Canadian Architect December 2020

DEC/20 V.65 N.09

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2020 CANADIAN ARCHITECT AWARDS OF EXCELLENCE

18 Z eidler Architecture

odern Office of 22 M Design + Architecture, Henry Tsang Architect

26 KPMB Architects, TreanorHL

30 Ja Architecture Studio

34 Saucier+Perrotte Architectes

38 Lemay + Angela Silver + SNC-Lavalin

42 5468796 Architecture

44 M ontgomery Sisam Architects

46 Lemay

48 P elletier de Fontenay + Leclerc architectes

PMB Architects 50 K

52 S arah Klym, University of British Columbia

54 J ason McMillan, University of Waterloo

56 J ohn Jinwoo Han, McGill University

58 Salina Kassam

CANADIAN ARCHITECT

DECEMBER 2020 03

4 VIEWPOINT

Guest editorial writer Trevor Boddy considers the post-pandemic future of the profession.

9 AWARDS OF EXCELLENCE

60 Lisa Stinner-Kun

62 James Brittain

64 F élix Michaud

Jury remarks, profiles of the recipients, and the winning projects of the 2020 Canadian Architect Awards of Excellence.

COVER 1:20 scale model of Wardell, a house addition in Toronto by Ja Architecture Studio.

V.65 N.09 THE NATIONAL REVIEW OF DESIGN AND PRACTICE / THE OFFICIAL MAGAZINE OF THE RAIC

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CANADIAN ARCHITECT 12/20

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VIEWPOINT

POST-PANDEMIC FUTURES As we look to the end of 2020, many architects are breathing a sigh of relief at having navigated, with more or less success, a harrowing year.

While office tower and luxury condo design are now on effective hold, other sectors such as suburban and ex-urban custom house commissions thrive as never before. Vancouver firms specializing in woodsy retreats on the Island and in the Interior are swamped with work.

But what is most dangerous to architects right now is a false sense of security—extrapolating into next year and beyond the limited impact the coronavirus has had to-date on their practices and billings. Less than a year since the crisis began, it is too soon for the pandemic to have had deep impact on the perception of space needs and investment confidence—key factors that lead to building commitments. Flywheels can protect, but they can also crush.

The virus’s first wave confounded many with its fairly soft impacts on the profession, initially limited to a slight slowdown in construction and inconvenience to staff and clients. The second wave—and in particular, the economic hangover it engenders even after the virus is conquered—will stagger many more with deep, hard and long-lasting changes.

Here are some scenario speculations: Government supports to businesses and individuals have been quite effective in tempering the economic impact of the first wave, but cannot be sustained indefinitely. The resulting Himalayas of debt will block increased public and private spending for a decade or more. Unlike the post-1945 boom, there is little prospect of strong economic growth to melt down this public debt. Our situation will be more like the 1950s in Britain than in California.

The sheer size of public debt will limit the traditional response to downturns: turning up the fiscal taps further to fund infrastructure or housing initiatives. Looking at the long list of pandemic-prompted investments from the Canadian government, it is striking how low a ratio of spending to-date is dedicated to infrastructure and housing. By definition, these are the biggest ticket items governments can contemplate, and the ones that most involve architects.

Economists are divided on whether the economic impact in the medium term (three to six years) of this unprecedented peacetime level of public debt will be inflation or deflation, but there is high confidence it will be one or the other. This is dismal news for architects, because either one is injurious to

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the confidence that allows businesses, institutions and individuals to sink huge capital costs into the construction of buildings.

We have been living in a bubble—a continuous building boom powered by low interest rates and ongoing demand for the natural resources that still power our economy. A need for ever-more new buildings and consumer goods will reduce with an aging population (even accounting for a complete rebuild of our heinous care homes), plus a global switch away from the oil and gas that still power Canada’s economy much more than most of us would admit. Inevitably, interest rates will rise, putting a semi-permanent lid on growth in construction and consumption. In terms of public investment and new construction, most of us would wish for a Danish future, but we are more likely to get an Italian one.

This list may come across as unduly pessimistic, but in my experience, all effective optimists begin as realists. The rainbow above these dark clouds is the prospect that this is the last, best chance for architects to make a case for how their skills can empower better lives. Both as individuals—and especially through their professional organizations—architects have done a dismal job of making a positive case of what we can do for society. Telling sad tales of laying off staff or reductions in billings will evoke little public sympathy: not when others are suffering more, and a million have died of Covid-19 so far. No-one can advocate for positive rebuilding better than architects: and the time to start is now, before the worst hits.

The single word that every architect needs to broadcast now is “public,” because it could be the foundation of rebuilding. Architects must own and advance the new narrative of the public—public buildings, public space, public housing—because it will resonate broadly while representing the best of what they can do.

There will come a time when our ensconced fellow citizens will emerge from the caves of their partial and complete lockdowns with a renewed curiosity in the whole idea of the public.

We need be standing ready outside the entrances of those caves, smiling in the sunshine, and holding out speculative scale models, manifestos, city plans and energy audits showing what the new world could be.

EDITOR ELSA LAM, FRAIC ART DIRECTOR ROY GAIOT CONTRIBUTING EDITORS ANNMARIE ADAMS, FRAIC ODILE HÉNAULT DOUGLAS MACLEOD, NCARB, FRAIC ONLINE EDITOR CHRISTIANE BEYA REGIONAL CORRESPONDENTS MONTREAL DAVID THEODORE CALGARY GRAHAM LIVESEY, FRAIC WINNIPEG LISA LANDRUM, MAA, AIA, FRAIC VANCOUVER ADELE WEDER, HON. MRAIC SUSTAINABILITY ADVISOR ANNE LISSETT, ARCHITECT AIBC, LEED BD+C VICE PRESIDENT & SENIOR PUBLISHER STEVE WILSON 416-441-2085 x105 ASSOCIATE PUBLISHER FARIA AHMED 416-441-2085 x106 CUSTOMER SERVICE / PRODUCTION LAURA MOFFATT 416-441-2085 x104 CIRCULATION CIRCULATION@CANADIANARCHITECT.COM PRESIDENT OF IQ BUSINESS MEDIA INC. ALEX PAPANOU HEAD OFFICE 101 DUNCAN MILL ROAD, SUITE 302 TORONTO, ON M3B 1Z3 TELEPHONE 416-441-2085 E-MAIL info@canadianarchitect.com WEBSITE www.canadianarchitect.com Canadian Architect is published 9 times per year by iQ Business Media Inc. The editors have made every reasonable effort to provide accurate and authoritative information, but they assume no liability for the accuracy or completeness of the text, or its fitness for any particular purpose.

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Guest editorial writer Trevor Boddy is part of a multi-disciplinary group undertaking a formal post-pandemic scenario planning process for Vancouver, addressing a two-to-five year timeframe.

Feedback is welcomed at trevor@trevorboddy.ca.

2020-11-18 4:55 PM

METAL COMPOSITE MATERIALS

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Trends to Watch in Fire Rated Glass Fire rated glass has come a long way since wire glass was introduced as the only fire rated glazing option over 100 years ago.

As architects, building owners and the general public demanded safer, better performing alternatives, fire rated glazing manufacturers provided innovative new products that met and exceeded expectations.

Certainly, the development of fire resistive glazing capable of meeting CAN/ULC S101 made the most impact, as it transformed the use of fire rated glass from small door lites and openings to wall-to-wall, floor-to-ceiling transparent walls up to 2 hours and full-vision temperature rise doors up to 90 minutes.

In addition, a significant development was recently introduced in the fire protective glazing market segment where architects would no longer have to settle for unsafe wire glass or tinted, expensive ceramics in 45-minute glazing applications required to meet CAN/ULC S104 or CAN/ULC S106.

SuperClear® 45-HS-LI (patent pending) by SAFTI FIRST® is a clear specialty fire protective glazing product tested to CAN/ULC S104 for doors and CAN/ULC S106 for openings with the required hose stream test. It also meets the more stringent CAN/CGSB 12.1 Class A rating for impact safety without the need for films or laminates. SuperClear® 45-HS-LI is made with low-iron glass with a visible light transmission of approximately 90% and costs a fraction of the price of filmed or laminated ceramic used in the same 45-minute application.

As we head into a new year, here are some of the trends to watch in fire rated glass.

Safety Gets an Upgrade Due to the overwhelming public safety concern from several injuries caused by accidental impact with wire glass, the Canadian General Standards Board (CGSB) released CAN/CGSB Safety Glazing Standard 12.1 in 2017. The new standard states that all glazing used in doors, sidelites and other locations where impact safety is required must meet a Class B rating (18 in. drop height/150 ft. lbs.) or the more stringent Class A rating (48 in. drop height/400 ft. lbs.).

Wire glass does not meet this new safety standard. Ceramics are no better than wired glass – it is very brittle and breaks like annealed glass when impacted. To meet CAN/CGSB 12.1, ceramics have to either be filmed or laminated, which adds to its already high cost.

Luckily, there is now a safe, economical and code compliant fire rated glass replacement without any dangerous wires or amber tints.

SuperClear® 45-HS-LI in GPX® Architectural Series Frames and GPX® Builders Series Door (pictured above) use low-iron glazing for superior optical clarity that even expensive, premium polished versions of ceramic cannot match.

Maximum Transparency Advanced fire resistive glazing that meets the stringent CAN/ULC S101 wall requirement aligns with the designer’s goal of simultaneously visually connecting and separating space. It contributes to this constant pursuit of transparent design by allowing

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09

CANADIAN ARCHITECT 12/20

AWARDS OF EXCELLENCE

PUBLIC PURPOSE Despite the disruptions of the pandemic, this year’s Canadian Architect Awards of Excellence had a strong showing. The annual competition for design- and construction-phase projects received 132 entries, and the third edition of our architectural photography awards received 32 entries.

Our jurors—architects Susan Fitzgerald, Michael Moxam and Stephan Chevalier, along with photographers Amanda Large and Younes Bounhar—also remained fully committed to the awards process. Before the pandemic began, Moxam offered to host the jury meeting in Stantec’s Toronto offices, and generously extended the offer even after the pandemic hit. Stantec’s staff were unstinting in their efforts to accommodate the jury with the appropriate precautionary measures. Part of the jury decided to meet in-person, well-distanced in Stantec’s largest meeting room. Other jurors opted to join the deliberations by video conference—a routine that is fast becoming part of business-as-usual.

As for the entries themselves? They show that Canadian architects are still amply producing innovative designs that are sensitive to their physical, social and environmental contexts.

The jury selected six projects to recognize with awards of excellence, and five to receive awards of merit. All of the selected projects have a strong connection to the public realm. This is the case even for the few private residential developments that were part of the selection. 90 Alexander, a mid-rise condo in Winnipeg designed by 5468796,

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snakes around an adaptively reused brick warehouse, creating a porous ground plane with room for laneways, courtyards and restaurants.

Wardell, a small residential addition in Toronto by Ja Architecture, crafts an intricate brick sculpture that’s a jewel for its inhabitants, as well as for the street.

On the other end of the ownership spectrum, several municipal projects are remarkable in elevating public infrastructure to new levels.

