), by Dean Goodman,

Levitt Goodman Architects (Silver); 358 Talbot Office Renovation (London, Ont.), by Nicholson Sheffield Architects (Bronze); and Evergreen Brick Works: Office Space Planning and Design (Toronto), by Dialog Ontario (Bronze).

Two Residential projects

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by Cecconi Simone (Temporary & Portable: Silver); Corus Quay, by Quadrangle Architects (Commercial: Gold); Espace cultural Georges-Émile Lapalme, by Menkès Shooner Dagenais Letourneux Architectes, in consortium with Provencher Roy + Associés Architectes (Commercial: Gold); Cypress Residence, by BattersbyHowat Architects (Residential: Silver); Centre for Native Family & Child Well Being,

by Dean Goodman, Levitt Goodman Architects (Commercial: Silver); and Aria Ristorante,

by Urszula Tokarska/Stephen R. Pile Architect (Commercial: Silver).

were recognized: Cypress Residence (Vancouver), by BattersbyHowat Architects (Silver); and Contrast House (Toronto), by Dubbeldam Design Architects (Bronze).

Two Temporary & Portable projects were also recognized: Trinity Bellwoods Town + Homes (Toronto), by Cecconi Simone (Silver); and Exhibit Residences Presentation Lounge (Toronto), by Burdifilek (Bronze).

Winners in all categories – totalling 50 – are featured at a major DX exhibition through Feb. 26. To view a full list of award recipients, visit dx.org.

To see photos taken at the award celebration, see Who’s Who on page 63.

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Clockwise from top far left Xthum, a multi-purpose space within a university classroom building, by Public Architecture + Communication (Public Space/Institutional: Gold, along with Best in Show); Oru Restaurant, a Pan-Asian hotel restaurant/bar, by Mcfarlane/ Green/Biggar Architecture + Design (Hospitality: Gold); Camp Fiorante Matthews Lawyers, an office update for a law firm, by False Creek Design Group (Workplace - Partial: Gold); iQmetrix, a head office for a software developer, by SSDG Interiors (Workplace - Total: Gold); and Private Residence - Upper Lonsdale, a renovation of a family home,

by BYU Design (Residential - Total: Gold).

The best in B.C. At the end of September, the Interior Designers Institute of British Columbia (IDIBC) presented its 28th annual Awards of Excellence at the Vancouver Convention Centre.

The award ceremony was held in conjunction with the Interior Design Show West trade day.

A record number of submissions were received this year, from members of both the IDIBC and the Architectural Institute of British Columbia. In the end, a panel of judges chose to bestow 46 awards: Best in Show, 16 Gold, 16 Silver and 13 Bronze. Categories represented

are Residential – Total; Multiresidential & Sales Centres; Workplace – Total; Workplace – Partial; Retail & Kiosks; Healthcare; Public & Institutional Spaces; and Hospitality.

Winning Best in Show as

16 CANADIAN INTERIORS January/February 2012

well as Gold is Xthum, by Public Architecture + Communication. This multi-purpose space within an existing classroom building at Surrey’s Kwantlen Polytechnic University – artfully clad in curved

plywood strips – reaches up and out, establishing connections to the sky and forest.

(Xthum, we’re happy to remind our readers, also won one of CI’s Best of Canada awards).

Other winners of multiple

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IDIbC Awards (including at least one Gold) number seven: Mcfarlane/Green/biggar Architecture + Design (three Gold, one Silver, one bronze); False Creek Design Group (2 Gold); SSDG Interiors (one Gold, three bronze); byu Design (one Gold, two bronze); e+ Design and Construction (one Gold, one bronze); Insight Design Group (one Gold, one bronze); and MCM Interiors (one Gold, one bronze).

Other multiple winners number two: Stantec Architecture (three Silver, one bronze); and b+H CHIL Design (three Silver).

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The Goods

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1—CAN YOU FEEL IT? The latest Graff faucet is Sento, which means “I feel” in Italian. From the lavatory single-level mixer to the widespread faucet, the series stays true to its namesake, with minimal yet sensual design and no useless element or detail.

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2—PARIS STYLE For THG, French designer Alberto Pinto has created Le 11, an elegant and unadorned fixture with either cross or lever handles. As water flows from the spout, the fitting’s water blade forms a perfect, harmonious 90-degree angle. thgstyle.com

3—ITALIAN DRESSING Axor, the design brand of German manufacturer Hansgrohe, recently launched new pieces from the Milan-based architect and designer Antonio Citterio. Boasting tall and lean silhouettes, the Axor Citterio fixtures – available in chrome and brushed-nickel finishes – include a single-hole faucet and a single-hole tall faucet, along with showerhead and thermostatic shower pipe. hansgrohe-usa.com

2

3

January/February 2012 CANADIAN INTERIORS 21

The TWINLINE is a premier 2-1 bathtub and showering unit, offered exclusively in North America by CAML-TOMLIN. The unit combines a sleek bathtub unit with an innovative walk-in shower shield, to provide you with the flexibility and function of two separate units in one beautiful and modern design.

To see the all new Twinline, as well as our full line of bathtubs and shower doors, please visit us at www.camltomlin.com Come see us at IDS12, Booth 2240

in an of

The Goods 1

2 3

4 1—GONE FISHING One of Swiss manufacturer Laufen’s most elegant collections is Ilbagnoalessi One, designed by Stefano Giovannoni. The latest addition is the Tuna washbasin, borrowing from the graceful curves of its namesake. With soft and fluid lines and a clean white finish, this “catch of the day” is available with or without a top hole, allowing a faucet to be positioned on an adjacent wall. laufen.com 2—IN THE MIDDLE Toto brings to market two new lavatory designs that reflect and reinterpret mid-century modernism. The Maris suite comprises an under-counter lavatory, with a deep basin, available in two sizes (shown); and a semi-recessed vessel lavatory, with gentle curves and clean lines. Colours are Cotton White, Colonial White, Sedona Beige, Bone and Ebony.

3—BAMBOOZLED Stone Forest creates both bath and kitchen designs from stone, bronze, bamboo, copper, iron and hardwoods. A new drop-in version of its award-winning modular Sync series, the Sync Drop-in Sink is available in bamboo (durable, renewable and water-resistant) as well as honed basalt and multi-coloured onyx. stoneforest.com

4—SQUARE DEAL With its sleek surfaces and clear-cut contours, the ultra-slim Living Square washbasin appears to hover in front of the wall. Part of the Laufen’s modern Living Square range of bath furnishings, it was created by Andreas Dimitriadis of Platinumdesign. laufen.com

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January/February 2012 CANADIAN INTERIORS 23

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The Goods

1

1—HELLO, DARLING Darling, a popular Duravit collection first created by Dieter Sieger in 1994, has been reimagined by his sons, Michael and Christian Sieger of Sieger Design. To the original circular form, the brothers have added a flat rim to create a delicate new visual motif on the washbasin, toilets, bidets and bathtubs. duravit.us

©2011 Hansgrohe, Inc.

2—PERFECTLY CLEAR Thermasol’s Fog Free Mirrors – suitable for placement in the shower, over a vanity or anywhere in the bathroom – remain perfectly clear, even in steamy, non-ventilated spaces. The newest addition to the collection is the Rhombus, a non-bevel rectangular model. thermasol.com 3—A LULU OF A LAV Kohler’s new toilet, the Numi (full name: Numi Comfort Height One-Piece Elongated Toilet), is truly revolutionary. A touchscreen remote control, about the size of an iPod Touch, controls flushing, cleaning, drying, heating and even music, plus other settings and preferences. Compact and streamlined, with a pleasing block-like shape, it also features location sensors that detect a person’s presence; LED lights for illumination; two flushing modes; heated air to warm a user’s feet on chilly mornings (yes, please!); FM radio and stereo speakers; and much more.

No wonder Numi’s cost is steep: approximately $7,500 Canadian.

2

3

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January/February 2012 CANADIAN INTERIORS 25

With hundreds of styles & fabrics, quick delivery time, & custom designs to suite your lifestyle, our furniture is made for living.

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contents/sommaire departments

features Revealing Trade Secrets

6

Looking to expand your business? Consider joining one of IDC’s international trade missions.

Vous voulez élargir vos horizons d’affaires? Considérez l’occasion de vous joindre à l’une des missions d’échanges commerciaux des DIC

Active Design

12

Designing our built environment to encourage activity is one way we can promote healthier communities.

Comment le design de l’environnement bâti peut encourager l’activité physique et promouvoir des communautés plus en santé

On a professional note…

Sur une note professionnelle…

4 5

In conversation with…

En conversation avec…

10 11

On your behalf…

En votre nom…

14 15

Industry members/Membres de l’industrie

16

dimensions team

idc staff

idc board of management

PUBLISHER: Susan Wiggins, Executive Director, IDC swiggins@idcanada.org

Susan Wiggins, Executive Director Irma Kemp, Executive Assistant Sue Gravelle, Director, Professional Development Jenn Taggart, Director, Business Development Sarah Brown, Communications Coordinator Julia Salerno, Communications Coordinator Debora Abreu, Marketing Coordinator Samantha Rajack, Marketing Coordinator Tony Sienes, Manager, Accounting Sophie Fortier, Receptionist/Administrative Assistant

(AB) Donna Assaly, President (ON) David Gibbons, President-elect

EDITOR Penny Tomlin penny.tomlin@gmail.com EDITORIAL ADVISORY BOARD (MB) Lise Boucher (SK) David Chu (BC) Kate Holmes (ON) Ron Hughes (ON) Johane Lefrançois-Deignan (NS) Carolyn Maguire

canadian interiors team PUBLISHER: Martin Spreer mspreer@canadianinteriors.com

Dimensions is the official magazine of IDC (Interior Designers of Canada) © 2010

(BC) David Hanson, Past President (MB) Stephen Lamoureux, VP Finance (BC) Ada Bonini, Director/Secretary (AB) Adele Bonetti, Director (SK) Aandra Currie Shearer, Director (ON) Clinton Hummel, Director (NB) Monique Leger, Director (NS) Dede Hiscock, Director (MB) Michelle Du, Director At Large (BC) Rachel Clarida, Director At Large (ON) Jessica Gozdzierski, Director, Intern/Provisional (ON) Ron Hughes, Director, Industry

INTERIOR DESIGNERS OF CANADA C536–43 Hanna Avenue Toronto ON M6K 1X1 t 416.649.4425 tf 877.443.4425 f 416.921.3660 e dimensions@idcanada.org w www.idcanada.org

(ON) Dorothy Stern, Director, Education (QC) Denis Chouinard, Provisional Director (ON) Trevor Kruse, IIDEX/NeoCon Canada Liaison (BC) Jenny Mueller-Garbutt, Chair, Board of Governors

DEPUTY EDITOR: Peter Sobchak psobchak@canadianinteriors.com ART DIRECTOR: Lisa Zambri FRENCH TRANSLATION: Pierre-Éric Villeneuve

www.idcanada.org

volume 1, 2012

n

dimensions

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On a professional note…

Toronto, Virginia, Taipei, Saskatoon, Vancouver, Nashville, Moncton. Not tropical locales, not hot spots, but important travel destinations for both of us during the past three months. It has been a particularly busy time as we attended various conferences, exhibitions, training sessions, annual meetings, and keynote presentations – sometimes together, sometimes on our own.