Place des Montréalaises, a new plaza connecting downtown Montreal with the Old City, leverages the change in grade between its two sides to dramatic effect, while honouring 21 women who were pivotal to the city’s development. It also shows how the City of Montreal’s commitment to public competitions has led to design excellence—in this case, the winning project by Lemay, Angela Silver and SNC Lavalin was selected following an open, international design competition.

A second project in Montreal, the Théatre de Verdure, took what might have been a relatively straightforward commission and gave it a fresh design lens. Instead of simply reconstructing the existing outdoor performance space, Lemay’s updated amphitheatre introduces a structure that opens at the back, integrating into the park’s landscape.

Water management infrastructure seems like a typology unlikely to merit design awards, but for the second year in a row, a water reservoir has been selected for an award. This year’s jury was captivated by a reservoir for the Tsuut’ina First Nation’s Taza Park development

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AWARDS OF EXCELLENCE

near Calgary, designed by Zeidler. A curvilinear enclosure serves as a security fence, but also supports solar panels and alludes to the structures of Indigenous teepees and natural beaver dams.

In this time of social distancing, many are longing for a return to fully opened museums, theatres and community centres. The pleasures of such places is fully realized in the designs for the expansion of Montreal’s Théâtre du Nouveau Monde, and for the Calgary Japanese Community Centre. The Montreal theatre addition, designed by Saucier+Perrotte, reinvigorates the public-facing functions of the institution with an expanded main hall, new secondary performance space, and new balcony-level foyer—all while only slightly enlarging the existing footprint. In Calgary, Modern Office of Design + Architecture and Henry Tsang’s Japanese Community Centre is a poetic structure sheltered by a Möbius-like roof. Its embracing volume ref lects an inclusive program, which adds a daycare and affordable seniors’ housing to the regular community centre functions.

Four awarded projects focus on research and education. Two projects by KPMB —Boston University’s Center for Computing & Data Sciences, and the CAMH Research Centre (designed with TreanorHL)—explore how larger buildings can integrate with their urban surroundings and embrace a sustainability mandate. The Boston University project will be the university’s first all-electric building; it limits its energy consumption in part through solar louvers that are a primary component of the tower’s architectural expression.

The CAMH Research Centre uses a hybrid mass timber structure to limit its carbon footprint, and aims to be Canada’s largest public building that employs such a system.

Designed by Montgomery Sisam, a building for the University of Toronto’s Koffler Scientific Reserve provides accommodations for stu-

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dents and researchers residing at the facility, north of the city. In keeping with the environmental focus of the venue, the building takes a scientific approach to sustainability, prioritizing passive cooling and ventilation techniques, and targeting net-zero-energy and net-zero-carbon sustainability goals.

A final award goes to a school in Shefford, Quebec, by Pelletier de Fontenay with Leclerc. Designed under the umbrella of the province’s Lab-École initiative, the school clusters classrooms into pavilions surrounding a central courtyard, creating a variety of opportunities for students to collaborate together and interact with the natural world.

Each year, we ask each of Canada’s dozen architecture schools to nominate their three best graduating student projects for consideration. This year, our jurors selected a trio of projects to recognize.

Sarah Klym, of the University of British Columbia, uses detailed architectural renderings to imagine a future where machines shape agricultural landscapes using a fine-grained approach attuned to local soil conditions and microclimates. University of Waterloo graduate Jason McMillan studied the use patterns of housing in Arviat, Nunavut to propose design strategies that would better respond to the region’s warming climate and ongoing housing shortage. John Jinwoo Han looked to his local neighbourhood of Milton Park, near McGill University, proposing a dance school addition that almost undetectably fits in to the existing urban fabric.

For our architectural photography awards, the jury singled out Salina Kassam’s intricate and intriguing image of the Massey Hall restoration site to be recognized with an Award of Excellence. Three additional Photo Awards of Merit completed their selection: an image of a construction site in Winnipeg by Lisa Stinner-Kun, a residence shot in winter by James Brittain, and a moody photo of the Pavilion Pierre-Lassonde in Quebec City’s Musée nationale des beaux-arts,

by Félix Michaud. Each of these photos elicits a particular atmos-

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PREVIOUS PAGE The Calgary Japanese Community Centre, by Modern Office of Design + Architecture with Henry Tsang Architect, won an Award of Excellence. OPPOSITE Graham Oglend’s thesis proposes an allaluminum house. ABOVE BESIDE is a series of modular cabins by Appareil Architecture. RIGHT, TOP Designed by Jodoin Lamarre Pratte and Lemay, the P4 parkade engages with movement and mobility. RIGHT, BOTTOM MJMA’s Henley Rowing Centre includes a mass timber roof.

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sity of Toronto graduate Graham Oglend explores the notion of creating a house entirely from aluminum. The result of the somewhat absurdist exercise is a dwelling with dynamic f loor and walls in constant motion—along with a rich, complex understanding of the properties of aluminum.

Our congratulations go out to all of the winners, as well as to all of those who entered Canadian Architect’s Awards of Excellence this year.

phere. Like the best architectural designs recognized in this year’s awards, the photos go beyond simple documentation to create a sense of place and of story.

While not recognized by the awards, the jurors were intrigued by a number of other submissions.

Two submissions caught the jury’s attention for their handling of mass timber. 2150 Keith Drive in Vancouver, by DIALOG, frees up its interior floorplates by deploying a mass timber seismic bracing system at the periphery of the building, marked on its exterior with a honeycomb exoskeleton. A set of new buildings for the Canadian Nuclear Laboratories campus, by HDR , tackles one of the biggest challenges of mass timber—the integration of building systems. In the HDR design, channels integrated within the column and beam design allow for the concealment of cables, while a split-column assembly provides for prefabricated components that can be precisely connected to beams.

Strategic thinking drove the success of another notable project—the BESIDE set of modular cabins, designed by Montreal-based Appareil Architecture. The jury was impressed by the evolution of a set of cabin typologies, as well as by the dedication of the client, who intends to preserve 900 acres of private parkland surrounding a hub of 75 cabins.

The materiality and detailing of other entries was also of interest to the jurors. They were drawn to P4, a parkade design by Jodoin Lamarre Pratte and Lemay, whose metal scrim transforms in appearance from the perspective of cars, buses, and pedestrians moving around the structure. The Henley Rowing Centre in St. Catharines, Ontario, for its part, was notable for how it deftly combined light steel columns, glass walls, and a mass timber roof. Designed by MJMA , the pavilion-like training facility appears to almost f loat above its waterfront site.

Materiality was also at the forefront of a student project that won the jury’s appreciation. Titled Existenzminium, the project by Univer-

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WINNERS

Nima Javidi, Behnaz Assadi, Kyle O’Brien, Kaveh Taherizadeh, Rosa Newman

LEFT TO RIGHT

Ja Architecture Studio is a Toronto-based practice that combines the rootedness of a local architecture firm with the broad interests of an international design studio. The trajectory of the practice is based on simultaneously working at the opposing ends of the professional spectrum: from small residential projects that confront domestic sentiments and detail-level building constraints, to ambitious international competitions that must draw upon the collective repertoire of the discipline. Taken as a whole, the studio’s work invests in larger questions of how iconographic, geometric, formal and tectonic pursuits relate to broader contexts such as politics, construction, landscape and urbanism.

The studio was founded by architect Nima Javidi and landscape designer Behnaz Assadi, and is supported by a passionate team of skilled architects, designers, and students. Together, they have achieved a portfolio of built works, research projects, and award-winning competition entries.

FIRST ROW Gilles Saucier, André Perrotte, Dominique Dumais, Christophe Lafleur-Chartier SECOND ROW Greg Neudorf, Josh Koenekoop, Patrice Bégin, Marie Ève Primeau

Saucier+Perrotte Architectes was founded in 1988 by Gilles Saucier and André Perrotte, and is a multidisciplinary practice internationally renowned for its institutional, cultural, and residential projects.

The firm represented Canada at the Venice Architecture Biennale in 2004, and has been honoured with numerous awards, including 10 Governor General’s Medals in Architecture, three P/A Progressive Architecture honours, and two International Architecture Awards (presented by the Chicago Athenaeum and the European Centre for Architecture, Art, Design and Urban Studies). The firm’s buildings have been widely published internationally. The office continues to add to its significant body of built work in Canada, and to expand its international portfolio of work. Saucier+Perrotte received the RAIC ’s Architectural Firm award in 2009, and André Perrotte and Gilles Saucier received the RAIC Gold Medal in 2018.

LEFT TO RIGHT Ben Klumper (MRAIC) , Dustin Couzens, Nicholas Tam (MRAIC) , Henry Tsang (MRAIC) , David Vera (MRAIC) , Anthony Schmidt, Kayla Blomquist, John Ferguson

Modern Office of Design + Architecture, co-founded in 2013 by Dustin Couzens and Ben Klumper, considers the design process as an untamable beast that resides well beyond the periphery of the familiar; f lourishing in its dark shapelessness, its f leeting viscerality, and its sovereignty from any one proprietor. By intentionally not providing a shiny manifesto, we’re not being anarchistic for anarchy’s sake, but rather being honest in our resignation towards transcribing that which doesn’t want to be transcribed into sterile rhetoric.

It’s the act of taming the untamable that not only brought all of us to this profession, but has also resulted in the formulation of incredible collaborations with like-minded individuals. Some of these collaborations have been recognized nationally and internationally. Our process is messy, abstract and non-linear. However, if at the end we get that tingling sensation at the base of our spines, we know that we

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came as close as possible to honoring that initial creative spark. This is what drives us and brings us to work every day.

Dr. Henry Tsang is an architect and assistant professor at Athabasca University’s RAIC Centre for Architecture. His research investigates the social, cultural and environmental impacts of Canadian and Asian buildings and cities. He studied at McGill, and holds a Ph.D. from the University of Tokyo in Japan, receiving the Monbukagakusho Scholarship. Tsang is a former senior architect at Nihon Sekkei and has also worked for Nikken Sekkei, AXS Satow, Mitsuru Senda/ EDI and LEMAYMICHAUD. He has held a professorship at Keimyung University in South Korea and directed the sustainable architecture program at Herzing College. At Athabasca University, he teaches virtual design studios as well as courses in architectural theory and practice.

2020-11-18 4:55 PM

LEFT TO RIGHT

Bill Mitchell, James Brown, Donny Wolcott, Kurtis Nishiyama

Zeidler is a leading Canadian architectural practice with a diverse portfolio of buildings that foster social engagement, facilitate excellence and deliver enduring value. We are passionate in the pursuit of innovative solutions for both our clients and the communities in which they serve.

The process of developing sensitive and practical solutions motivates us as we translate ideas into reality. As a team, we collaborate to create spaces that contribute to communities, and that encourage personal connection by welcoming all people. We champion the importance of urban design as the foundation of all of our projects, and believe that placemaking is the core of great architecture. We pursue design excellence in everything we do. Great design results from our deep understanding of the dynamics of an environment as it speaks to the specific culture of a place. We aim to enhance this relationship and to make it tangible in built form.

TOP ROW Patrick Jones, Tim Reynolds, Micah Davis SECOND ROW Jeff Davis, Brittany Reynolds, Kelli Blacklock BOTTOM ROW Saskia Kimball MISSING Lisa Lamb

TreanorHL is a U.S. architecture and planning firm with eight locations from Atlanta to San Francisco, and international project experience from Canada to Qatar. The firm’s Science & Technology team, which worked on the CAMH Research Centre, focuses on the planning, programming and design of multidisciplinary instructional and research spaces, laboratories, and animal and core facilities.

Our work is about people, commitment and advancement. Combining architecture, engineering and in-house laboratory planning with innovative and collaborative thinking, the spaces we help create keep pace with changing technologies and requirements in research and education. An understanding of each client’s unique programs and needs provides the best inspiration for creating spaces that maximize efficiency, collaboration, comfort, engagement and idea incubation—places where students learn to change the world, scientists make discoveries, and engineers advance technology.

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CAMH Research Centre team

TOP ROW Carolyn Lee, Judith Taylor (MRAIC) , Colin Geary MIDDLE ROW Glenn MacMullin, Sahana Dharmaraj, Giulio Bruno, Mitchell Hall (FRAIC) BOTTOM ROW Bruce Kuwabara (FRAIC), Christina Facey, Kael Opie, Ivan Efremov MISSING Amanda Sebris, Andrew Barat, Bahman Safiee, Camilo Avendano, Chris Baziw, Erik Skouris, Gerald DesRochers, Goran Milosevic (MRAIC), Hamza Adenali, Jackie Chapel, Jessie Tian, Katie Munroe, Kevin Mockford, Klaudia Lengyel, Kyle Nhan, Lukas Bergmark, Lyndsay Hall, Meaghan Hall, Myles Burry, Nina Djurkovic, Peter Ehvert, Robert Faber

Boston University team TOP ROW Luigi LaRocca (FRAIC), Lucy Timbers, Tyler Loewen, Olena Chorn SECOND ROW Paulo Rocha, Amin Monsefi, Kevin Bridg­ man, Giulio Bruno THIRD ROW Melissa Ng, Bruce Kuwabara (FRAIC), Armine Tadevosyan, Nicholas Wong BOTTOM ROW Victor Garzon, Sam Hart, Tyler Hall, David Smythe, Kael Opie MISSING Marianne McKenna (FRAIC), Matt Krivos­ udsky, Allison Jang, Audley Cummings, Caleb McGinn, Carolyn Lee, Erik Skouris, Fotini Pitoglou, Gloria Zhou, Jesse Bird, Joseph Kahn, Joy Charbon­ neau, Katrina Munroe, Klaudia Lengyel, Olivia Di Felice, Ramin Yamin

KPMB Architects is a leading, internationally recognized contemporary Canadian practice. The firm has received over 300 awards including 16 Governor General’s Medals and 12 Canadian Architect Awards of Excellence. Founded in 1987 as Kuwabara Payne McKenna Blumberg Architects, the firm was renamed KPMB Architects in 2014 to ref lect the evolution of its leadership, and a culture of collaboration and co-creation. Today, KPMB is recognized for its highly talented and diverse team of people who bring unique perspectives and experience to solving complex problems through the built environment. Future projects such as Boston University’s Centre for Computing and Data Sciences and the Centre for Addiction and Mental Health’s Research Centre ref lect KPMB’s commitment to placing architecture in the service of shaping a future for Canada—and the world—that is civil, healthy and regenerative.

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WINNERS

5468796 Architecture is a Winnipeg-based architecture studio established in 2007.

ALPHABETICALLY Emeil Alvarez, Pablo Batista (MRAIC), Brandon Bergem, Ken Borton (MRAIC), Jordy Craddock, Donna Evans, Ben Greenwood, Johanna Hurme (FRAIC), Jeff Kachkan, Stas Klaz, Lindsey Koepke, Kelsey McMahon (MRAIC), Colin Neufeld, Sasa Radulovic (FRAIC), Amanda Reis, Helia Saadat, Hasan Shurrab, Matthew Trendota (MRAIC), Shannon Wiebe, Jenn Yablonowski

Place des Montréalaises team TOP ROW Angela Silver, Andrew King (FRAIC), Patricia Lussier, Jeffrey Ma, Jean-Philippe Di Marco, Mariya Atanasova MIDDLE ROW Virginie Roy-Mazoyer, Alexis Légaré, Jasper Silver-King, Lucie St-Pierre, Éric St-Pierre, Benoît Gaudet BOTTOM ROW François Ménard, René Perreault, Jean Deslauriers, Arnaud Villard, Julie Pettigrew, François Dubois, Michael Langlois

Théâtre de Verdure team TOP ROW Eric Pelletier, Maria Benech, Marie-Ève Parent, Arnaud Villard SECOND ROW Alejandro Mendoza Vazquez, Sophie Lacoste, Andrée Castegnier, Maryse Ballard THIRD ROW François Ménard, Eric St-Pierre, Yanick Casault, Jean Deslauriers BOTTOM ROW Isabelle Brosseau, Xavier Bellefeuille, Daniel Smith MISSING Laura Borey, Alice Maria Calvalcante Lima, Valérie Gravel, Marie-Claude Leblond

Lemay was founded in Montreal in 1957 as an architectural practice, and is now a leading provider of integrated design services for the built environment. Our team of architects, designers and other professionals brings client aspirations to life through sensitively designed environments and genuine human connection. Naturally curious and resourceful, our team activates and defines spaces through design innovation, while our unique Net Positive approach ensures our projects create sustainable value for users and communities. With a rich diversity of experiences and expertise, we believe in embracing constraints and uncovering opportunities to create better living environments.

At the heart of our commitment, LemayLab is our research and innovation framework. Driven by design leaders Andrew King and Eric Pelletier, it uses applied design research and creativity to solve urban and environmental challenges. The result is meaningful, critically resonant work that has won Lemay over 400 awards and mentions.

studies at Queen’s University. Her research traces the itinerant ways language inhabits the body, and reactivates and repurposes writing systems to reorder the artifacts and paraphernalia associated with these machines. She also works critically on the interface between urbanity and infrastructure, inserting poetics into urban infrastructure with work in Montreal, Calgary, and Brooklyn, New York.

Angela Silver is an interdisciplinary artist and scholar who collaborates with Andrew King as well as having an independent art practice.

She is a lecturer at the Peter Guo-hua Fu School of Architecture at McGill University, and is currently completing a Ph.D. in cultural

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SNC-Lavalin, founded in 1911, is a global company providing fully integrated professional services. It is a leading player in infrastructure ownership. Designing for the future is about more than predicting what it looks like. It’s about having the know-how and the expertise to turn predictions into projects that deliver results and meet ever-changing needs. That’s what we do every day: for our clients, for their customers and for the sustainable future of our business and the world we operate in. With offices around the world, we connect people, technology and data to shape the future of our industry and the world around us.

It’s how we generate the knowledge, the ingenuity and the drive to meet so many of today’s most pressing challenges—from population growth and increasing transportation needs, to the climate crisis. At SNCLavalin, we’re not just embracing change—we’re driving it.

2020-11-18 4:55 PM

LEFT TO RIGHT

Melchiori

TOP ROW Hubert Pelletier, Yves De Fontenay, Yann Gay-Crosier BOTTOM ROW Etienne Coutu Sarrazin, Guillaume Larouche, Alexandre Hamlyn

Pelletier de Fontenay is an architectural practice established in 2010 and based in Montreal. The office has quickly gained a reputation for excellence in designing contemporary public projects.

The studio is specifically interested in the relationship between the abstract concepts of architecture and their material incarnations. Born out of a fascination for both geometry and construction, this approach is backed with an involvement in academic and office-based research.

In recent years, Pelletier de Fontenay has placed first in international competitions for the New School LOSBATES near Prague, and the redesign of the Montreal Insectarium (in partnership with Berlin firm Kuehn Malvezzi and Jodoin Lamarre Pratte architectes).

TOP ROW

Thomas Gauvin Brodeur, Claudia Gravel, Hugues Patry Valeria Lima, Maxime Hurtubise

BOTTOM ROW

Leclerc architectes has been working in education since 1957. We see each new project as an opportunity to design a unique, stimulating and adapted living environment that will meet the needs of students, promote educational success, and facilitate the work of teachers. The firm has completed over 3,000 educational projects to-date, including 1,500 school expansions and major renovations, and 70 new schools and vocational training centres. Our firm is recognized by the Ministère de l’Éducation et de l’Enseignement Supérieur as one of the leaders in the field of education. Leclerc architectes is a member of the CaGBC, and several of the team’s architects are LEED-accredited.

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Robert Davies (FRAIC), Karine Quigley, Esther Cheng, Camelia

Montgomery Sisam designs buildings with the past, present, and future in mind. We respect the contexts we occupy, we advocate for our clients, and we deliver lasting architecture.

We are a group of architects, designers and technicians with diverse backgrounds and a shared social consciousness. Our process is grounded in a sense of responsibility to the public, driven by dialogue and research, and focused on social, economic and environmental sustainability. Since 1978, we have been creating spaces for living, learning and healing, delivering a wide variety of projects. While our work spans multiple sectors and scales, our objective is consistent: to provide architecture that people connect with.

We believe that outstanding architecture begins with curiosity, and through a personalized and rigorous approach, we strive to generate work with a local presence and a global impact.

Sarah Klym holds a Master of Architecture from the University of British Columbia’s School of Architecture and Landscape Architecture, where she achieved an Honour Roll designation from the Royal Architectural Institute of Canada. She also holds a Bachelor of Arts in Urban Studies with a Minor in Architectural Studies from the University of Calgary.

Her M.Arch graduate thesis won the Vaughn Berg Memorial Prize, embracing the plurality of architectural thinking to reimagine the ecological futures of productive landscapes.

Jason McMillan is an intern architect and researcher based in Yellowknife, Northwest Territories, on the traditional homeland of the Yellowknives Dene and traditional lands of the North Slave Métis. He completed both his Bachelor of Architectural Studies and M.Arch at the University of Waterloo School of Architecture. Jason has worked in design offices in Calgary, Toronto and Paris, and is currently with Taylor Architecture Group in Yellowknife. He has been a sessional lecturer and is a research assistant at the University of Waterloo School of Architecture. Jason’s present research is focused on how local building cultures of communities in the Canadian North shape relationships to the land, development and a rapidly warming climate.

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WINNERS John Jinwoo Han completed his Master in Architecture at McGill University under the supervision of professor Martin Bressani. His year-long research-creation project was funded by the Canadian Graduate ScholarshipMaster’s Program (CGSM – SSHRC) and won the Ray Aff leck Prize in design. He is currently working in Seoul, South Korea, and has previously worked with architecture firms in Toronto and London, UK .

Salina Kassam’s photographs are objective accounts of a subject—often a building in transition—and its conditions at a particular moment. Her practice offers glimpses of a single point in time: a day earlier or a day later, and the moment is missed. Mostly organic and unplanned, they are taken in available lighting conditions and the scene they capture is finite, and then lost. Kassam weaves visual stories that illustrate the liminal space between the “before” and the “after”: narratives that unfold to show the beauty within, the challenges overcome, the painstaking labour and the hidden details that will bring a building to its glory—one layer at a time.