We both have had several speaking engagements that provided platforms to continue to promote the profession and educate stakeholders and members. Whether that platform has been in a social setting or in an official capacity at the podium, we have been working the room, as they say.

On a recent flight home from Virginia, where we attended both the NCIDQ Annual Meeting and the Issues Forum meeting, we chatted about the fact that IDC’s position in the room is that of a well respected organization. We firmly believe that as a result of our restructuring, we have affirmed our position of leadership and strength among related professional organizations and stakeholders within the marketplace.

Can we say the same for our membership’s perception of the reorganization? For some, yes, but not for everyone. So that is where we intend to put our emphasis in the coming months. One of the primary goals of our new structure is to provide the same programs and services to all members, regardless of their location. Whether they are in Toronto or Moose Jaw, Montreal or Antigonish, we need to ensure that all members receive the same programming, communications, and opportunities for networking with their colleagues and the manufacturers and suppliers they work with every day.

Throughout November and early December, Susan travelled to each of the provincial associations with Sharon Portelli, Registrar for ARIDO. (Thanks, ARIDO.) The purpose of these trips was to conduct detailed workshops, with a goal to refocus the priorities of the provincial associations on regulatory issues. The workshops also provided information on how to transition advocacy functions to IDC. Feedback indicates the workshops were successful; they identified the work to be done and provided some examples and templates to make the transition easier.

This exercise taught us that we need to spend more time working the room among our members. We need to create opportunities to share the many reasons why IDC’s reputation in the industry is that of a strong leader, on both sides of the border. At several of the workshops, we heard members say, “I didn’t know IDC did that for us.” We need to find a way to let our members know what we do so well.

While we wish we could do this face-to-face, in many cases our meeting place is going to have to be somewhere in cyberspace. First stop: the monthly video series in our e-newsletter, ID Connections, produced by our official videographer, Sarah Brown, communications coordinator. We invite you to check out these videos and discover our inspiration each month. Come into the room with us and help us build the IDC community into a strong, cohesive group of 2,778 interior design professionals from across Canada. n D o n n a Assaly Pre s i dent/ Présidente

S usan Wiggins E xecutive Director/ Directr ice générale

Check out IDC’s website: www.idcanada.org

Your member resource...

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Sur une note professionnelle…

Toronto, Virginia, Taipei, Saskatoon, Vancouver, Nashville, Moncton; ce ne sont pas des régions tropicales, ni des lieux de vacances paradisiaques, mais des destinations de voyage importantes pour nous deux dans les trois derniers mois. Cela fut pour nous une période parmi les plus occupées car nous avons participé à des conférences, à des expositions, à des sessions de formation, à des assemblées annuelles, parfois en solo, parfois ensemble.

Nous avons tous les deux donné des conférences qui nous ont fourni des plateformes pour continuer à promouvoir la profession et à informer les diverses parties prenantes et les membres. Que l’on parle d’une tribune dans un contexte social ou d’un rôle plus officiel, au podium, nous avons voulu « séduire notre auditoire », comme le veut l’expression consacrée.

Dans l’avion, au retour de la Virginie, où nous avons assisté à l’assemblée annuelle du NCIDQ et à la rencontre Issues Forum, nous avons discuté des DIC et comment elle est une organisation respectée. Nous croyons fermement que les résultats de notre restructuration démontrent que nous avons renforcé notre position de leadership parmi les organisations professionnelles associées et au sein des parties prenantes du marché.

Peut-on dire la même chose de la perception qu’ont nos membres de la réorganisation? Pour certains, oui, mais pas pour tous. Voilà où nous mettrons notre énergie dans les mois à venir. Un des buts premiers de notre nouvelle structure est de fournir aux membres l’accessibilité aux programmes et aux services, sans tenir compte de leur localisation. Qu’ils soient à Toronto ou à Moose Jaw, à Montréal ou à Antingonish, nous voulons nous assurer que tous les membres recevront les mêmes programmes, les mêmes communications et les mêmes opportunités de réseautage avec leurs collègues, les fabricants et les fournisseurs avec lesquels ils travaillent tous les jours.

En novembre et en décembre, Susan Wiggins a visité toutes les associations provinciales avec Sharon Portelli, la registraire d’ARIDO (merci ARIDO). Le but de ces voyages était notre participation à des ateliers dont les objectifs étaient axés sur l’importance de prioriser les questions de la réglementation au sein des associations provinciales. Les ateliers nous ont aussi fourni de l’information sur la gestion de la transition des fonctions de promotion et de protection aux DIC. Un exercice de rétroaction nous a indiqué la réussite de ces ateliers. Elle nous a donné une idée du travail à accomplir et nous a fourni des exemples et des modèles pour faciliter la transition.

Cet exercice nous a aussi appris que nous devons passer plus de temps à stimuler les membres. Nous devons créer des occasions pour partager nos expériences. Il importe de comprendre comment la réputation des DIC est celle d’un leader de premier plan dans l’industrie, et ce des deux côtés de la frontière. Dans plusieurs rencontres, nous avons entendu des membres dire : «J’ignorais que les DIC faisaient tout cela pour nous.» Nous devons trouver des meilleures façons d’informer les membres de ce que nous faisons.

Nous aimerions faire ces rencontres en face à face, mais dans plusieurs cas, nous devront les faire dans des espaces virtuels. La série de vidéos de notre bulletin électronique mensuel, ID Connections, produite par notre vidéaste officielle, Sarah Brown, la coordonnatrice des communications, sera toute indiquée. Nous vous invitons à visionner ces vidéos et à découvrir tous les mois ce qui nous inspire. Soyez des nôtres et aidez-nous à construire la communauté des DIC pour en faire un ensemble cohésif, composé de 2778 professionnels du design d’intérieur de partout au pays. n D o n n a A ssaly Pre s i d e n t/ Présidente

S usan Wiggins E xecutive Director/ Directr ice générale

Visitez le site Internet des DIC à www.idcanada.org

Une ressource pour les membres... www.idcanada.org

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REVEALING

TRADE SECRETS Looking to expand your business? Consider joining one of IDC’s international trade missions.

Vous voulez élargir vos horizons d’affaires? Considérez l’occasion de vous joindre à l’une des missions d’échanges commerciaux des DIC

By Penny Tomlin

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esterday, expanding your business likely meant hiring a couple of new employees to handle an increased workload created by a minor boom in the local economy. Today, with economic booms unlikely and globalization a reality, more and more business leaders are looking to international markets to grow their enterprises.

The interior design industry is no exception.

IDC recognizes the importance of raising the profile of the profession internationally. The Association also recognizes that members who are interested in working internationally often could use some help in identifying and assessing potential markets. So, with the help of the Global Opportunities for Associations (GOA) program of the Department of Foreign Affairs and International Trade (DFAIT), IDC has sponsored three trade missions in the last couple of years to emerging markets in China, the United Arab Emirates (UAE), and India. Additional missions, not funded by GOA, have been undertaken to Denmark and Las Vegas.

“These trade missions have been very educational and a valuable experience for participants,” says Susan Wiggins, IDC’s executive director. “They are popular with our members, but we have to limit the number who can go on any one mission to 10 or 15, to ensure a meaningful experience for everyone. We meet with many government officials and industry leaders on these trips and it’s important that everyone have an opportunity to participate in the discussions that follow.”

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ier encore, élargir votre entreprise voulait dire engager deux ou trois nouveaux employés afin de surmonter l’augmentation de la charge de travail créée par une croissance économique locale. De nos jours, la croissance économique plutôt rare et la pressante réalité de la globalisation obligent de plus en plus de leaders en affaires à examiner les marchés internationaux pour stimuler leur entreprise. L’industrie du design d’intérieur ne fait pas exception.

Les DIC reconnaissent l’importance de rehausser le profil de la profession sur la scène internationale.

L’association reconnait aussi que les membres qui sont intéressés à travailler au niveau international pourraient souvent bénéficier de l’aide apportée en identifiant et en évaluant les marchés potentiels. Ainsi, grâce au programme OMA (Opportunités mondiales pour les associations) offert par le ministère des Affaires étrangères et du Commerce international (MAECI), les DIC ont pu commanditer trois missions d’échanges internationaux (en Chine, en Inde et dans les Émirats arabes unis) dans les deux dernières années. D’autres missions non financées par la OMA ont eu lieu au Danemark et à Las Vegas.

La directrice générale, Susan Wiggins précise que «ces missions d’échanges commerciaux ont été été très informatives et des expériences inestimables pour les participants.

Elles sont très populaires auprès de nos membres. Nous devons hélas limiter le nombre de personnes qui peuvent y participer à 10 ou 15, afin d’assurer une expérience www.idcanada.org

According to the DFAIT website, “GOA provides contribution funding to support national associations undertaking new or expanded international business development activities, in strategic markets and sectors, for the benefit of an entire industry…GOA provides matching funds of up to 50 per cent of eligible expenses.”

The grant from the program covers half of each delegate’s travel expenses including airfare, hotel, meals and incidentals, for a specific number of days. Delegates are responsible for the remaining costs. In addition, the program provides the same funding to one board member and one staff member who must make an initial, exploratory trip to the region several months prior to the actual trade mission. The latter is a requirement of the program.

The staff member is the key contact for the mission. She is responsible for organizing the itinerary and ensuring that delegates’ needs are met and meetings go as planned. The role of the board member is to represent IDC and the profession on the international stage.

Naturally, the meetings are an important part of the missions’ itinerary. Prior to departure, Wiggins arranges meetings with local interior design associations and real estate developers, as well as government representatives. A meeting with officials from the Canadian Consulate is always of primary importance. These local representatives of the Canadian government are there to help Canadians interested in doing business in the region. Their presentations at these meetings cover the current economic climate in the country, the potential for interior design projects, and an overview of the process and protocol for working in a foreign country and culture.

Ron Wong of Mackay Wong, Toronto, was a delegate on the trade missions to China and India. He offers some advice to those who might be interested in future missions.

“On both missions, IDC set up great meetings with the Canadian Consulates, which offer terrific insight and protection for Canadian firms working abroad. Listening carefully to them and having them assist your process [paperwork etc.] is paramount. They can also offer great leads.”

Two of the missions, UAE and India, involved design-related trade shows. Again, Wiggins organized IDC’s participation in these shows, which were seen to benefit everyone involved. The show exposed IDC and its members to the international crowd and provided them with networking opportunities and local contacts.

The remaining time, after the meetings and trade shows, is spent touring architectural landmarks. Special note is taken of buildings designed by Canadians. The trade mission to India was fortunate to be given a private tour of the Oberoi Amarvilas Hotel in Agra. The interior designer on the project was ARIDO/IDC member Jeffery Wilkes, who recently won Best Suite in the 2011 enRoute Hotel Awards for his design of the Royal Suite at The Leela Palace Kempinski in Udaipur, India.