Wind • Snow • Exhaust • Odour • Noise • Particulate • Ministry Approvals • CFD Analysis •

519.787. 2910 spollock@theakston.com www.theakston.com

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Lisa Stinner-Kun is a Winnipeg-

based artist whose work is concerned with the photographic reconstruction of the human-built environment. Since graduating from the School of the Art Institute of Chicago with an MFA in Photography, Stinner-Kun has shown her work in exhibitions locally, nationally and internationally. She has received numerous grants and scholarships for her photographic work, including from the Canada Council for the Arts. Stinner-Kun also works commercially as an architectural photographer.

James Brittain is an international photographer working from studios in Montreal and London, UK .

He studied history of art at the University of Leeds in the UK , before going on to study photography at the London College of Printing.

Brittain has 18 years of commissioned experience in the field of architecture and his pictures are widely published in books and magazines around the world.

He uses his commissioned work to support his own photographic practice, exploring ideas around human experience of the built environment.

Brittain has been the principal photographer on a number of recent books about architecture, including a coffee table monograph about the work of MacKay-Lyons Sweetapple Architects (Thames and Hudson), and new volumes on the art and architecture of the UK’s Kensington Palace (Yale University Press) and English Arts & Crafts architect Ernest Gimson (Yale Books). His work has been exhibited at the Architectural Association Gallery in London, UK, and at the Contact Photography Festival in Toronto.

Félix Michaud specializes in architectural and interior design photography that exhibits a sensitivity to space. Through his practice, he seeks to build on architectural concepts by offering an intimate interpretation of the places he photographs. His work alternates between commissioned work and personal projects, and his images are regularly published. Most recently, the series Experience of Space—Valerio Olgiati was a finalist in the 2020 A+ Awards. His work also exhibits an interest in black and white photography and mediumformat film. Michaud has been active in photography since 2005 and is a graduate of Cégep de Matane.

2020-11-18 4:55 PM

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AWARD OF EXCELLENCE

TAZA WATER RESERVOIR AT TAZA PARK PHASE 1 Tsuut’ina Nation, Alberta Zeidler Architecture “The starting point for this powerful project is the amazing idea that a water reservoir could symbolize the union between Tsuut’ina culture, the land, and the water. It reinterprets the idea of the security fence as a solar fence—an element of cultural expression inspired by the beaver dam—creating a gateway to Taza Park. The fence feels like it organically grows out of the ground and then wraps around to create a protective cocoon.”­– Michael Moxam, juror

The Tsuut’ina Nation and the city of Calgary have been neighbours for over a century. Throughout this time, Calgary has grown to the point where it now surrounds the Nation’s eastern boundary. This growth has increasingly strained the Bow and Elbow Rivers’ ability to provide for agriculture, industry, and the everyday household needs of Tsuut’ina citizens. The Taza water reservoir and pumphouse replaces aged infrastructure and provides a consistent source of potable water for the community as it builds out the 500-acre Taza Park—the first of three villages that make up one of North America’s largest First Nation development projects.

Instead of the more conventional chain-link fence, the security fence around the buried reservoir takes form as a wooden structure whose posts are a mix of cedar poles from western Canada and repurposed poles from the Tsuut’ina Nation. This curvilinear fence safeguards the reservoir, provides structural support for solar panels, and transforms the project into a bold gateway marker to Taza Park. The space also offers the unique opportunity for a permanent art installation from the Tsuut’ina Nation.

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2020-12-01 12:41 PM

A curvilinear fence provides a secure enclosure for the water reservoir, while referring to beaver dams and Indigenous teepee structures. The fence’s southern exposure supports a solar panel array.

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A pumphouse sits within the enclosure, and its water distribution system is visible to the public behind a glazed wall on the building’s north façade. A visual feedback component also helps educate visitors about water conservation at Taza Park.

The design targets net zero building emissions, in keeping with a sustainability goal for all of the Tsuut’ina Nation’s public buildings.

Solar panels, mounted on the site’s unshaded southern exposure, supply the majority of the pumphouse building’s electrical requirements. The pumphouse itself is constructed from glulam beams and columns, with tongue-and-groove roof decking.

Responding to the importance of water for the Tsuut’ina—who are known as the “Beaver People”—the arrangement of the wooden solar fence alludes to the shape of a beaver dam. The conical shape of the arrayed wooden fence posts mimics the shape of a teepee. The integration of the solar fence within the landscape speaks to the Tsuut’ina under-

1 VESTIBULE 2 WASHROOM 3 OFFICE 4 ELECTRICAL ROOM 5 PUMP ROOM 6 VIEW INTO PUMP ROOM

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standing of the interconnectivity between all living beings and the land.

“The land, water, air, animals and plant-life must be protected, restored, and enhanced throughout all the built environments on this territory,” says the Tsuut’ina leadership. “These lifeways have always been at the heart of the Tsuut’ina Nation—respecting all land and all living beings.”

CLIENT TAZA DEVELOPMENT CORP | DESIGN ARCHITECT TEAM BILL MITCHELL, JAMES BROWN, DONNY WOLCOTT, KURTIS NISHIYAMA | STRUCTURAL/MECHANICAL/ELECTRICAL/ARCHITECTURE WSP | SITE LIGHTING AES | LANDSCAPE DESIGN WORKSHOP (TAZA PARK); PLANT LANDSCAPE | ACCESSIBILITY LEVEL PLAYING FIELD | SOLAR FENCE FABRICATION HEAVY INDUSTRIES | AREA PUMPHOUSE BUILDING—307 M2; RESERVOIR & CLEARWELL—1,730 M2 | BUDGET $18 M (RESERVOIR) | CURRENT STAGE TENDERED | ANTICIPATED COMPLETION OCTOBER 2022 ENERGY USE INTENSITY (PROJECTED) 127 KWH/M2/YEAR EXCLUDING PUMP PROCESS LOADS; 240

KWH/M2/YEAR INCLUDING PUMP PROCESS LOADS | WATER USE INTENSITY (PROJECTED) 0.092 M3/ M2/YEAR

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HYDRTHR20-9x11 Cdn Architecture Full Page Ad RV1 ENGFNL.indd 1 CA Dec 20.indd 21

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AWARD OF EXCELLENCE CANADIAN ARCHITECT 12/20

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CALGARY JAPANESE COMMUNITY CENTRE Killarney, Calgary, Alberta Modern Office of Design + Architecture in collaboration with Henry Tsang Architect

“This is a quiet project that creates a wonderful space in the centre.

It does a lot of things very beautifully and almost effortlessly, with its approach to structure, light, and fitting into its urban context. Some of the spaces are really fantastic, like the main hall opening up into the garden, even if there are other moments in the plan that are a little awkward based on the circular plan.” – Susan Fitzgerald, juror

The Calgary Japanese Community Association currently resides in two adjacent buildings: an aging four-plex from the 1970s, and a mid-century community centre that has undergone many ad hoc renovations.

To optimize the use of its property and reverse its declining membership, the Association’s board set out to create a new contemporary cultural centre and community hub for Japanese immigrants in Calgary.

Through their research, the architects learned about the notion of kakehashi, which translates literally as “bridge” or “bridge-building.”

They harnessed this concept to develop a widely inclusive program that

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The community centre’s sculptural form refers to the Japanese concept of ma, or balancing solid and void. ABOVE LEFT The main hall opens on to a traditional garden in the central courtyard.

ABOVE RIGHT A Möbius-strip-like roof responds to the sun’s path, and yields a dynamic variety of interior spaces.

PREVIOUS SPREAD

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goes beyond regular cultural, social, and educational functions to also include a daycare and eight affordable senior’s housing units.

The building’s irregular form and asymmetry invoke the Japanese concepts of wabi-sabi, or appreciating imperfection, and ma, the balancing of solid and void. A discontinuous oval volume holds the diverse programs and surrounds a void space. During the schematic design process, the void developed into a contemporary interpretation of engawa— the traditional threshold between structure and garden. This threshold provides an auxiliary space and access point for the various programs.

It also frames a traditional Japanese garden that is carefully relocated from the existing complex into the new courtyard.

The massing incorporates passive solar and sustainable design principles. The traveling ridgeline of the structure’s Möbius-strip-like roof responds to Calgary’s sun path, funnelling natural light into the courtyard and interior. Generous overhangs control glare and heat gain.

Stormwater collected from the roof surface is used for the building’s gray water needs and for garden irrigation.

The entire building will be clad with cedar shingles treated with the Japanese technique of shou-sugi-ban, a charring process that creates natural resistance to weather, fire, rot and insects, avoiding the need for toxic finishes. The project’s overall sustainability is enhanced by the use of local wood and mass timber.

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CLIENT CALGARY JAPANESE COMMUNITY ASSOCIATION | ARCHITECT TEAM DUSTIN COUZENS, BEN

KLUMPER (MRAIC), HENRY TSANG (MRAIC), NICHOLAS TAM (MRAIC), DAVID VERA (MRAIC), JOHN FERGUSON, ANTHONY SCHMIDT, KAYLA BLOMQUIST | STRUCTURAL ISL ENGINEERING | SUSTAINABILITY FOOTPRINT | CONSTRUCTION MANAGER CREATE CONSTRUCTION | AREA 1,200 M2 | BUDGET $5.8 M | CURRENT STAGE DESIGN DEVELOPMENT | ANTICIPATED COMPLETION SPRING 2023 ENERGY USE INTENSITY (PROJECTED) 150-200 KWH/M2/YEAR WATER USE INTENSITY (PROJECTED) 4 M3/P/YEAR

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AWARD OF EXCELLENCE

CAMH RESEARCH CENTRE Toronto, Ontario KPMB Architects, TreanorHL

“This is a big building that seems comfortable, with qualities of delicacy and softness. It brings something quiet, even if it’s busy from a programmatic point of view. It’s well-detailed in its sustainability aspects. The façade moves in and out, allowing the park to terrace through the building. It is also the most successful integration of mass timber that we saw among the entries. It’s the whole package, in a large, significant project.”

– Stephan Chevalier, juror

From the mid-19th century until 1976, what was originally known as the Provincial Lunatic Asylum occupied this site. The Queen Street campus of what is now the Centre for Addiction and Mental Health (CAMH) has undergone profound changes since then, and the design of its new Research Centre evokes a much older and very different meaning of the word “asylum”: an oasis for compassion, care, dignity and respect.

A reminder from the site’s past contrasts starkly with the transparent, curvilinear new building that signifies its future. Fragments of the brick perimeter wall constructed by residents of the 1850s asylum have been retained; these Heritage Wall remnants are re-imagined as a frame for—and threshold to—an inclusive and inviting hub of activity supporting mental health.

In section, there are four main parts: a subterranean research zone (Research Roots); the glass-enclosed Pavilion in the Park volume that consolidates communal, clinical and amenity spaces into the first two floors; the four-storey Research Sanctuary; and the rooftop Beacon, a flexible event space. In plan, the floor plate is organized into north and south volumes flanking convergence space for researchers, clients and visitors. A butterfly stair in the central atrium connects the four levels of the Research Sanctuary.

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The research centre will be Canada’s largest hybrid mass timber public building, and will showcase how the structural technology can be used in a curvilinear building. ABOVE LEFT The building’s communal, clinical and amenity spaces are consolidated on its ground and second floors.

ABOVE RIGHT The east greenspace includes mixed-use spaces separated by undulating mounds, seating ribbons and a curving water feature.

PREVIOUS SPREAD

The Centre is expected to meet LEED V4 Platinum and Tier 3 Toronto Green City Standards. In addition to providing a much smaller carbon footprint than could be achieved with conventional building systems, its hybrid mass timber structure exudes warmth and wellness.

The building is constructed using a wood-and-concrete composite floor system called BubbleLAM, and will be Canada’s largest hybrid mass timber public building.

Adelaide Street West, the site’s southern boundary, is transformed into a linear green park, connecting the campus to neighbourhoods to the west and east, as well as to the planned King-Liberty Smart Track transit station. The Collaboration Garden along the east edge of the building extends workspace and meeting space into the outdoors, with seating areas nestled into undulating mounds. Along with these mounds, a water feature in the garden provides an organic, meandering counterpoint to the Heritage Wall’s undeviating rectilinearity.

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CLIENT CENTRE FOR ADDICTION AND MENTAL HEALTH | ARCHITECT TEAM KPMB—BRUCE KUWABARA

(FRAIC, DESIGN LEAD), MITCHELL HALL (FRAIC, TEAM LEAD), JUDITH TAYLOR (MRAIC, PROJECT MANAGER), KAEL OPIE (PROJECT ARCHITECT), GLENN MACMULLIN (PROJECT ARCHITECT), AMANDA SEBRIS, ANDREW BARAT, BAHMAN SAFIEE, CAMILO AVENDANO, CAROLYN LEE, CHRIS BAZIW, CHRISTINA FACEY, COLIN GEARY, ERIK SKOURIS, GERALD DESROCHERS, GIULIO BRUNO, GORAN MILOSEVIC (MRAIC), HAMZA ADENALI, IVAN EFREMOV, JACKIE CHAPEL, JESSIE TIAN, KATIE MUNROE, KEVIN MOCKFORD, KLAUDIA LENGYEL, KYLE NHAN, LUKAS BERGMARK, LYNDSAY HALL, MEAGHAN HALL, MYLES BURRY, NINA DJURKOVIC, PETER EHVERT, ROBERT FABER, SAHANA DHARMARAJ. TREANORHL—TIM REYNOLDS, PATRICK JONES, JEFF DAVIS, MICAH DAVIS, KELLI BLACKLOCK, LISA LAMB, BRITTANY REYNOLDS, SASKIA KIMBALL | MEP AEI | STRUCTURAL BLACKWELL | ENERGY/SUSTAINABILITY TRANSSOLAR | LANDSCAPE PFS STUDIO | ENVELOPE RDH | CIVIL WSP | HERITAGE ERA | CODE/ACCESSIBILITY LRI | ELEVATOR SOBERMAN | LOADING BA CONSULTING | SPECIFICATIONS BRIAN BALLANTYNE | FOOD KAIZEN | ARBORIST BRUCE TREES | SPA URBAN STRATEGIES | FF&E EPA/COLLIERS | LEED RWDI | A/V SEXTANT GROUP | RENDERINGS NORM LI | LIGHTING MBII | COMPETITION VIDEO PUNCTURE DESIGN | COSTING VERMEULENS | WATER FEATURE DEW | ACOUSTICS AERCOUSTICS | EXTERIOR NOISE, SNOW AND WIND ANALYSIS NOVUS / SLR | AREA 36,170 M2 | BUDGET WITHHELD | CURRENT STAGE 100% DESIGN DEVELOPMENT | ANTICIPATED COMPLETION 2027 ENERGY USE INTENSITY (PROJECTED) 328 KWH/M2/YEAR | WATER USE INTENSITY (PROJECTED) 0.77

M3/M2/YEAR

2020-11-19 11:19 AM

114 4 E. Newpor t Center Dr. Deerfield Beach, FL 33442

Date: November 12, 2020

Colors: CMYK Process, 4/0

10:50 AM

N O T E : C O L O R S V I E W E D O N - S C R E E N A R E I N T E N D E D F O R V I S U A L R E F E R E N C E O N L Y A N D M A Y N O T M A T C H T H E F I N A L P R I N T E D P R O D U C T.

It takes quality materials to get elegant results

Fairmont Palliser Hotel Renovation Calgary, AB, Canada

What was once the Fairmont Palliser Hotel’s commercial kitchen was transformed in majestic fashion, using a mix of wood planks and large-format marble tiles.

The former were applied with Ultrabond ECO® 995, a FastTrack Ready™ onestep sound-reduction adhesive. Meanwhile the marble tiles were installed using Ultraflex™ LFT ™ premium large-and-heavy-tile mortar and grouted with rapidsetting Ultracolor® Plus FA that offers exceptional aesthetic quality, stain resistance properties and ease of maintenance.

The new

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Product calculators

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2020-11-18 4:56 PM

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AWARD OF EXCELLENCE

WARDELL Toronto, Ontario Ja Architecture Studio

“This is a little jewel in the middle of the city. The designers could have just added to the existing house, but they created a separate object with a versatile space between. I like the tension from the street façade, which respects the smaller scale of the added component. The sculptural shape is complemented by a very interesting tectonic approach that does something different with brick. Sometimes it’s difficult to realize details like that brick roof, but these designers seem to have the sensibilities to achieve it.” – Stephan Chevalier, juror

Start with an irregular site. Add architects who are keen on exploring how the brick, a common masonry unit, can be manipulated to achieve uncommon results. The result? In the case of this 51-square-metre addition to an 86-square-metre, two-storey semi-detached house, it’s a f lexible yet customized stack of spaces for better living.

One of the owners is a consultant; the other, an architect-turnedbaker. The birth of their first child provided an impetus to enlarge their home, which occupies a wedge-shaped lot abutting the rear yards of several other houses.

Clad entirely in brick, the curved walls of the addition merge with its brick roof, creating a seamless, richly textured volume. The cantilevering of the front wall creates a levitating effect that counteracts the weightiness of all that brick. A passage between the addition and the existing house leads down a few stairs and back up a few more to the rear yard.

While the addition’s outward form is highly controlled, the flexible spaces within this vessel are designed to adapt to the family’s changing needs over time. The sunken ground floor, conceived as a commercial test kitchen, can be accessed from the passage to the rear yard. The cantilever along the front façade is functional: it creates the soffit plenum that provides space for mechanical kitchen venting and other services. A double-height, operable window allows the kitchen to open onto the rear garden and connects it with the second-level living space above, which accommodates a large table for entertaining. The multipurpose third level is a winter garden/library/home office/oasis—with a tub and a reading corner, and small, recessed roof balcony providing south-facing glazing. A staircase connecting all levels allows natural light to spill down through the rooftop’s light scoop.

At the front and back of the third level, brick screens, paired with operable windows for cross-ventilation, provide glimpses of the world outside. In these screens the repetition of four bond patterns creates the effect of irregularly scattered openings: a detail that neatly encapsulates how the design team’s questing exploration of seemingly random possibilities is in no way arbitrary.

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CLIENT WITHHELD | ARCHITECT TEAM NIMA JAVIDI, BEHNAZ ASSADI, KYLE O’BRIEN, ROSA NEWMAN, KAVEH TAHERIZADEH | STRUCTURAL SEPCO | LANDSCAPE BEHNAZ ASSADI (JA STUDIO) | PLANNING SEAN GALBRAITH & ASSOCIATES | MEP SUSTAINGLOBE | AREA 51 M2 (NEW ADDITION) | BUDGET WITHHELD | CURRENT STAGE DESIGN DEVELOPMENT | ANTICIPATED COMPLETION 2022

A passageway under the addition leads to a small back patio.

The sculpted brick volume houses cooking, dining, office and living spaces for an architect-turned-baker and their family.

ABOVE RIGHT

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AWARD OF EXCELLENCE SECTION

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1 - ROOF ASSEMBLY BRICK ROOFING CONTINUOUS RIGID INSULATION CONTROL LAYERS ROOF SHEATHING CUSTOM WOOD JOISTS BATT INSULATION GYPSUM WALLBOARD 2 - WALL ASSEMBLY BRICK CLADDING WITH TIEBACKS DRAINAGE CAVITY CONTINUOUS RIGID INSULATION CONTROL LAYERS NON-COMBUSTIBLE SHEATHING 2X6 WOOD STUD WALL BATT INSULATION GYPSUM WALLBOARD

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3 - SCREEN WINDOW ASSEMBLY PERFORATED BRICK SCREEN CUSTOM TRIPLE-GLAZED TOPVENTING WINDOW 4 - WET FLOOR ASSEMBLY TILE FLOORING WATERPROOF MEMBRANE SLOPED SUB-BASE PLYWOOD SHEATHING 2X10 FLOOR JOISTS GYPSUM WALLBOARD

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5 - SOFFIT PLENUM PROVIDES SPACE FOR MECHANICAL KITCHEN VENTING AND OTHER SERVICES

The ground floor is equipped as a commercial test kitchen, and steps out into a small back garden.

ABOVE A brick screen faรงade and rooftop light scoop bring daylight into the addition. The top floor includes a winter garden and freestanding tub.

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4M

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STEEL BUILDINGS + INSULATED METAL PANELS

A TOTALLY MADE IN CANADA BUILDING SOLUTION. www.behlen.ca

AWARD OF EXCELLENCE

GILLES SAUCIER

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EXPANSION OF THE THÉÂTRE DU NOUVEAU MONDE Montreal, Quebec Saucier+Perrotte Architectes “This project’s designers have created a dynamic new front-of-house for this existing theatre on an impossibly tight urban site. It creates a strong sense of occasion for the theatre and the city through transparency, the placement of the café and the vertically interconnected lobby spaces.

The simple, raw materiality creates a strong dialogue with the existing masonry, while clearly establishing a new presence. They’ve leveraged a modest footprint to maximum potential for the theatre and the city itself. The corner of Saint-Urbain and Sainte-Catherine is getting something pretty special.” – Michael Moxam, juror

To expand Montreal’s beloved Théâtre du Nouveau Monde, the architects focused on three main elements: visibility, functionality and theatricality. The transformation offers a transparent structure filled with public and semi-public spaces for city residents, as well as expanded space for patrons and staff alike.

The largely opaque existing theatre complex sits on a prominent site in downtown Montreal, at the corner of Sainte-Catherine and SaintUrbain streets. At pedestrian level, a new transparent façade deepens the existing hall and adds visual emphasis to the building’s entrance on Sainte-Catherine. The hall is also reorganized and enlarged by eliminating part of the existing mezzanine.

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AWARD OF EXCELLENCE

A sensitive addition gives the theatre renewed prominence in Montreal’s Quartier des Spectacles. ABOVE Seen from the new balcony-level foyer, a secondary performance space can be opened up to address Sainte-Catherine Street.

PREVIOUS SPREAD

New spaces above the hall—including a secondary performance room, balcony-level lobby, corporate lounge, and administration areas—are connected by a reflective burgundy volume which contains circulation and services. The secondary performance hall is the visible heart of the new addition. Its double-height glass wall addresses Sainte-Catherine, turning the room into an urban stage.

The material palette contrasts with and complements the patina of the existing brick building. Walls of clear glass, burgundy-red glazing, and exposed concrete give the spaces a contemporary update.