Lindsey Anacleto of Anaceleto Design, Etobicoke, attended the mission to the UAE. She was very satisfied with her experience. “IDC provides the best possible itinerary; you get a well-rounded view of life and business, and the best food in the region. If I were asked how the mission could be improved, I wouldn’t have anything to add.” www.idcanada.org

enrichissante pour tout le monde. Nous rencontrons plusieurs dirigeants gouvernementaux et des leaders de l’industrie lors de ces voyages et il est important que tous les individus puissent participer aux discussions qui s’ensuivent. » Selon le site Internet du MAECI, «l’OMA offre une contribution financière pour soutenir les association nationales qui envisagent de nouvelles activités de développement d’affaires internationales ou une augmentation des activités déjà existantes dans les marchés et les secteurs de pointe, pour l’avantage de toute l’industrie.

L’OMA offre une subvention égale à la somme versée jusqu’à 50 % des dépenses éligibles.»

La bourse du programme couvre la moitié des dépenses de voyages de chacun des délégués incluant les frais de voyage et d’hôtel , les repas et certains frais additionnels, pendant un certain nombre de jours déterminé. Les délégués doivent payer les autres dépenses. De plus, le programme offre la même contribution financière à un membre du conseil d’administration et à un employé pour qu’ils puissent faire un premier séjour d’exploration dans la région visitée, quelques mois avant le voyage de la mission. Cela est une exigence du programme. L’employé sera la personne –ressource de la mission. Cet individu sera responsable de l’organisation de l’itinéraire. Il s’assurera que les besoins des délégués sont satisfaits et que les rencontres ont lieu comme prévu. Le rôle du représentant du conseil d’administration est de représenter les DIC et la profession sur la scène internationale. Évidemment, ces rencontres représentent une partie importante de l’itinéraire des missions. Avant le départ, Susan Wiggins arrange des rencontres avec les associations locales de design d’intérieur, les promoteurs immobiliers et des représentants du gouvernement. Une rencontre avec les personnes dignitaires du consulat canadien est toujours d’une importance capitale. Ces représentants locaux du gouvernement canadien sont là pour aider les Canadiens intéressés à faire des affaires dans la région. Leurs diverses présentations lors de ces réunions nous renseignent sur le climat économique actuel du pays, sur le potentiel de projets pour les designers d’intérieur et sur les processus et les contrôles exigés pour travailler dans un pays et une culture étrangers.

Ron Wong, de la firme Mackay Wong, à Toronto, fut un délégué lors des missions d’échanges commerciaux en Chine et en Inde. Il offre des conseils à ceux qui seraient intéressés à participer à des missions futures. Il précise : «Dans les deux missions, les DIC ont organisé des rencontres profitables avec des employés du consulat canadien. Ceux-ci apportent la perspective et la protection nécessaires aux firmes canadiennes qui travaillent à l’étranger. Le fait d’écouter ces personnes et d’obtenir leur aide dans le processus bureaucratique est un privilège. Elles peuvent aussi offrir de belles pistes de contrats potentiels.

Les missions aux Émirats arabes unis et en Inde impliquaient aussi la découverte de salons de design.

Encore là, Susan Wiggins a organisé la participation des DIC à ces événements, ce qui s’est avéré profitable pour tous les membres. Le salon a donné une visibilité aux DIC, ainsi qu’à leurs membres et à fourni à tous des occasions de réseautage.

“On both missions, IDC set up great meetings with the Canadian Consulates, which offer terrific insight and protection for Canadian firms working abroad.”

– Ron Wong, Mackay Wong, Toronto

Dans les deux missions, les DIC ont organisé des rencontres profitables avec des employés du consulat canadien.

Ceux-ci apportent la perspective et la protection nécessaires aux firmes canadiennes qui travaillent à l’étranger.

– Ron Wong, Mackay Wong, Toronto

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Mike Isbister of Environmental Space Planning, Winnipeg, travelled to Denmark with IDC in January 2011. He says he would “definitely” go on another mission, if time and schedule permits. He cites the opportunity to meet other designers and expand connections as important reasons for deciding to go on the missions. Another equally important reason was “to gauge and measure the services we provide.”

These trade missions have shown that there are many opportunities for interior designers to work internationally, if they so desire. Generally speaking, participants have come away with valuable insights about the challenges of working internationally. A couple in particular can be the key to success. First is the importance of building relationships through face-to-face communication. In most cases, e-communication simply doesn’t work. Second, having a business partner from the region can be vital to doing business. While these insights won’t necessarily guarantee your success, they can go a long way toward improving your chances.

“Trade missions are an excellent introduction for anyone interested in pursuing foreign markets,” says Wiggins. “We are very proud, as an association, of the fact that DFAIT has supported our funding applications year after year. Each mission we undertake provides us with one more opportunity to promote the Canadian interior design sector internationally. As a result of the relationships we have built, we now have an international network that all members can access whenever they have questions about export opportunities.” n

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Après les salons et les événements de la journée, les participants devaient visiter des monuments architecturaux importants, sans oublier les bâtiments qui ont été conçus par des designers canadiens. La mission d’échange avec l’Inde comprenait une visite privée de l’hôtel Oberoi Amarvilas à Agra. Le designer d’intérieur en charge du projet était un Canadien membre d’ARIDO et des DIC, Jeffrey Wilkes, qui a récemment remporté le prix 2011 du design hôtelier enRoute de la meilleure suite, pour son design de la suite royale de l’hôtel Leela Palace Kempinski de la ville d’Udaipur.

Lindsay Anaceleto, de la firme Anaceleto Design située à Etobicoke, a fait partie de la mission au Émirats arabes unis. Elle fut très heureuse de son expérience et souligne que « les DIC offrent le meilleur itinéraire possible. Cela nous donne une vision assez complète de la vie et des affaires, en plus de nous permettre de manger la meilleure nourriture de la région. Si on me demandait comment on pourrait améliorer cette mission d’échange, je n’aurais rien à ajouter. » Mike Isbister, de la firme Environnemental Space Planning de Winnipeg, a voyagé au Danemark avec les DIC en janvier 2011. Il dit qu’il ferait «définitivement» partie d’une autre mission d’échange si l’horaire le lui permettait. Il a mentionné cette rare occasion de rencontrer d’autres designers et la possibilité d’élargir ses contacts comme des raisons importantes pour participer à ces missions. Un autre facteur important demeure la possibilité de « juger et de mesurer les services que nous offrons.»

Ces missions d’échange ont montré qu’il y a plusieurs possibilités pour les designers d’intérieur de travailler à l’échelle internationale, si ceux-ci le souhaitent. De manière générale, les participants sont revenus au pays avec des connaissances inestimables au sujet des défis inhérents au fait de travailler à travers le monde. Deux facteurs semblent s’imposer. Premièrement, l’importance de construire des relations grâce aux communications en face à face. Dans la plupart des cas, les communications électroniques ne fonctionnent pas si bien. Deuxièmement, le fait d’avoir un partenaire d’affaires dans la région peut être déterminant.

Même si ces facteurs ne peuvent en rien garantir le succès de vos affaires, ils peuvent améliorer vos chances de réussite.

Wiggins ajoute que « les missions d’échange sont une excellente introduction pour quiconque souhaite s’investir dans les marchés étrangers. En tant qu’association, nous sommes fiers que le MAECI ait soutenu notre demande de financement au fil des années. Chacune des missions que nous envisageons nous donne une occasion supplémentaire de promouvoir le secteur du design d’intérieur canadien au niveau international, comme en témoigne les nombreuses relations professionnelles que nous avons établies. Nous avons maintenant un réseau international que tous nos membres peuvent contacter s’ils ont des questions au sujet des possibilités d’exportation.» n

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In conversation with…

Dimensions speaks with IDC Intern Member Haley Wagg of MAC Interior Design in Halifax.

B y P e n n y To m l i n

What made you choose a career in interior design?

I knew I wanted to do something creative but I also saw myself as a businesswoman. I heard about Ryerson’s program through a friend who was studying fashion. When I came across Interior Design in the university’s calendar, I had an Aha! moment – here was something that would allow me to express my artistic side while working within a respected profession.

Haley’s advice for other interns:

Unless you happen upon your absolute dream job, don’t settle at the first firm to employ you. I’ve been fortunate

What path have you followed to get where you are today?

My first job after graduating was at ARK, an architecture firm in Toronto. At the time, I was the only interior designer on staff and some of what I did was new to them. I was able to put everything I learned in school to use. In 2006, I moved to Calgary and worked at Shearer Design, primarily in corporate design. My job involved a lot of project management and site coordination. I got to see projects from start to finish and learned a lot about building through weekly site visits.

My career took an unexpected turn in 2008. I left my job in Calgary intending to do some travelling. On my drive home to Nova Scotia, I stopped in Toronto to attend IIDEX/NeoCon Canada. There I ran into a former classmate who told me about a job he’d been offered in the Cayman Islands but was unable to accept. That was another Aha! moment for me. Before that, I hadn’t realized I might be able to combine my love of travel with my love of interior design. I was fortunate enough to get the job at DDL Studio in George Town, Cayman Islands, where I stayed for more than a year. While in the Caymans, I learned to work according to island time. Finish samples can take three to four weeks to arrive, unlike three to fours hours in Toronto!

I followed a friend I’d met in the Caymans to South Africa and lived there for the next year. I was amazed at the architectural scene. It’s very comparable to Western European design, ultra modern and innovative in the use of local materials. Unfortunately, I wasn’t able to work during my time in South Africa because I only had a visitor visa.

In 2010, I returned to Nova Scotia, to be closer to family. My job at MAC Interior Design allows me the opportunity to work on many different types of projects, especially hospitality and corporate.

It’s great! There’s a lot to be said for working in a “small pond.”

Have you worked on a particularly interesting project?

The Crown Suite at the Westin Nova Scotia Hotel was an interesting challenge. The design involved a guestroom, bar/lounge, and corporate boardroom, all in one suite. It was fun to mix these usually distinct areas of design into one project.

Where do you hope to go from here?

I plan to write my NCIDQ exam this spring. I’ve been unable to do so up to this point because of my travels, but it’s an important career step. I hope to continue working in Halifax as I think the city has a lot of potential and is a good place to establish my career. n

enough to work on a number of different design teams. Each had much to offer yet each was so completely

Name: Haley Wagg Design School: Ryerson University Year of graduation: 2005 Favourite design tool: Photoshop Least favourite design tool: Exacto knife

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En conversation avec…

Dimensions rencontre la membre stagiaire des DIC, Haley Wagg, de MAC Interior Design, à Halifax.

P a r P e n n y To m l i n

Qu’est-ce qui vous a fait choisir une carrière en design d’intérieur?

Je savais que je voulais faire quelque chose de créatif. Je me voyais aussi en femme d’affaires. J’ai entendu parler du programme de Ryerson grâce à un ami qui y étudiait le dessin de mode. Lorsque j’ai découvert qu’il y avait le design d’intérieur dans le calendrier universitaire; cela a été un vrai moment de joie pour moi! Voilà enfin quelque chose qui allait me permettre d’exprimer mon côté artistique tout en travaillant dans une profession respectée.

Quelle voie avez-vous privilégiée pour en arriver là aujourd’hui?