A felt wall provides texture and acoustic dampening in the hall, allowing the space to accommodate larger events. The balcony-level lobby includes a large, undulating metal curtain that controls the entry of light and contributes to the theatrical character of the institution.

A new rehearsal room opens to an outdoor space on the east side of the roof. Equipped with a second undulating metal curtain, this partially covered garden-theatre is used for outdoor performances, and as a breakout space for building staff and actors in rehearsal. The west side of the building includes a green roof, where some of the ingredients for the ground-floor restaurant are grown.

The theatre’s renovated restaurant claims a strong public presence behind a new glass façade along Sainte-Catherine and Saint-Urbain.

The transparent façade joins interior and exterior, giving pedestrians a glimpse of the activities inside, while connecting show-goers with the vibrant street life of the Quartier des Spectacles.

CLIENT THÉÂTRE DU NOUVEAU MONDE | ARCHITECT TEAM GILLES SAUCIER (RAIC), ANDRÉ PERROTTE (RAIC), DOMINIQUE DUMAIS, CHRISTOPHE LAFLEUR-CHARTIER, GREGORY NEUDORF, JOSH KOENEKOOP, PATRICE BÉGIN, MARIE ÈVE PRIMEAU | STRUCTURAL LES SERVICES EXP | MECHANICAL/ELECTRICAL DUPRAS LEDOUX | AREA 8,106 M2 (TOTAL GROSS AREA) | BUDGET $13 M | CURRENT STAGE DESIGN DEVELOPMENT | ANTICIPATED COMPLETION JANUARY 2023

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GROUND FLOOR

SECTION

PROJECT TRANSFORMATION OR ADDITION

0

10M

2020-11-19 11:25 AM

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Montreal, Quebec Lemay + Angela Silver + SNC-Lavalin “This project is healing the city by connecting back over the highway to join two major precincts. It also honours the memory of 21 women who were so important to the evolution of Montreal. It imagines itself throughout the year through a meadow of flowers, trying to take advantage of all of the seasons. It’s beautifully rendered through line drawings.”

– Susan Fitzgerald, juror

The winning entry to an open international design competition launched by the City of Montreal, Place des Montréalaises is a complex blend of architecture and landscape that connects Old Montreal to the city’s downtown. The series of new public spaces, planted areas and art honours 21 Montreal women who have shaped the city, from Ursuline nun and hospital founder Jeanne Mance to Indigenous Radio-Canada producer Myra Cree.

Crossing over the sunken Ville-Marie expressway, an inclined plane negotiates the change in grade between the two precincts. This suspended architectural piece is landscaped as a floating meadow—a bouquet of 21 varieties of plants that will flower in sequence, constantly evolving in memory of the Montréalaises. The meadow’s geometry transforms from a sweeping field to the south to an orthogonal grid to the north, bringing the plaza into dialogue with its surrounding cityscape. A commemorative staircase at the midpoint of the slope invites gathering, and is imprinted with fragments of the names of the 21 women, forming a field of letters that extends the homage to include all women.

Tree species from Mont Royal are planted at the north end of the slope, creating a forest-like area. The existing Champ-de-Mars metro The plaza uses a sloping plane to connect between the Champde-Mars subway and Old Montreal. The central area is planted as a floating meadow—an ever-changing bouquet celebrating 21 women who shaped Montreal.

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PLACE DES MONTRÉALAISES

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AWARD OF EXCELLENCE

station sits in a clearing dedicated to enslaved Black woman Marie-Joseph Angélique, who was charged with arson while attempting to flee bondage. To the northeast, an infrastructural pavilion is transformed with a cylindrical envelope made of polished stainless steel, and inscribed with art by spoken poetry pioneer Afua (Ava Pamela) Cooper.

At the south end of the meadow, a curved surface intersects with the inclined plane, creating an expressive topography under the lip of the inclined plane. The area invites urban performances, while openings to the adjacent off-ramp offer glimpses between the city and the VilleMarie Expressway.

The design also celebrates suffragette Idola Saint-Jean, businesswoman Isa Roth Steinberg, hockey great Agnès Vautier, and Black teacher Jessie Maxwell-Smith, and remembers all 14 victims of the École Polytechnique shooting.

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A curved surface intersects with the south end of the inclined plane, creating a complex topography of gathering spaces. MIDDLE The plaza hovers over the Ville-Marie expressway off-ramp and roadway, as well as the subway line. BOTTOM The plaza opens up a key passageway between two city precincts.

TOP

CLIENT VILLE DE MONTRÉAL | ARCHITECT TEAM LEMAY—ANDREW KING (FRAIC, CHIEF DESIGN OFFI-

CER), PATRICIA LUSSIER (LANDSCAPE ARCHITECT, DESIGN DIRECTOR), JEFFREY MA (DESIGN LEAD), JEAN-PHILLIPPE DI MARCO, VIRGINIE ROY-MAZOYER, ALEXIS LÉGARÉ, MARIYA ATANASOVA, LUCIE ST-PIERRE, FRANÇOIS MÉNARD, ARNAUD VILLARD, BENOÎT GAUDET, ERIC ST-PIERRE, RENÉ PERREAULT, JASPER SILVER KING, THEODORE OYAMA, JETH OWEN GUERRERO. ANGELA SILVER— ANGELA SILVER, HANNAH SILVER KING, JASPER SILVER KING | STRUCTURAL/CIVIL/MECHANICAL/ ELECTRICAL SNC LAVALIN | STRUCTURAL ELEMA | AREA 19,890 M2 | BUDGET $34 M | CURRENT STAGE DESIGN DEVELOPMENT | ANTICIPATED COMPLETION 2022

2020-12-03 1:24 PM

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AWARD OF MERIT

90 ALEXANDER

East Exchange District, Winnipeg, Manitoba 5468796 Architecture “This project establishes clear ideas of urban activation, heritage preservation and engagement while generating an appropriate floorplate for a contemporary residential structure. The plan respects and makes space for the heritage building through a rich urban laneway system that connects across the site and to the city. The approach to cladding is interesting— a reinterpretation of masonry detailing in metal.” – Michael Moxam, juror

In Winnipeg’s East Exchange District, much of the century-old industrial vernacular is being adaptively reused to support mixed-use residential projects. This includes 90 Alexander—one of the last remaining sites on Waterfront Drive, and once home to the W.J. Guest Fish Company Warehouse, and later to Great West Metal Limited.

The existing 1905 brick warehouse on this narrow-yet-deep lot was constructed with face brick and remains in excellent repair. The architects devised a new seven-storey volume that winds around the warehouse, leaving all sides of the 115-year-old building exposed, in homage to its original free-standing form. The volume also creates an appropriately scaled building that avoids deep floorplates.

The new construction evokes the articulated texture of the historic building. The façade’s cladding panels, developed from rudimentary 8-inch-deep break-shaped f lashing, reinterpret the interlocking

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masonry of the surrounding district’s historic buildings. The standard modules work in 95 percent of façade conditions, including in turning corners, screening mechanical equipment, and acting as a guardrail for rooftop patios.

The existing heritage warehouse is repurposed to house 26 residential suites, with most new interventions floating within the existing shell.

In the new structure, the first four residential floors are made up of stacked one- and two-bedroom modules that switch orientation from floor to floor, as expressed in a staggered exterior window pattern. The sixth floor provides access to both sixth and seventh floor units, the majority of which step out onto outdoor decks sheltered behind slanted rooflines.

Terracing and sloping at the top two levels align the new structure with the roof of the historic building, extending daylighting into the shared spaces and surrounding streets. A continuous walkway and a series of semi-public spaces connect the new and old structure, animating the entire complex and contributing to the neighbourhood’s revitalization.

At street level, a latticework of concrete beams, vertical columns, and sloped columns supports the new building. Façade walls cut away at street level, inviting pedestrians to explore the development’s groundfloor commercial spaces and plazas, and interweaving 90 Alexander with its urban surroundings.

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1 RESIDENTIAL LOBBY 2 RESIDENTIAL UNIT 3 COURTYARD 4 HERITAGE RESIDENTIAL 5 HERITAGE LANEWAY 6 COMMERCIAL - 1 7 COMMERCIAL - 2 8 PUBLIC PLAZA 9 PARKING 10 BIKE PARKING

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20M

OPPOSITE Crafted from standard metal panels, the façade reinterprets the interlocking brick of surrounding heritage properties. ABOVE LEFT A vibrant ground-plane is animated by public plazas and commercial amenities.

LEFT Shared terraces are integrated into the sloping roofline.

CLIENT RNDSQR | ARCHITECT TEAM EMEIL ALVAREZ, PABLO BATISTA (MRAIC), BRANDON BERGEM,

KEN BORTON (MRAIC), JORDY CRADDOCK, DONNA EVANS, BEN GREENWOOD, JOHANNA HURME (FRAIC), JEFF KACHKAN, STAS KLAZ, LINDSEY KOEPKE, KELSEY MCMAHON (MRAIC), COLIN NEUFELD, SASA RADULOVIC (FRAIC), AMANDA REIS, HELIA SAADAT, HASAN SHURRAB, MATTHEW TRENDOTA (MRAIC), SHANNON WIEBE, JENN YABLONOWSKI | STRUCTURAL LDA | MECHANICAL/ ELECTRICAL SMITH & ANDERSEN | CIVIL BARNES AND DUNCAN | LANDSCAPE SCATLIFF + MILLER + MURRAY | ENERGY FOOTPRINT | INTERIORS | GEOTECHNICAL DYREGROV ROBINSON | CONSTRUCTION MANAGER AND GENERAL CONTRACTOR CONCORD PROJECTS | AREA NEW BUILDING—2,570 M2; HERITAGE BUILDING—464 M2 | BUDGET $37 M | CURRENT STAGE CONSTRUCTION DOCUMENTS | ANTICIPATED COMPLETION 2022 ENERGY USE INTENSITY (PROJECTED) 176 KWH/M2/YEAR | WATER USE INTENSITY (PROJECTED) 0.944 M3/M2/YEAR (BASED ON LEED WUI STANDARDS)

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AWARD OF MERIT

UNIVERSITY OF TORONTO KOFFLER SCIENTIFIC RESERVE King City, Ontario Montgomery Sisam Architects “This is a very well-rounded project that’s sensitive to its site, including the old barns that were there before. I like the environmental approach, which goes back to the basics: it uses natural ventilation, and is very sensible with natural light and energy consumption.” – Stephan Chevalier, juror

Located north of the city, the University of Toronto’s Koffler Scientific Reserve is a major venue for research and instruction in ecology and environmental biology. Supported by the complex ecosystem of the Oak Ridges Moraine, it offers students an opportunity to move beyond the classroom to the actual practice of science.

The 800-acre property was bequeathed to the university after having been a country estate for much of the 20th century, and includes meadows, woodlands, watercourses and lakes. The site also contains remarkable geological formations, including some of the most noteworthy examples of drumlins and eskers in southern Ontario.

The new building accommodates research students and faculty for extended periods of time. Modelled after a university quad, it comprises sleeping and bathing quarters, a refectory, living areas and teaching spaces. Nearby seasonal bunkies provide additional accommodation during the peak research season.