Suite à ma graduation, j’ai eu mon premier emploi chez la firme d’architecture torontoise ARC. Durant cette période, j’étais la seule designer d’intérieur parmi les employés. Ce que je faisais était nouveau pour eux. J’ai pu faire l’application des choses apprises lors de ma formation. En 2006, je suis déménagée à Calgary et j’ai travaillé pour la firme Shearer Design, en particulier dans le design corporatif. Mon travail impliquait aussi beaucoup de gestion de projet et de coordination de sites. Je devais voir aux projets du début à la fin, et j’ai appris beaucoup sur les immeubles en visitant des sites deux fois par semaine.

Ma carrière a pris une tournure inusitée en 2008. J’ai quitté mon emploi à Calgary, pensant voyager un peu. En conduisant de Calgary jusqu’en Nouvelle-Écosse, je me suis arrêtée à IIDEX/NeoCon Canada, à Toronto. J’y ai rencontré un ancien collègue de l’école qui m’a dit qu’on lui avait offert un emploi aux îles Caïmans, mais qu’il devait refuser. Cela fut encore un moment de joie pour moi. Avant cela, je ne pouvais pas concilier mon amour des voyages avec ma passion du design d’intérieur. J’ai été chanceuse d’obtenir l’emploi pour le studio DDL à George Town, dans les îles Caïmans, où je suis demeurée plus d’une année.

J’ai aussi appris à travailler au rythme des îles. Les échantillons finis peuvent parfois prendre trois à quatre semaines avant de nous parvenir...Nous sommes loin des 3-4 heures que cela peut prendre à Toronto!

J’ai aussi suivi un ami que j’ai rencontré aux îles Caïmans jusqu’en Afrique du Sud. J’y ai vécu toute l’année suivante. J’ai été séduite par la scène architecturale, comparable au design européen occidental ultramoderne et innovateur. Je ne pouvais pas travailler durant mon séjour en Afrique du Sud, puisque j’avais seulement un visa de touriste.

En 2010, je suis revenue en Nouvelle-Écosse pour me rapprocher de ma famille. Mon travail à MAC Interior Design me permet de travailler sur plusieurs projets différents, plus particulièrement dans les secteurs corporatif et de l’hôtellerie. C’est fantastique! Il y a beaucoup d’avantages à travailler dans un milieu plus petit.

Les conseils d’Haley aux autres stagiaires :

À moins que vous trouviez l’emploi de vos rêves, ne vous

Avez-vous travaillé sur un projet particulièrement intéressant?

La suite royale de l’hôtel Westin Nova Scotian a été un défi considérable. Le design incluait une chambre d’invité, un bar lounge, une salle de réunions, le tout à l’intérieur même de la suite. C’était fascinant de réunir ces sphères distinctes du design dans un seul projet.

éternisez pas

Quels sont vos projets futurs?

J’espère réussir les examens du NCIDQ au printemps. Je n’ai pas pu le faire avant puisque je voyageais, et je pense que cela reste une étape importante de ma carrière. Je souhaite continuer à travailler à Halifax car je crois que la ville a beaucoup de potentiel et demeure un endroit parfait pour établir une carrière.

engagera. J’ai

dans la première firme qui vous eu le privilège de travailler au sein de plusieurs

Nom : Haley Wagg École de design : L’Université Ryerson Année de graduation : 2005 Outil de design de prédilection : Photoshop Outil de design le moins apprécié : Le couteau exacto

équipes de design. Toutes avaient beaucoup de choses différentes à offrir.

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ACTIVE

DESIGN Designing our built environment to encourage activity is one way we can promote healthier communities.

Comment le design de l’environnement bâti peut encourager l’activité physique et promouvoir des communautés plus en santé B y K a t h a r i n e Va n s i t t a r t

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or many people, opening doors is the most exercise their arms get on any given day. But with the influx of automatic everything, from faucets to front doors, arm muscles are weakening. And with the ever-rising use of elevators, escalators, and moving sidewalks, the same may be said for leg and heart muscles. Yet, when staircases with innovative design features are placed more prominently within a building, stair use goes up 72 per cent.

And when walkways are designed to be inviting and green space is accessible, physical activity improves dramatically.

Such was the message delivered to an audience of about 100 design professionals gathered for a workshop in Toronto this past September, titled, Creating Healthier Environments through Active Design. According to Dr. Karen Lee, director of the built environment program of New York City’s Bureau of Chronic Disease Prevention and Control, rapidly rising rates of obesity and chronic illnesses directly linked to inactivity and poor diet are urgent reasons to rethink aspects of our built environment.

Just as infectious diseases like cholera and tuberculosis plagued the nineteenth and early twentieth centuries, non-infectious illnesses such as diabetes, cardiovascular disease and cancer account for 75 per cent of deaths today, Lee pointed out. In the past, improvements to urban infrastructure and architecture were essential to enhanced hygiene and stemming the spread of infectious diseases.

Lee was part of a multidisciplinary contingent to develop the Active Design Guidelines, published by the City of New York in 2010. This 140-page document, available at www.nyc.gov/adg, outlines ways interior designers, architects, engineers and urban planners can create buildings and cities that encourage physical activity and therefore promote health and well being.

The Active Design program was presented at IIDEX/ NeoCon Canada 2011. Lee and Gayle Nicoll, dean of the

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our plusieurs personnes, le simple geste d’ouvrir une porte est le seul exercice qu’ils feront au jour le jour.

Les muscles de nos bras s’affaiblissent avec la présence accrue des engins automatiques, des robinets jusqu’aux portes, et, avec l’usage des ascenseurs, des escaliers et des trottoirs roulants, on pourrait dire la même chose pour les muscles du cœur et des jambes. Cela dit, lorsqu’ont construit des escaliers plus design, leur usage augmente de 72 %. Et lorsque les trottoirs ont un design invitant et que les espaces verts sont accessibles, l’activité physique augmente de manière importante.

Tel était le message livré au public par 100 professionnels du design réunis à Toronto pour assister à un atelier intitulé Creating Healthier Environment through Active Design, au mois de septembre dernier. Selon la docteure Karen Lee, directrice du programme de l’environnement bâti du Bureau of Chronic Disease Prevention and Control de New York, la croissance rapide des taux d’obésité et des maladies chroniques liés à l’inactivité et la diète inadéquate sont des raisons urgentes de repenser les diverses facettes de l’environnement bâti.

Karen Lee affirme que « De nos jours, les maladies non contagieuses comme le diabète, les maladies cardiovasculaires et le cancer sont la cause de 75 % des décès tout comme les maladies contagieuses comme le choléra et la tuberculose ont hanté le 19e siècle et le début du 20e siècle ». Dans le passé, l’amélioration de l’infrastructure urbaine et de l’architecture était essentielle à l’amélioration de l’hygiène et à l’arrêt de la propagation des maladies contagieuses.

Lee a fait partie de l’équipe multidisciplinaire qui a développé l’Active Design Guidelines, publié à New York en 2010. Ce document de 140 pages (disponible au www.nyc. gov/adg) explique les façons dont les designers d’intérieur, les architectes, les ingénieurs et les urbanistes peuvent créer des bâtiments et des villes qui encouragent l’activité physique et font la promotion de la santé et du bien-être.

Le programme Active Design a été présenté à IIDEX Neocon/Canada en 2011. Karen Lee et Gayle Nicoll, le chef du département de design de l’Université OCAD, à Toronto, ont dirigé l’atelier de trois heures. Ils y ont commenté un rapport alarmant de statistiques alarmantes relatives à la santé, plus particulièrement aux États-Unis.

On voit des tendances similaires au Canada. Selon l’Association canadienne du diabète, 41 500 décès sont causés annuellement par le diabète, l’inactivité, l’obésité et le

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Faculty of Design at OCAD University in Toronto, led the three-hour workshop where they divulged an alarming array of health statistics, mostly from the United States.

But similar trends are apparent in Canada. According to the Canadian Diabetes Association, some 41,500 deaths annually are related to diabetes, the leading causes of which are inactivity, obesity and aging. The Childhood Obesity Foundation reports obesity rates have tripled in Canada since 1985, with approximately 26 per cent of children currently overweight or obese.

“We are only now identifying and deploying the best environmental practices to fight these conditions,” state the Guidelines, which identify the “Five Ds” central to Active Design: density, diversity, destination accessibility, distance to transit, and, of course, design. Design, apparently, is the least examined because it is so nuanced and broad, and therefore difficult to define. However, the design qualities proven to make places more “walkable” are clearly outlined. They are: human scale, complexity, enclosure, transparency, and “imageability” – described as details that make a space or streetscape distinct and memorable.

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vieillissement. La Childhood Obesity Foundation montre que les taux d’obésité au Canada ont triplé depuis 1985, avec 26 % des enfants qui sont présentement obèses ou font de l’embonpoint.

Selon le Guidelines, « Nous sommes en train d’identifier et de déployer les meilleures pratiques environnementales pour combattre ces conditions. » Ce même Guidelines a identifié les « 5 D » essentiels au Active Design : la densité, la diversité, les destinations accessibles, la distance de déplacement et, évidemment, le design. Le design est apparemment la composante la moins examinée parce qu’il s’agit d’un contexte vaste, nuancé, et plus difficile à définir.

Cependant, les qualités du design qui s’avère rendre les lieux plus adaptés aux marcheurs sont clairement définis. Ils sont les suivants : l’échelle humaine, la complexité, l’espace alloué, la transparence et « l’imagibilité », décrite comme ces détails qui rendent un espace ou une perspective de la rue distincte ou mémorable.

Le Guidelines explicite aussi quatre champs que les designers ne doivent pas négliger s’ils veulent faire bouger les individus. Premièrement, le système de circulation d’un bâtiment, incluant les corridors et les escaliers, devrait être accessible et promouvoir la connectivité, et utiliser la lumière naturelle, autant que possible. Il y a ensuite les extensions supplémentaires et la planification des bâtiments pour favoriser le mouvement, cela grâce à des allées agréables qui mènent à une fontaine, à des aires de repos ou à des bancs sur un toit vert et qui encouragent l’usage des différentes parties d’un bâtiment. Le troisième champ comprend les aires spécifiques comme les centres de conditionnement physique et les cafétérias servant de la nourriture de qualité. Le Guidelines recommande que les centres de conditionnement physique soient situés dans des lieux faciles d’accès avec des vues sur l’extérieur et conçus pour accommoder les divers groupes d’occupants du bâtiment. De plus, le Guidelines cherche à faire valoir le design élégant des éléments qui stimulent l’activité, comme des halls au deuxième étage et des escaliers sculpturaux.

Pensez aux grands théâtres et aux halls publics et à leurs escaliers centraux qui sont souvent utilisés lors des événements sociaux de tout genre.

Nous sommes encouragés à utiliser les escaliers lorsqu’ils sont agréables et bien situés, près des entrées, et assez larges pour que les gens puissent circuler en groupe et dans les deux directions. « Les gens se regardent dans les yeux lorsqu’ils empruntent les escaliers », remarque Lee. Cela n’est pas le cas dans les ascenseurs. D’autres méthodes prévalent parfois, comme les télésouffleurs qui procurent une meilleure signalisation, les rampes efficaces et les girons faits pour améliorer la sécurité, sans oublier certaines inventions mécaniques tels que les ascenseurs programmés pour faire des arrêts alternatifs sur certains étages uniquement. Lee mentionne que cette dernière invention a été pensée dans le but d’augmenter l’usage des escaliers de 3 300 %. Naturellement, il doit toujours y avoir un ascenseur qui offre le service complet et garantit une accessibilité universelle.