The building takes the place of three aging barns. Its massing is inspired by agrarian building forms, adapted to include lanterns for natural light, overhangs for appropriate solar response, covered walkways, and a courtyard. The design reinforces indoor-outdoor connections: this is a building for people who love to be outside, working in the field.

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The project is targeting net-zero-carbon, net-zero-energy performance and LEED Gold. This robust sustainability mandate is met through passive design strategies that minimize energy use, while offering year-round comfort to users. Like breathable clothing developed for outdoor exploration, its timber structure is wrapped in a highly insulated skin that can be opened and closed in response to changing temperatures and weather conditions.

Taking a scientific approach to sustainability, each façade’s design responds to its solar orientation, and a whole-building energy model was used to inform natural ventilation strategies and building envelope components. The final design includes R40 walls, an R60 roof and triple-glazed windows. The resulting building is designed to be comfortable in the summer and shoulder seasons using passive cooling techniques, and to only require active cooling on very hot days.

CLIENT THE UNIVERSITY OF TORONTO | ARCHITECT TEAM ROBERT DAVIES (FRAIC), KARINE

QUIGLEY, ESTHER CHENG, CAMELIA MELCHIORI | STRUCTURAL BLACKWELL | MECHANICAL/ELEC-

TRICAL INTEGRAL GROUP | CIVIL WSP GLOBAL | CODE ARENCON | COST TURNER & TOWNSEND

|

LANDSCAPE PMA | SUSTAINABILITY INTEGRAL GROUP / ELEMENTA | A/V ENGINEERING HARMONICS

|

SPECIFICATIONS DGS | AREA 903 M2 | BUDGET WITHHELD | CURRENT STAGE CONTRACT DOCU-

MENTS | ANTICIPATED COMPLETION SUMMER 2022

ENERGY USE INTENSITY (PROJECTED) 52.4 KWH/M2/YEAR | WATER USE INTENSITY (PROJECTED) 0.5

M3/M2/YEAR

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Outlet area equal to 4% of the floor area—awning windows are controlled manually from the main hall floor

60° (SUMMER SUN)

INLET/OUTLET OPEN AREA (CORRIDOR) A minimum outlet open area between 6-7% of the corridor floor area with 60° cutoff angle overhand helps cut down on summer solar heat gains

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5M

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Each bedroom alternates the hinge placement to incude + and - pressures across the two openings when there are NE, W, E and NW winds present

30° (WINTER SUN) PASSIVE SOLAR GAINS (WINTER)

6 CLASSROOM 7 HALL 8 REFECTORY 9 MUD ROOM 10 QUAD

CEILING FANS THERMAL MASS

PCM Gypsum Board or PCM Blanket

INLET WINDOW INLET OPEN AREA (MAIN HALL) Awning windows that can open up to 30° meet minimum open area targets equal to 4% of floor area, located south of space

BUILDING FORM SUPPORTS STACK VENTILATION

INLET OPEN AREA (BEDROOM) Opening the awning windows to a 30° angle provides natural ventilation intake

OUTLET OPEN AREA (BEDROOM) Casement windows for the upper windows form an airtight seal, allowing modulation of opening angle and resulting in airflow, as well as improving likelihood of wind-induced natural ventilation

The complex takes the place of three aging barns, and is designed to respond to local climatic, biological and topographic conditions.

The building’s massing is inspired by local agrarian structures, adjusted to allow for natural stack ventilation and optimized for passive solar heat management. ABOVE A refectory opens on to a courtyard, with clerestories and operable windows allowing for daylight and natural ventilation, while reinforcing visual connections between indoors and outdoors.

OPPOSITE TOP LEFT

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AWARD OF MERIT

THÉÂTRE DE VERDURE

Parc Lafontaine, Montreal, Quebec Lemay “I like the layering of the material creating the stage sides, and the way it frames views. It’s very light—you see it in different ways as you move around it. It’s not an imposing structure, but takes its place within the park in a very natural and comfortable way. It’s modest, but it has presence.” – Michael Moxam, juror

At the heart of Montreal’s La Fontaine Park, Théâtre de Verdure has hosted professional dance and music performances from its inception in 1956 until its closure in 2014 due to outdated facilities. This major rehabilitation broadens the theatre’s mission, reaffirms its heritage identity, and creates a more open and accessible space throughout the year.

The design aims to facilitate a synergy between architecture and landscape. A number of new elements promote accessibility and visual links between the theatre and the park. These include a new entrance, the extension of trails within the theatre enclosure, and the thinning of low shrubbery. A new stage will be reconstructed on the site of the previous stage—a small island within the park’s large linked ponds— with amphitheatre seating reconstructed across the water. The outdoor stage becomes a key design element of the park, while simultaneously “staging” the landscape through its open front and rear elevations.

Park users are encouraged to discover the theatre, and conversely, theatre-goers are invited to explore the park.

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The architectural interventions support summer theatre performances and four-season events. The project includes updated infrastructure, enabling the theatre to accommodate 2,500 spectators and to host large-scale artistic productions, adapted to an outdoor stage.

Adjacent to the auditorium seating, a new structure contains the main entrance, washrooms and artists’ entrance. A rooftop terrace offers superb parkland views, reinforcing interconnections between the built and natural landscapes.

The new Théâtre de Verdure goes beyond its core theatrical mandate, becoming a destination that invites rediscovery of the surrounding park.

Nestled in its magnificent setting, the project reflects on the relationships between architecture and landscape, and between space and theatre.

CLIENT VILLE DE MONTRÉAL | ARCHITECT TEAM CONCEPT—ERIC PELLETIER (MRAIC, DESIGN PRIN-

CIPAL), MARIA BENECH (ARCHITECT, DESIGN DIRECTOR), MARIE-EVE PARENT (LANSCAPE ARCHITECT, DESIGN DIRECTOR), ARNAUD VILLARD, SOPHIE LACOSTE. PROJECT MANAGEMENT—YANICK CASAULT, ANDRÉE CASTEGNIER, MARYSE BALLARD, MARIE-CLAUDE LEBLOND (MRAIC). TECHNICAL—ERIC ST-PIERRE, ISABELLE BROSSEAU, ALICE MARIA CALVALCANTE LIMA, LAURA BOREY, ALEJANDRO MENDOZA VAZQUEZ, JEAN DESLAURIERS, VALÉRIE GRAVEL, FRANCOIS MÉNARD, XAVIER BELLEFEUILLE, DANIEL SMITH | MECHANICAL/ELECTRICAL BOUTHILLETTE PARIZEAU | STRUCTURAL CALCULATEC | CIVIL MARCHAND HOULE | THEATRE TRIZART ALLIANCE | LIGHTING OMBRAGES | AREA SITE—7,825 M2; BUILDING—635 M2 | BUDGET $11.5 M | CURRENT STAGE UNDER CONSTRUCTION | ANTICIPATED COMPLETION FALL 2021

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SECTIONAL PERSPECTIVE

SITE PLAN

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6 7

9 3

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1 THEATRE 2 CONTROL ROOM 3 BUILDING ANNEX WITH ROOFTOP TERRACE 4 TERRACE / LOOKOUT 5 SEATING 6 WASHROOMS

7 MAIN ENTRANCE 8 SECONDARY ENTRANCE 9 SERVICE ENTRANCE 10 LOADING DOCK 11 ARTISTS’ ENTRANCE

OPPOSITE Reconstructed on the site of an outdated stage, the new performance space opens at the back to connect the amphitheatre to the lake and surrounding parkland. TOP Vertical slats on the sides of the stage give it a light, layered appearance. BOTTOM LEFT The site’s landscaping is carefully coordinated with its built elements to nestle the theatre within its verdant setting.

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AWARD OF MERIT

SHEFFORD PRIMARY SCHOOL Canton de Shefford, Quebec Pelletier de Fontenay + Leclerc Architectes

“This project opens up a variety of interesting outdoor and indoor spaces for engaging different learning styles. There are spaces where you can put performances on, places where kids could sit and work on projects together, and other possibilities for learning. Clustering the classrooms gives the large school a smaller feel, and offers students a sense of identity.” – Susan Fitzgerald, juror

Part of Quebec’s Lab-École initiative to improve the province’s schools, this design for a new elementary school in the Eastern Townships encourages its students to develop as physically active, intellectually engaged, and community-minded youth.

The low-slung school is located at the edge of a small forest, with its opposite side opening onto fields and Mount Shefford beyond. Its layout is divided into pavilions that surround a central courtyard. Each age group occupies its own pavilion, creating identifiable “houses” for the students, while a main pavilion and gymnasium pavilion are shared by the school as a whole.

The main pavilion houses the school’s reception and administration areas, as well as a two-level lunch area, open shared kitchen, two workshops and a lounge. The partially sunken gymnasium pavilion includes clerestory glazing that allows for views between the gymnasium floor, the school’s main circulation corridor, and the central courtyard.

Like the best schools, Shefford is both simple in its expression and organization, yet complex in its spatial variety. Classrooms benefit from high ceilings, with an exposed wood structure that lends a warm atmosphere to the school. Double-height collaborative areas shared by the

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classrooms include open spaces for group activities, along with a quieter upper mezzanine for students to concentrate on focused tasks.

Outside, large roof overhangs form a continuous exterior covered promenade, which can be used as a path between pavilions and as a gathering space. The courtyard also includes an outdoor classroom, vegetable garden with a hand-pumped well, and various areas for both organized games and informal play.

Large operable windows and patio doors in each of the classrooms help connect students to the outdoors, while also allowing for abundant fresh air. Triangular solar chimneys help to moderate indoor air temperatures, provide natural ventilation, and bring natural daylight into the school’s central spaces.

Shefford Primary School’s volumes reference archetypical forms reminiscent of local agrarian buildings, without mimicking the area’s vernacular architecture. Its design is intended to offer an innovative model for schooling, but above all, to help students feel at home and welcomed at school.

CLIENT COMMISSION SCOLAIRE DE VAL-DES-CERFS | ARCHITECT TEAM PELLETIER DE FONTENAY—

HUBERT PELLETIER, YVES DE FONTENAY, YANN GAY-CROSIER, ETIENNE COUTU SARRAZIN, GUILLAUME LAROUCHE, ALEXANDRE HAMLYN. LECLERC—THOMAS GAUVIN BRODEUR, CLAUDIA GRAVEL, HUGUES PATRY, VALERIA LIMA, MAXIME HURTUBISE. | CONSULTANTS LAB-ÉCOLE | STRUCTURAL LATÉRAL CONSEIL | MECHANICAL/ELECTRICAL BOUTHILLETTE PARIZEAU | CIVIL GRAVITAIRE | LANDSCAPE FAUTEUX ET ASSOCIÉS | AREA 4,505 M2 | BUDGET $18.7 M | CURRENT STAGE DESIGN DEVELOPMENT | ANTICIPATED COMPLETION SEPTEMBER 2022 ENERGY USE INTENSITY (PROJECTED) 86.43 KWH/M2/YEAR

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SECTION

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2.5M

SITE PLAN

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10M

The school’s classrooms cluster around a central courtyard, whose landscaping and hardscaping provide a variety of exploratory play opportunities for students in all seasons. OPPOSITE, RIGHT Shared collaboration areas between classrooms offer spaces for different styles of learning, including open areas for group activites and quieter mezzanines for individual study.