Ces diverses ressources semblent devenir la voie à suivre,

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The Guidelines highlight four areas that designers should focus on to get people moving. A building’s circulation system, including corridors and stairs, should be easily accessible and promote connectivity, with natural light, when possible. Next are thoughtful additions to a building’s plan that promote movement, like pleasant pathways to a water fountain or restrooms, or to benches on a green roof. These encourage use of different parts of a building. The third area includes specific facilities such as gyms and cafeterias with quality food. The Guidelines recommend that gyms be situated in a central location, have views to the outside, and be designed to accommodate various occupant groups. As well, the Guidelines make a plea for the elegant design of activity-inducing elements such as second-floor lobbies and “sculptural” stairs. Think of the great theatres and civic halls where staircases are central to the interior and settings for social engagement.

We will be encouraged to use stairs when they are appealing, centrally placed, close to entrances, and made wide enough for people to travel in groups and in both directions. “People make eye contact when passing on stairs,” Lee notes. This is typically not so in elevators.

Other ideas include visual prompts such as motivational signage, good handrails and stair treads to enhance safety, and mechanical advancements like “skip-stop” elevators, programmed to only stop every few floors. Lee says this latter feature has been shown to increase stair use an astounding 3,300 per cent. Of course, there must be one full-service elevator to guarantee universal accessibility.

These amenities seem common sense but have often been neglected in the rush for taller, faster, higher-tech buildings. Implementing them not only boosts physical and mental health; air pollution and greenhouse gas emissions decline. Elevators, for example, account for up to 10 per cent of a building’s energy consumption.

Chapter Four of the Guidelines discusses the LEED credits available when Active Design principles are applied.

Information on issues ranging from indoor air quality to building exteriors is offered. For example, when architectural detailing is interesting and there are attractive entries and ample glazing, physical interaction between the interior and exterior increases. Terraces and canopies promote outdoor activities. Bike lanes and bicycle stands, along with green grocers and parks, are also part of the larger active urban picture. Mixed-use buildings, particularly with a variety of uses on the first and second levels, have proven to greatly encourage walking.

“The problem is how our environments have changed.

Our bodies are not adapting to our increased level of inactivity,” says Lee. The aim of the Active Design program is to help the design community better understand the current issues facing humans in relation to our built environment. Given the right tools and evidencebased principles, the design build world can respond with quick, creative, and constructive action. n

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mais elles ont souvent été négligées au profit de bâtiments plus grands, plus efficaces et plus technologiques. Leur implémentation aura stimulé la santé mentale et physique, le déclin de la pollution et des émissions des gaz à effet de serre.

Par exemple, les ascenseurs représentent plus de 10 % de la consommation d’énergie d’un bâtiment. Le chapitre 4 du Guidelines traite notamment des crédits LEED disponibles lorsque les principes de l’Active Design sont appliqués.

L’information sur des questions qui couvrent la qualité de l’air jusqu’aux environnements extérieurs des bâtiments est disponible. Par exemple, lorsque le détail architectural est intéressant, lorsque les entrées des bâtiments sont esthétiques et plus larges, l’interaction physique entre les mondes intérieur et extérieur augmente. Les terrasses et les fauteuils invitent les individus à des activités à l’extérieur.

Les pistes cyclables et les supports à vélos, les marchés de légumes et les parcs font aussi partie du portrait plus général de la vie urbaine. Il est prouvé que les bâtiments à usage multiple, surtout ceux offrant une variété d’usages au premier et au deuxième étages, encouragent la marche.

Lee précise : «Nos environnements ont changé. Nos corps ne s’adaptent pas à l’augmentation du degré d’inactivité. » Le but du programme Active Design est d’aider la communauté du design a mieux comprendre les questions d’actualité, celles qui confrontent les humains dans leur relations à leur environnement bâti. En tenant compte des outils adéquats et des principes élaborés en fonction des faits, le monde du design peut répondre aux divers besoins avec des actions rapides, créatives et constructives. n

“The problem is how our environments have changed.

Our bodies are not adapting to our increased level of inactivity.”

– Dr. Karen Lee, Director, Bureau of Chronic Disease Prevention and Control, New York City

Nos environnements ont changé.

Nos corps ne s’adaptent pas à l’augmentation du degré d’inactivité.

– Dr. Karen Lee, Directrice, Bureau of Chronic Disease Prevention and Control, New York City

www.idcanada.org

On your behalf…

Whether you are an independent interior designer, an employee or an employer, insurance coverage is an important necessity for your business. Of course, your insurance needs will vary according to circumstances such as the size of your firm, the types of projects you undertake, and the services you provide. It can be more than just a little daunting trying to sort through the various insurance options that are available. But don’t fret! This is where we come to your rescue.

As your professional association, we have partnered with Mumby Insurance Brokers Inc. in order to offer you the best possible insurance coverage at the best possible price. We achieve this by sharing information with Mumby about our industry and how it is evolving. They are then able to educate the insurance carriers to ensure they understand the needs of interior designers.

A recent example of this is the matter of project management, where you hire other professionals and trades involved in your projects. By doing so, you are taking on additional risk for your firm and any lawsuit will be brought against your firm. Many insurance companies that don’t understand the interior design profession will not want to have anything to do with providing coverage for project management. We advised Mumby that in some cases project management is part of interior design. Armed with this information, Mumby sought some flexibility and accommodation on the part of the insurance carrier. As a result of this particular initiative, this year’s renewal saw Sovereign General, our major carrier, expand the scope of project management for those requiring such coverage.

“We work with IDC and its members to keep informed about changes in the industry, so that we can then negotiate effectively with the insurance carrier to ensure coverage is as inclusive as possible,” says Anthea Mumby of Mumby Insurance Brokers Inc. “We strive for rate stability through the negotiations we undertake.”

If no increase in rates in almost eight years is any indication, those negotiations have been effective. In fact, in 2005, a year after Mumby took over the program, rates actually dropped. And just this year Mumby negotiated for a loss control discount. IDC members who took part in one of two teleconference seminars in the fall of 2011 were eligible for a 10 per cent reduction on their premium. The seminar showed how an insurance policy works to protect you and how you can avoid and manage risk in your practice. One key way to avoid risk is to ensure your contracts are properly written, so that you are protected. Other tips include accurately recording all client communications, making regular computer backups, and keeping your office safe for employees.

“We continually work to improve insurance coverage for our members, through regular communication and annual negotiations with Mumby,” says Susan Wiggins, executive director. Most recently that has meant increased availability of coverage for those with U.S. operations, a simplified renewal process, and introduction of a losscontrol discount. “Our partnership with Mumby gives us group buying power and more clout in negotiating for our members’ benefit.” n

Advocacy is one of the leading mandates of IDC. Our goal is to ensure that interior design practitioners are understood, utilized appropriately, and not restricted in any way from carrying on business activities. You can continue to monitor recent activities through the Association website at www.idcanada.org.

Need us to act on your behalf? Let us know. We’re here to help.

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En votre nom…

Que vous soyez un designer indépendant, un employé ou un employeur, la couverture d’assurance est une nécessité pour votre entreprise. Naturellement, vos besoins d’assurance varieront selon les circonstances, la taille de votre entreprise, les types de projets à réaliser et les services que vous fournissez. Cela peut être un fardeau de démêler les options d’assurance qui sont disponibles. Ne paniquez pas! C’est lors de pareils moments que nous venons à votre rescousse!

Nous avons formé un partenariat avec Mumby Insurance Brokers inc., dans le but de vous offrir la meilleure couverture d’assurance au prix le plus avantageux. Nous pouvons le faire en partageant l’information avec Mumby au sujet de notre industrie et de comment elle évolue. La firme Mumby est aussi en mesure d’informer les compagnies d’assurance car elle veut qu’ils comprennent les besoins des designers d’intérieur.

Un des cas particulièrement épineux touche la question de la gestion de projet, lorsque vous engagez d’autres professionnels ou des fournisseurs impliqués dans vos projets. En faisant cela, vous prenez des risques supplémentaires pour votre firme et des poursuites envers vous pourraient avoir lieu. Plusieurs compagnies d’assurances qui ne comprennent pas la profession du design d’intérieur ne voudront pas fournir une police d’assurance pour la gestion des projets. Nous avons informé l’équipe de Mumby que dans certains cas, la gestion de projet fait partie du design d’intérieur. En sachant cela, Mumby a exigé que les compagnies d’assurances démontrent de la flexibilité et favorisent les possibilités d’arrangements. Cette initiative a permis le renouvellement, cette année, du contrat avec Sovereign General, notre plus important courtier. Cela montre également une ouverture à la question de la gestion de projet pour ceux qui en ont besoin.

Antheas Mumby, de la firme Mumby Insurance inc., précise : «Nous travaillons avec les DIC et leurs membres pour demeurer informés au sujet des changements de l’industrie. Il importe de négocier efficacement avec les compagnies d’assurance pour faire en sorte que la couverture soit aussi étendue que possible. Nous recherchons la stabilité des taux dans nos négociations.»

S’il n’y a pas eu d’augmentation des taux dans les huit dernières années, cela nous indique que les négociations ont été efficaces. De fait, en 2005, un an après que Mumby a pris en charge le programme, les taux ont baissé. C’est seulement cette année que Mumby a pu obtenir une réduction dans le cas du contrôle des dommages. Les membres des DIC qui ont participé aux deux séminaires téléconférences, à l’automne 2011 étaient éligibles à un rabais de 10 % sur leur prime de base. Le séminaire a révélé comment une police d’assurance peut vous protéger et vous aider à gérer les risques dans votre pratique. Pour mieux éviter les risques de poursuites, les gérer et vous protéger, une des choses essentielles est de vous assurer que vos contrats sont écrits correctement. N’oubliez pas de prendre des notes précises qui relatent vos échanges avec les clients. Sauvegardez régulièrement les données de votre ordinateur et assurez-vous de la sécurité des espaces de bureau de vos employés.

Susan Wiggins, la directrice générale des DIC, affirme : « Nous sommes continuellement en train d’améliorer la couverture d’assurance pour nos membres, grâce à des échanges soutenus et à des négociations avec Mumby sur une base annuelle.

Plus récemment, cela a pris les formes d’une augmentation de l’accessibilité à l’assurance pour ceux qui font des affaires aux États-Unis, d’un processus de renouvellement simplifié et de l’implantation d’une réduction dans le cas du contrôle des dommages. Notre partenariat avec Mumby nous donne un pouvoir d’achat de groupe et une place privilégiée dans la négociation pour nos membres. » n La protection des droits est un des objectifs des DIC. Notre but est de nous assurer que les praticiens du design d’intérieur sont compris, consultés de manière adéquate et libres de pourvoir à leurs obligations et à leurs engagements professionnels. Vous pouvez continuer à suivre les activités les plus récentes grâce au site Internet de l’association en visitant le www.idcanada.org.

Vous avez besoin que l’on agisse pour vous? Faites-nous le savoir.

Nous sommes là pour vous aider.

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Industry members* Membres de l’industrie With thanks to our industry members for their continuing support of IDC. Avec nos remerciements aux membres de l’industrie pour leur soutien continu aux IDC. IDC/IIDEX Partner / Partenaires des DIC/IIDEX DIRTT Environmental Solutions Ltd. Henderson Resource Group, Inc. InterfaceFLOR Levey Wallcoverings Nienkamper Furniture and Accessories Inc. Ruud Lighting Canada/BetaLED Teknion IDC National Member / Membres nationaux des DIC 3M Canada - Architectural Markets Hunter Douglas-Div Window Fashions INSCAPE Knoll North America Corp.

Steelcase Canada Ltd. Tandus Flooring IDC Regional Member/ Membres régionaux des DIC Cambria Natural Quartz Surfaces GLOBAL GROUP Haworth Ltd. Kravet Canada Milliken & Company Shaw Contract Group IDC Provincial Member / Membres provinciaux des DIC Allseating Allsteel American Standard Brands Beaulieu Commercial Benjamin Moore & Co. Ltd. Contrast Lighting M.L. Inc Crown Wallpaper + Fabrics Dauphin North America Delta Sierra Construction & Millwork Ltd. First Vision Technology Inc. Four Seasons Hotels and Resorts Groupe Carreaux Céragrès Kohler Canada Co. Mabe Canada (GE Monogram) MARANT Construction Ltd. Metropolitan Hardwood Floors Inc. Miele Limited Odyssey Wallcoverings Paloform Inc. Partition Components Inc. Three H. Furniture Systems IDC Media Partner / Partenaires des médias des DIC Canadian Interiors Design Quarterly HOMES Publishing Group MONTECRISTO Magazine NUVO Magazine IDC Print Partner / Partenaire d’imprimerie IDC PacBlue Printing IDC Local Member / Membres locaux des DIC 360 Living Inc. 3form AABA Granite & Marble Inc. Abet Corp.

Aeon Stone & Tile Inc. Alendel Fabrics Limited Altro Ames Tile & Stone Ltd. AMTICO International Inc. Anthony Allan Work Environments Applied Electronics Ltd. Arborite, division de/of ITW Canada Archer Construction Group Ltd. Arconas Arrow Furniture Ltd. Art Anywhere Art Works Gallery

Artopex Astro Design Centre Atlas Carpet Mills Inc. AYA Kitchens and Baths Ltd Banner Carpets Ltd. Bermax Furniture and Design bf workplace BL Innovative Lighting Blackburn Young Office Solutions Blum Canada Ltd. BoConcept Bradford Decorative Hardware Inc. Bradlee Distributors Inc. Brunswick Manufacturing Co. Ltd. Buckwold Western Business Interiors by Staples California Closets Canadian Contract Leathers Inc. Canlyte Inc. Cantu Bathrooms & Hardware Ltd. Carpenters Union, Local 27 CAS Interiors Inc Cascadia Design Products cd/m2 LIGHTWORKS corp.

Ceratec Ceramic Tiles CF + D | custom fireplace design CGC Inc. Chase Office Interiors Inc. Cherrywood Studio Ciot Marble & Granite Inc. Click Lighting and Home Coast Flooring by Design Coast Wholesale Appliances Cocoon Furnishings Colin Campbell & Sons Ltd. Colonial Countertops Ltd. Command Performance Exclusive Electronic Solutions Commercial Electronics Ltd. Connect Resource Managers & Planners Inc. Contemporary Office Interiors Convenience Group Inc. Cooper Bros. International Coopertech Signs and Graphics Coreplan Construction Inc. Crate and Barrel Canada Creative Matters Inc CTI Working Environments Cubo Design Inc. Custom Closet Organizers/Shelving Outlet Custom Home Decor Ltd Custom Range Hoods Inc. Daltile Canada Decor-Rest Furniture Ltd. Dell Smart Home Solutions Denison Gallery Design Exchange Design Living Centre Divine Hardwood Flooring Ltd. Division9 a Shnier Company Dominion Rug Sales Ltd. D’or Art Consultants Drechsel Business Interiors DSG Custom Glass DWMartin Construction E. Roko Distributors Ltd. / Formica Emily Quinn Entertaining Interiors Environmental Acoustics Envirotech Office Systems Inc. Erv Parent Group Ethan Allan European Flooring European Hardwood Flooring Centre faAB Home Fashions Fendi Casa, Canada

Fieldstone Windows and Doors Ltd. Fleurco Products FloForm Countertops Floor Coverings International Flux Lighting Inc. Fontile Corp.

Forbo Linoleum Inc. FU.O.CO Urbano Gateway Kitchen & Bath Centre Gemstar Group Geovin Furniture Inc. Grand & Toy GRANGE Furniture Inc. Greenferd Construction Inc. Grohe Canada Inc. Hardwoods Specialty Products Heritage Office Furnishings Ltd. Heritage Office Furnishings Victoria Ltd. Herman Miller Canada Inc. Heron Construction & Millwork Ltd. Hettich Canada L.P. High Point Market Authority Holmes & Brakel Humanscale Huntington Lodge Electric Fireplaces ICI/Akzonobel Paints IDEE17 Impact Office Furnishings Limited Info-Link Interior Surfaces Inc. Interna Furniture Design Ltd. Isted Technical Sales J+J Invision JCO & Associates Joel Berman Glass Studios Johnsonite Jones Goodridge Julian Ceramic Tile Inc. Jump I.T. Kinetic Kitchen & Bath, LLC Kitchen & Bath Classics (Wolseley) Kodan Flooring Korson Furniture Imports Ltd. Kraus/Floors with More Krug La Scala Home Cinema + Integrated Media LAVA Canada Leber Rubes Inc. Leviton MFG of Canada Leonardi Construction Ltd. Liesch Office Interiors Light Resource LightForm M.R. Evans Trading Co. Ltd. MacCormack & Sons Ltd. Magnum Opus Maharam Mannington Commercial Mapei Inc. Marble Trend Ltd. Marco Products (W Group) Marilyn Harding & Associates Martin Knowles Photo/Media Masterpieces Studio Mercury Wood Products Metro Wallcoverings Inc. Millennium Office Furnishings Miller Thomson LLP Millson Technologies Inc Modallion MOEN INC. Momentum Group Monk Office Interiors M-Tec. Inc. My Greener House Novanni Stainless Inc.

Office Source Inc. OLON Industries Olympia Tile International Inc. Optimal Performance Consultants Orion Hardware Corporation Pacific Stone Tile Ltd Pamas Slate & Stone Supplies Inc. Para Paints Paytrak Payroll Services Pentco Industries Inc. PI Fine Art/ Posters International POI Business Interiors Powell & Bonnell Home Inc. Prima Lighting Prolific Marketing Inc. Rae Brothers Ltd. Ram Mechanical Marketing Manitoba RE/max Professionals Inc. , Brokerage Renovations By Gray Robert Allen Fabrics Canada Rodgers Wall Materials Inc. Roman Bath Centre Roya Manufacturing & Supply Canada Inc. Salari Fine Carpet Collections Schoolhouse Products Inc. SCI Interiors Ltd. Silk and Style By Dann Imports - 707585 Ontario Limited Silverwood Flooring Smitten Creative Boutique SOFA, Source of Furniture and Accessories Solutions Workplace Furnishings Sound Advice Sound Solutions 1997 Inc. Spacesaver Corp.

Stanley Black & Decker, Inc. Stonequest Inc. Streamline Sales & Marketing Inc Suite22 Interiors Sun Glow Window Covering Products of Canada Ltd. Surface Products Inc. Symmetry Lighting The Brick Commercial Design Centre Midnorthern Appliances The Ensuite The Floor Studio Inc. The Gallery on the Lake Inc. The Office Shop The Reeves Group Agents Ltd. The Sullivan Source Inc. Threadcount Textile & Design Threadneedle Ltd. Tierra Sol Ceramic Tile TOR The Office Resource Toronto Office Furniture Inc. Tri-Can Contract Inc. Tripped On Light design inc.

Tritex Fabrics Ltd. Turco-Persian Rug Co. Ltd. Tusch Seating Inc. Unique Storage & Organizers Valley Countertops Industries Ltd. Vandyk Commercial Co. Ltd. Verno International Art Studios Vifloor Canada Ltd. W Studio Decorative Carpets Waterflo Kitchen & Bath Gallery Weavers Rug Gallery Westport Mfg. Co. Ltd. White-Wood Distributors Ltd. Wilsonart Canada Window Works Ltd. Working Images Your Home Custom A/V Systems * As of December 7, 2011 * À partir du 7 décembre 2011

INTERIOR DESIGNERS OF CANADA C536–43 Hanna Avenue Toronto ON M6K 1X1 t 416.649.4425 tf 877.443.4425 f 416.921.3660 e dimensions@idcanada.org w www.idcanada.org 18

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House Calls

Go with the flow In the Toronto suburb of north york, architect reza aliabadi’s 5/6 House sculpts space with thrusting volumes and unexpected voids.

—by John bentley Mays

Photography by borzu Talaie / borxu Design

January/February 2012 CanaDIan INTERIORS 47

Opposite and below Opposing views of the double-height family room. This 6-by-6-by-6-metre cube is the the most “connected” space in 5/6 House: overlooking the driveway and entry porch, to the south (below image); overlooking the entry, foyer and home office, to the east; overlooking the central void, with a view of the reflecting pool and party/recreation area (at centre of opposite image), and looking toward the kitchen (beyond the void) and up to the second floor, to the north; and looking toward the living and dining areas, to the northeast. Says the architect, “The huge skylight and doubleheight curtain wall pour the light everywhere, into the basement through the central void and to the kitchen in the back.” Left Promenade leading to the family room, with artwork by Atelier Reza Aliabadi (rzlbd).

Viewed from the sidewalk, the recent Toronto residential projects by Atelier Reza Aliabadi (rzlbd) are typically as restrained as a good Bay Street business suit. Charcoal House (2010), for example, is a flat-topped building with an entirely sober profile. Only the jaunty scatter of windows on the streetside facade hints that something more interesting may be going on inside. Go behind that trimly tailored exterior, and you immediately find out what, and just how exciting, that something is. Reza Aliabadi fashioned the interior space of the house into a small landscape that rises and sinks, bunches and relaxes. This active architectural setting proposes choreography for the people who dwell there. Aliabadi’s art has nothing to do, that is, with manufacturing the versatile “universal space” cherished by the modernists. Rather, it’s all about the making of very local micro-environments that together add up to maps for contemporary living.

Like Charcoal House, Aliabadi’s 5/6 House, completed in 2011 deep in the post-war Toronto suburb of North York, embodies a contrast between spare outside and rich inside. Here, however, the difference is even more pronounced. Nothing in the exterior form of 5/6 House gives away the drama unfolding within.

And the humble surface treatments – stucco cladding, aluminum siding and such – are all very plain. Though considerably larger than its traditional pitched-roof neighbours – the usable zones add up to about 5,000 square feet – and obviously more modern in shape and style, the house sits quite respectfully among the other, older residences along the street.

The graceful, unforced ingenuity of Aliabadi’s excellent interior design, however, is apparent at once to anyone who steps over the threshold.

Like those in Charcoal House, the levels here rise and fall across the wide expanse of the twostorey building’s ground floor. This variety creates a series of places or stations within the volume, each subtly distinguished from the next.

The space allotted to the open-plan conversation and dining areas, for instance, is gathered at the centre of the building, well away from the street. The strong visual rhythm of white walls and dark trim gives this zone a certain air of calm formality and seriousness. The effect is reinforced by the lofty ceiling, which floats about 11 feet off the floor. The compressed kitchen area, on the other hand, hovers at the edge of a wide void. This cavity in the ground-floor level mirrors a massive oblong volume (containing the masterbedroom suite) that bears down into the lower territory from the second storey.

Going up from the level of the kitchen, dining and living precincts, a short flight of steps leads to the family room, which stands atop the garage and faces the street. The atmosphere here is new: casual and lively instead of formal, January/February 2012 CANADIAN INTERIORS 49

public rather than private. Daylight floods into the room through large south-facing windows and an enormous skylight cut into the doubleheight ceiling. This place belongs wholly to the day and the sky and changing weathers, not the underground darkness to which family rooms and dens are too often consigned in more conventional housing schemes.

The architectural scenography changes again as the visitor descends through the void near the kitchen via the glass-faced staircase, its thick treads cantilevered from the wall, to the fully finished basement level. A long rectangular reflecting pool, fed by a gentle waterfall, has been incised into the dark stone floor of the room where the staircase ends. Quiet north light filters through the tall glass doors just inside a sunken patio at the rear, and a shaft of sunshine, striking through the void from the family room, occasionally illuminates this sanctuary. A bar at one end suggests that the largely empty space is sometimes used for entertaining. If so, the disturbance would be fleeting, and the prevailing sense of contemplative stillness would quickly return once the party was over.

Not every person, of course, wants to live in a work of architecture as carefully programmed as this one. The complex fabric of 5/6 House, its unusually forceful channeling of internal spatial flow by thrusting volumes and gaping voids, insists that outfitting and decoration be as rigorous as the design itself – a demand some homeowners might find uncomfortably strict.

That said, it’s hard to imagine any dweller in the cold regions of Canada who would not be glad to live in a residence so full of light. Toronto is a city, Aliabadi has written, “where severe weather conditions created houses with small openings.” 5/6 House is the architect’s most recent imaginative response to this familiar condition, and surely his most striking one to date. The name he has given the project recalls his design strategy, which involved, first, a division of each floor into six parts, then the subtraction of one part. The formal move generated the broad openings and gaps through which natural light penetrates the building envelope and shines into every corner of the house.

If this sounds like an abstract, schematic way to go about crafting an interior, the math doesn’t show in the finished product. 5/6 House is all poetry of a modern kind: resolved, serene and clean-lined, and completely free of unnecessary ornament and commotion. It expresses Aliabadi’s flair for place-making: the very contemporary sculpting of space into novel shapes with distinctive identities, like the sunny clearings one can find in the midst of forest gloom, or the narrow intervals between old buildings that suddenly open the city’s floor to the sky. c I

50 CANADIAN INTERIORS January/February 2012

Below The kitchen area hovers at the edge of the void, which mirrors a massive oblong volume (containing the master-bedroom suite) bearing down from the second floor.

Opposite Says the architect of the void, with its reflecting pool fed by a gentle waterfall (seen at left), “It visually connects the whole house and opens up the basement to natural light.

The pool breaks down the scale and makes the mise-en scène-more intimate and poetic.”

Gayle Marshall Sales Representative “Gayle immediately understood the appeal of our somewhat quirky property; she was also able recommend Gayle highly.�.

Peter Merrick and Blaine Mitchell

416.925.9191

gaylemarshall@chestnutpark.com

1300 Yonge St. Suite 100 Toronto ON M4T 1X3 www.chestnutpark.com

5750 Timberlea Blvd., Unit 6, Mississauga, Ontario, L4W 5N8 O: 905.602.0692 / F: 905.602.5629 / E: mail@casinteriors.com

12, 13, 14...

House Calls

Farm fresh On a hilltop in Ontario’s Northumberland County, architect Cindy Rendely tucks a modernist interior into a traditional rural silhouette.

—By Leslie C. Smith

Photography by Tom Arban

JANUARY/FEBRUARY 2012 CANADIAN INTERIORS 53

It’s a common problem. People with money and not much taste buy up a prime piece of country property and then erect some contemporary monstrosity designed to dominate the surrounding landscape. Frank Lloyd Wright spent his entire career battling this egotistical urge in his fellow human beings. Now Cindy Rendely of Toronto’s Cindy Rendely Architexture has taken up the torch with her latest work, known simply as The Farm House. Luckily for Rendely, her clients are not only well-heeled, they’re designers themselves, graphic artists possessed of exquisite taste. This is the architect/designer’s third project for the couple and it represents that rarest of working relationships: a perfect pairing of sensibilities between client and artist.

The Farm House sits on a tall hilltop in Northumberland County, close to the town of Cobourg, Ont. Yet, far from dominating its environs, the structure appears at peace with them. Its silhouette, in fact, looks so much like an ordinary barn and outbuildings that it is quite unremarkable. For this Rendely credits her clients, who insisted on paying homage to barn architecture with a steep, gabled roofline.

The choice was a happy one – its light grey aluminum cladding blends in so well with the sky behind that at times it almost seems not there.

With regard to shape, the Farm House could have been put together by a child – albeit an extremely gifted one – using a set of wooden building blocks. Nothing could be simpler or more geometrically pure than the rectangles, squares and triangles involved. To the east, the long, single-storey “bar” of the main living area is interrupted by a grey porcelain cube pushing through the wall, a self-contained guest suite housed within.

To the west, an identical six-metre cube seems to have been broken off the bar by a random hand and shifted 15 degrees.

This is the fully detached artist’s studio, filled with meticulously maintained tools as well as light from windows on three sides. It shares a small common courtyard with the two-storey rectangle that abuts the long bar. Here, a daughter’s bedroom and bathroom take up the ground floor, a master bed-and-bath suite the second level.

The quiet timelessness of the exterior gives way to a different sort of serenity inside. A tall, cathedral-style ceiling, 54 CANADIAN INTERIORS JANUARY/FEBRUARY 2012

Opposite top and top left Two opposing views of the living room. The Farm House’s sensationally simple interior relies on the monolithic fireplace, a smattering of vintage collectibles, and scenic views from oversized glass doors and windows to make its statement. The fireplace is cast in the same grey porcelain tile as the guest suite “box” facing it, in tribute to the region’s clay and rocky ground. Opposite bottom and bottom left Two opposing views of the kitchen/dining area. Douglas fir, in the form of rift-cut veneer and plywood sheathing, is used for the cathedral ceiling, interior door and window frames, and the custom, built-in millwork throughout the house. The unobtrusive fluorescent hanging fixtures and wall sconces are from Artemide.

JANUARY/FEBRUARY 2012 CANADIAN INTERIORS 55

rising 15½ feet to the tip of its triangulated peak, stretches the entire length of the building, its vault spectacularly sheathed in Douglas fir plywood. “The random, patchwork quality of the material gives the interior a raw, barn-like feeling,” says Rendely. “It speaks in a country vernacular.” Without losing its progressive appeal, one might add. A central free-standing fireplace, clad in the same grey porcelain as the guest box, separates without dividing the kitchen/ dining area from the living room, its own angled pitch at the top echoing that of the exterior roofline.

Plain proportions, repetition of simple geometric shapes, even the use of one tile and one wood throughout showcase Rendely’s design philosophy that consistency breeds calm: “Minimized visual noise creates a quiet backdrop for your life.”

Repeat performances are everywhere to be found – from small touches, such as the way the striated colours of a rug underneath the dining area’s harvest table emerge again in the glass bowl sitting on the table, to the extra-large, custom-built doors and window frames veneered in Douglas fir that perfectly mimic each other’s dimensions.

The latter form such exact mirrors on either side of the house that you can almost see the dotted lines extending from one corner to the other, like a draftsperson’s three-dimensional rendering of a rectangle. The view, as it stretches through the building, past the infinity pool towards the rolling hills and blue breadth of Lake Ontario beyond, is, well… you could never tire of the vistas from this vantage point, nor of the way every window makes such a perfectly framed landscape, right down to the dotting of cows grazing a slope as if ordered there by the artist.

And even if that impossibility happened, there are still the interior furnishings to reckon with. Sparingly placed, which only serves to highlight their individual delights, are prime vintage collectibles, such as the Eames shell chairs around the dining table and a big bull’s-eye Coke sign in the living area.

Added to the eclectic aesthetic are the owners’ own intriguing artworks and found pieces, such as the whimsical collection of paint-by-number woodland scenes mounted up the tall wall that encloses the master bedroom’s staircase. (“Am I allowed to say I love it?” Rendely 56 CANADIAN INTERIORS JANUARY/FEBRUARY 2012

asks, in clear admiration of her clients’ unerring eye. “They’ve made it more wonderful with their things.”) The master bedroom itself boasts a peaked ceiling a full foot taller than those in the rest of the main building and the purposely sparse decor allows superb window views to act as living art. A single hayloft window punches through the plywood wall near the ceiling’s apex on the south side, providing additional light as well as a novel focal point.

Here, as elsewhere in this 3,135-squarefoot accomplishment, size feels curiously intimate. Sound is hushed. The soul seeks and finds satisfaction at every turn.

Frank Lloyd Wright would be pleased. c I

Above A cool concrete floor contrasts with the wooden warmth of the ceiling in the fuly detached artist’s studio.

Horizontal slot windows provide views to Lake Ontario in the distance on one side, and on the other to a barn that helped inspire the Farm House’s ultimate shape. Right The natural patterns of the plywood sheathing on the walls and tall ceiling of the master bedroom make the space’s oversized dimensions seem very human. In counterpoint to the more-than-generous proportions, a tiny hayloft window intrudes at the ceiling’s peak.

15 Announcing The

15th annual Best of Canada Design Competition

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Official publication of the Interior Designers of Canada

Show Biz

A perfect

Feria Hábitat Valencia’s NuDe exhibition, showcasing young design talent, enters the double digits.

—By Michael Totzke

AT BOTH ENDS un4Verde is a new Spanish company founded as an “editor” of singular objects by young designers; it supports these designers by producing, promoting and distributing their creations. From nadadora comes candelero, a candle with an integrated base. As the candle burns, the base catches the dripping wax, morphing into a decorative object. un4verde.com

Call it the little “show-within-a-show” that could. Since its debut, Feria Hábitat Valencia’s exhibition showcasing young, mostly Spanish, design talent – NuDe, a.k.a. Nuevo Diseño español – has grown by leaps and bounds. This past September, it took on even more prominence, celebrating its 10th anniversary.

Over the past 10 years, NuDe has showcased more than 400 new designers, design practices, freelancers, galleries, design schools, and manufacturers less than five years old. For many of them, NuDe is the point at which their business concerns took off. As part of the 10th-anniversary celebration, 12 practices, now leading players in Spanish and international design, were chosen to represent past participants in a special exhibition.

As for the 2011 edition, a total of 40 schools of design and design practices took part. As always, NuDe proved to offer the freshest work at the fair, often addressing issues of sustainability – with wit and sass and optimism.

JANuAry/FeBruAry 2012 CANADIAN INTERIORS 59

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1—SECRET STASH Joindesign is a creative studio founded by Inma Bailen and Jordi Alberoia. Presented at NUDE was Kangaroo, a clever chair made of steel rod, bent plywood and felt coating, which offers a hinged compartment in front for storing magazines, documents and such. joindesign.es 2—WOOD AND NOTHING BUT Öri is a newly created one-person practice; the person in question is Oriol Barri, who started out in jewelery, went on to 60 CANADIAN INTERIORS January/February 2012

study interior design, then found his true vocation in industrial design. His Desmon chair, a wooden seat that uses no metal hardware whatsoever, is a marvel. It consists of 32 legs, a round base and a clamping ring – all wood – plus a cushion.

enced, it is ready to be launched in free fall and reveal itself in its material form for the first time.” Naïve’s structure is lacquered steel; the seat is made of PVC supported by metal rivets. ramonarnau.es

oribarri.com

4—A NEW LIGHT Leblume Design is headed by Damián López – who specializes in product design, graphic design and packaging. “In Leblume,“ he says, “we defend sustainable design because we like natural things and taking care about the environment.” His

3—A BABE IN THE WOODS Young architect Ramón Arnau Quintero is also an industrial designer and self-described “lover of life.” Says he of his Naïve chair, “Ingenuous, innocent and inexperi-

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Icon Family range includes the LED Light Lamp, in various permutations, which works with LED lights or energy-saving lightbulbs. leblume.es 5—LET’S PLAY Barcelona-based 3Patas, a design studio made up of Carla Neila, Isabel González and Santiago Hermosin, has a motto: “We search for innovation, always maintaining warmth and collective imagination, which give our products a human touch.” Case in point: 3X3, a clever collection of auxillary

tables that combine with two bowls to form a family. 3patas.com 6—AT YOUR SERVICE Young Valencian designer Nacho Timón bills his Mr. Light as “the light that is at your service.” Like so: “Because of its different position of its branches that can be changed, it can come in: a catering waiter, a butler that offers you a towel after your shower, your bodyguard or anyone who may sit with you and have a good time.” nachotimon.com

7—ZIP CODE Cruxflux is Raquel Sola Rubio and Alejandro Garcia Pedrón. Its SSCC sofa (a.k.a. “Union of Socialization with Zipper”) is – in the words of the designers – “Inseparable association of seats. Is established as a mediator of relationships. Variations include extroverted, introverted, and mixed dispositions. Territorial, flexible and dynamic device.” cruxflux.net

January/February 2012 CANADIAN INTERIORS 61

Who’s Who IDC/IIDA LEADERS BREAKFAST The IDC/IIDA Leaders Breakfast, held for the first time at the new Ritz-Carlton Hotel in Toronto – with glamorous interiors by Cecconi Simone – honoured Susan Wiggins, the executive director of Interior Designers of Canada.

1—Donna Assaly, president, IDC, and Canadian Interiors editor Michael Totzke flank honoree Susan Wiggins.

2—Janice LeBlanc, senior designer, director of design, DePM; Anne Gowan, VP sales and business development, dealer POI Business Interiors; Lisa McDonald, interior designer, Straticom; and Vinnie Krieger, A&D rep, Herman Miller.

3—Marna Snitman, owner of Alhambra Hardware and Wiggins’s first boss; Wiggins and her husband, Paul, who works in marketing at Procter and Gamble. (“I was the first person to hire Susan, 30 years ago, when she moved to Toronto from Orangeville,” Snitman recalls. “She was my admin assistant. She was brilliant, unbelievably diligent, like a sponge; she wanted to learn more and more. Now she’s surpassed me.”)

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Puttin’ on the Ritz-Carlton —By David Lasker

SWEENY STERLING FINLAYSON & CO. CHRISTMAS PARTY Sweeny Sterling Finlayson & Co. Architects threw its holiday party at the Panorama Lounge atop the Manulife Centre, which offers dramatic views of the Toronto skyline, including some of the firm’s own projects.

1—& Co.’s Lawrence Li, designer; Stacy Agabay, accounting; Trent Hunter, designer; and Alexi Guerra, urban planner.

2—The five & Co. partners: Mark Sterling, Mary Jane Finlayson, Dermot Sweeny, Caroline Richard and John Gillanders.

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DX GALA AFTER-PARTY Toronto’s Design Exchange’s hosts an annual Black and White fundraising gala, attracting an eclectic mix of design scene-sters to the after-party.

1—Taylor David, art director, Twentyonesquares, creative and branding industry; Cynthia Colby, president, ad agency Agency Promotions; Colleen Baldwin, principal, design strategy and business development, Straticom; and Ottilie Nienkämper, marketing, media relations, Nienkämper.

2—Alain Courchesne and Anna Abbruzzo, principal designers at Montreal’s Igloo Design.

3–Arts facilitator Kellie Marlowe; Linda Lewis, retired chair of Ryerson University’s School of Fashion and a DX founder; and Sara Diamond, president and vice-chancellor, OCAD University.

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2 62 CANADIAN INTERIORS January/February 2012

IDIBC AWARDS

UNION 31 LAUNCH

The Interior Designers Institute of British Columbia held its 28th annual Awards of Excellence at the Vancouver Convention Centre – with cocktails and cabaret-style jazz keeping things lively.

Toronto-based interior designer Alex Chapman, well known for his residences and display suites, seized the succession bull by the horns by bestowing partner status on several associates and renaming the firm Union 31.

(Photos by Daniela Ciuffa)

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1—Ping and Peter Louch of Masterworks Furniture, maker of custom and limited-run dining and occasional furniture; Union 31 financial partner Nancy Dyson and creative principal Alex Chapman; and residential and commercial interior designer Dorothy Ames, based in Elora, Ont. 2—Union 31 creative principals Neil Johnson and Kelly Cray bookend residential architect David Peterson; Shauna Levy, VP Interior Design Show; and Dr. Kenneth Montague, dentist.

1—Interior designers Julie Campbell and Susan Steeves, both of Seeton Shinkewski Design Group, flank Joan Kraayvanger, IDIBC Board of Directors.

2—The gang from Insight Design Group’s all here: associate Katrina Podmore, principal Kari Henshaw, Lisa MacIntosh, associate Allisa Karvonen and Kim Sedun.

3—Melody Sam, Odyssey Wallcoverings; Andrea Auchinleck, Portico Design Group, and IDIBC Member Events Chair; Maria Rudman, M.R. Evans Trading Co.; and Kate Holmes, IDIBC VP Communications.

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DX AWARDS The 20th annual Design Exchange Awards, presented on the DX’s handsome Trading Floor, recognized 50 Canadian projects in architecture, interior design, fashion, landscape architecture, urban design and visual communications, as well as CEO of the year.

1—Evening co-hosts Leslie Roberts, anchor, Global Ontario’s News Hour, and Marilyn Anthony, DX board member and director, philanthropic services, Peartree Financial Services.

2—Native Child and Family Services of Toronto’s Marion Keddie, director of finance and administration, and Kenn Richard, executive director client for the Silver Award–winning Centre for Native Family & Child Well Being (Interior Design Commercial); and their designer, Levitt Goodman Architects’ partner Dean Goodman and architects Danny Bartman, associate, and Cynthia Dovell, designer.

3—Architect Nicolas Ranger of Montreal’s Atelier TAG and Jodoin Lamarre Pratte Architects, and TAG partner Katsuhiro Yamazaki, whose Bibliothèque Raymond-Lévesque in Longueuil won Gold (Architecture Commercial); Juliet Bi, president of Web graphic design firm Empower Future Technology; and Paul Epp, OCAD University industrial design chairman.

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January/February 2012 CANADIAN INTERIORS 63

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JANuAry/FebruAry 2012 CANADIAN INTERIORS 65

Last Word

The drive to be green A new office at Honda’s Canadian headquarters, in Markham, Ont., is the car company’s latest LEED-certified building.

—By Rhys Phillips The car frequently serves as the negative poster child for climate change. Yet, when it comes to spewing greenhouse gases into the atmosphere, buildings top the culprit’s list, accounting for nearly 40 per cent in North America compared to only 28 per cent for all transportation. As a result, Honda, in tandem with its 2009 strategic goal of providing cars “with low C02 emissions,” is committed to occupying energy-efficient buildings. Its new LEED Gold–certified office building – located at the Honda Canada Campus, in Markham, Ont. – is the company’s 11th LEED-certified building on the continent but its first in Canada.

The four-storey office building is one of three campus structures designed in joint venture by HOK/ZAS Architects (the other two are devoted to engineering and parts distribution). Honda’s corporate culture, says HOK’s principal-in-charge Gordon Stratford, operates on inter-connectivity reaching across specialties. The three sleek volumes, therefore, are linked by a central Welcome Centre that also houses displays of Honda’s ecologically advanced automotive products as well as highlighting the campus’s sustainability. This includes such green attributes

as careful site orientation, window placement, a reflective white roof membrane and shading devices, all designed to maximize or minimize heat gain depending on the season. This produces a 33 per cent energy saving while green plumbing fixtures reduce water consumption by 44 per cent.

Like Honda’s cars, Stratford tells me, the client wanted an interior that was “well designed, comfortable, efficient and with everything in its right place.” Corporate practice demanded a totally open layout as even the CEO forgoes a closed office to ensure optimum communication and collaboration with staff – or “associates” as Honda prefers. And the comfort of these associates is carefully nurtured. No workstation, for example, is more than eight metres from natural light. Under-floor air distribution with MERV 13 filters to remove particulate such as pollen, fibres, dust, fumes, and Legionella bacteria ensures excellent air quality and just the right temperature to the all-important feet. For added measure, employees can control airflow and temperature with individual cubical air vents. This sense of control, says HOK interior designer Sharon Turner, is central to

66 CANADIAN INTERIORS JANUARY/FEBRUARY 2012

employee satisfaction. Generous amenity spaces add to a sense of attachment.

Aesthetically, Turner says, the frequent use of natural materials “adds warmth but without unnecessary embellishment to ensure durable, timeless design.” At the same time, going green means all paints, coatings, and sealants are low-VOC, with 87 per cent of wood-based materials FSC-certified.

Honda’s staff has proven

very curious about how the buildings work, Stratford concludes: “They like very much the idea and the reality of sustainability.” c I The four-storey, 138,000-squarefoot office building is one of three structures on Honda Canada’s 54-acre campus in Markham.

“The campus was designed with extra care to limit the ecological impact, keeping LEED certification top of mind,” says Gordon Stratford, director of design, HOK Canada.

“Employee health and comfort were particularly important.”

Photography by Tom Arban

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