OPPOSITE, LEFT

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AWARD OF MERIT

BOSTON UNIVERSITY, CENTER FOR COMPUTING & DATA SCIENCES Boston, Massachusetts, USA KPMB Architects “This is a very ambitious project that strives to be 100 percent free of fossil fuels. It’s also fitting into an established context, and does so quite elegantly. The interior brings together people and data, while encouraging them to engage with surrounding activities and public space. The building manages to balance its context, sustainability concerns, and the creation of a legible form, while also making an interesting envelope.” – Susan Fitzgerald, juror

The Center for Computing & Data Sciences is one of a few major new buildings on Boston University’s Charles River Campus in half a century. Its program consolidates the departments of mathematics, statistics, and computer science into a 19-storey vertical campus that will be BU’s tallest building. Its transparent podium base aligns with the height of other buildings along Commonwealth Avenue; the setback,

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irregularly stacked boxes comprising its tower read as masses scaled to the context rather than one looming, outsized volume.

Interaction zones in the podium include a café and a cascading promenade. A central atrium and a spiralling, interconnecting stair link all podium levels. The tower’s stacked floor plates generate terraced “neighbourhoods” for each department, with an event space in the topmost volume. Not long ago, the tower’s corners would likely have been allocated to private offices for senior faculty. Here, these prime pieces of real estate are reserved for focused collaboration.

Boston University’s Climate Action Plan aims to reduce the institution’s carbon emissions to zero by 2040, and the Center for Computing & Data Sciences will be the first building on any BU campus to be 100 percent fossil free. Geothermal wells provide the majority of its heating

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SITE PLAN

BAY STATE RD

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1 GROVE

2 STUDENT

HOUSING 3 BACKYARDS 4 LANEWAY 5 COURTYARD 6 ATRIUM 7 CLASSROOM 8 COLLABORATIVE SPACE 9 CAFÉ 10 PLAZA 11 BIKE RACKS

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OPPOSITE A mix of diagonal and vertical louvers optimizes the solar performance of the tower, which is aiming to be 100 percent fossil-fuel free. TOP On the ground level, collaboration areas, a café, and an outdoor plaza, courtyard and passageway connect the building to its urban surroundings. ABOVE A stacked-box form relates the Center to the scale of neighbouring buildings.

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1 SPANDREL PANEL GLASS AND INSULATED METAL PANEL 2 TRIPLE-GLAZED VISION GLASS 3 EXTERIOR METAL LOUVER

and cooling. In the envelope, transparent triple glazing is integrated with spandrel panel glass and insulated metal panels. Two exterior shade systems control solar heat gain and reduce the glare that can make viewing computer screens and whiteboards particularly challenging. On deeper floor plate zones, diagonal metal louvers in front of 60 percent glazing mitigate solar gain while driving daylight into the interior. In shallower single-bay floor plate zones, where daylight does not need to reach as deeply, prefinished-metal sawtooth elements are vertically installed in tandem with 50 percent glazing.

Offering expansive river views on three sides, the Center inspires students and faculty immersed in the digital realm to look up and outward: to pause in the realm of the real and be reminded that every action is interconnected to humanity, the Earth, and the Universe.

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4 PREFINISHED METAL PANEL 5 TRIPLE-GLAZED VISION GLASS 6 S PANDREL PANEL GLASS AND

INSULATED METAL PANEL

CLIENT BOSTON UNIVERSITY | ARCHITECT TEAM BRUCE KUWABARA (FRAIC, DESIGN PARTNER), MARIANNE MCKENNA (FRAIC, PARTNER-IN-CHARGE), LUIGI LAROCCA (FRAIC, SENIOR PROJECT MANAGER), PAULO ROCHA (DESIGN PRINCIPAL/PROJECT ARCHITECT), LUCY TIMBERS (PROJECT ARCHITECT/PROJECT MANAGER) DAVID SMYTHE (SENIOR ASSOCIATE), MATT KRIVOSUDSKY (ASSOCIATE), ALLISON JANG, AMIN MONSEFI, ARMINE TADEVOSYAN, AUDLEY CUMMINGS, CALEB MCGINN, CAROLYN LEE, ERIK SKOURIS, FOTINI PITOGLOU, GIULIO BRUNO, GLORIA ZHOU, JESSE BIRD, JOSEPH KAHN, JOY CHARBONNEAU, KAEL OPIE, KATRINA MUNROE, KEVIN BRIDGMAN, KLAUDIA LENGYEL, MELISSA NG, NICHOLAS WONG, OLENA CHORNY, OLIVIA DI FELICE, RAMIN YAMIN, SAM HART, TYLER HALL, TYLER LOEWEN, VICTOR GARZON | STRUCTURAL ENTUITIVE + LEMESSURIER CONSULTANTS | MEP/SECURITY/IT/COMMUNICATIONS BR+A CONSULTING ENGINEERS | ENVELOPE ENTUITIVE | CIVIL NITSCH ENGINEERING | GEOTECHNICAL/GEOTHERMAL HALEY & ALDRICH | LANDSCAPE RICHARD BURCK ASSOCIATES | LIGHTING DOT DASH | CLIMATE TRANSSOLAR | LEED THE GREEN ENGINEER | ELEVATOR SOBERMAN ENGINEERING | FIRE AND LIFE SAFETY JENSEN HUGHES | ACOUSTICS/AV ACENTECH | ENVIRONMENTAL RWDI DOOR HARDWARE ROBBIE MCCABE | FOOD SERVICES RICCA DESIGN STUDIOS | SPECIFICATIONS BRIAN BALLANTYNE | ELEVATOR SOBERMAN | EXTERIOR SIGNAGE ANNA FARRINGTON | COMMISSIONING WSP | TRANSPORTATION AECOM | COSTING TURNER & TOWNSEND | FAÇADE MAINTENANCE LERCH BATES | PHYSICAL SECURITY ATRIADE | OWNER’S PROJECT MANAGER COMPASS | CONSTRUCTION MANAGER AND GENERAL CONTRACTOR SUFFOLK | AREA 32,052 M2 | BUDGET $288 M | CURRENT STAGE UNDER CONSTRUCTION ANTICIPATED COMPLETION FALL 2022 ENERGY USE INTENSITY (PROJECTED) 130.9 KWH/M2/YEAR

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STUDENT AWARD OF EXCELLENCE

MACHINE ECOLOGIES Charlie Lake, British Columbia Sarah Klym, University of British Columbia Advisor: Thena Tak “This project tells an incredibly poetic story about the relationship between machines and ecology. The drawings are stunning. The longer you look at them, the more you see. I’m not clear on the architectural implications, but there is incredible artistry here.” – Michael Moxam, juror

In the drive for ever-increasing yields, the adaptability of traditional farming has given way to way to industrialized agriculture. Large-scale machines have remade farm landscapes into gridded monoculture sites, geared towards efficient resource production and extraction.

But with the climate crisis creating turmoil in ecosystems, these liminal farm landscapes will become pivotal zones of ecological transition.

How can they be remade as places of natural succession that support the interconnected futures of plant, animal and human communities?

This thesis proposes a speculative future in which different kinds of

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machines support the health of hybrid, complex agricultural landscapes.

The new ecology of machines includes several types of small-scale devices.

Throughout the year, floating drones and soil sensors monitor the landscape, creating a comprehensive almanac of its characteristics and potential. Each spring, gyroscopic spinning tops carve delicate trenches across open fields for seeds and fertilizer. The planting patterns interweave different types of crops, informed by data from the network of drones and sensors to make the most of light, symbiotic adjacencies, wind pollination, and weed competition.

After sowing, the seeding machines are re-purposed as the pendulumlike blades of tiny weeding and harvesting machines. They roam the landscape in search of weeds, touching the earth lightly and cutting above the ground. As the crops are ready to harvest, the same machines reap ornate patterns into the fields, laying cut crops into careful windrows to dry.

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At season’s end, collection machines with rotating armatures pull debris from the landscape, meandering until they fold under their own weight. The accumulated material decomposes into closely monitored compositions of compost and microbiota.

As uncertain tides push and pull environmental thresholds, deep ecological thinking will help create resiliency. No matter the future, rethinking the way we divide and cultivate productive landscapes is an essential step to riding the waves of change to come.

OPPOSITE Autonomous seeding machines sow a weave of different crop types, optimizing for factors including light, symbiotic adjacencies, and weed competition. ABOVE After the harvest season, mobile collection machines pull debris from the landscape. RIGHT Embedded soil sensors transmit information to clusters of floating drones.

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STUDENT AWARD OF EXCELLENCE

SECTION

UNSETTLING GROUND Arviat, Nunavut Jason McMillan, University of Waterloo Advisor: Lola Sheppard “This was a very interesting study of what’s going to happen with the thawing permafrost in Arviat, and the architecture of a new type of collective living that could form on this unsettled ground. It evidences interesting research on the location’s housing crisis, environmental crisis, and cultural crisis, including visiting the site multiple times throughout the year.” – Susan Fitzgerald, juror

Ground in the Canadian Arctic is continuously shaped by dramatic seasonal cycles, extreme weather, and deep geological processes of glaciation and retreat. In the past, remote communities in the Inuit homeland of Nunavut coped with this geological instability through traditional knowledge of climate and territory. Then the North was aggressively transformed by systematic federal government interventions, including forced relocations of Inuit. Canadian visions of modernism imposed new patterns of settlement and spaces at odds with the fluidity of the land.

Many current Arctic communities have outlasted the mines, trading posts, and military installations that dictated their location. And now the warming trends of climate change are increasingly destabilizing the frozen soils, or permafrost, on which these communities are constructed.

Local building practices in Arviat, Nunavut were the catalyst for this thesis project. Its author, Jason McMillan, made two research trips to

the community and observed how its residents were engaging in collective projects that challenge the neutralized mapping, master planning and housing conventions that were imposed on Arviat. Stories and geological observations shared by community members inform the three design strategies that McMillan puts forth as more flexible and adaptable alternatives to current planning and design practices of the Nunavut Housing Corporation.

The first tactic, Fluid Geology, proposes block-and-wedge foundations surmounted by decks as a means of introducing a “layer of flexibility” between existing structures and thawing permafrost. McMillan also advocates planning that responds to hydrological features instead of conforming to a strict grid. The second tactic, Collective Ground, reconsiders buildings as a means of forming collective spaces, both indoors and out. The third, Lived Boundaries, explores how traditional relationships cross the physical boundaries designed into the town, connecting open space, structures and landscape by social and seasonal rhythms.

McMillan returned from Arviat convinced that much could be learned from the “informal and often messy collective projects” undertaken by the community to adapt the built environment they have to the unsettled ground beneath it. These projects offer great lessons, he observes, to “designers seeking to unsettle their own practices.”

ARVIAT BLOCK, CIRCULATION STUDY

Shacks, sheds and mobile shelters introduce layers of seasonal flexibility to the architecture of Arviat. ABOVE The thesis is sited at the edge of town, where older homes, self-built structures, and new five-plex row housing are built over increasingly unstable permafrost. The proposal learns from existing use patterns to suggest culturally appropriate, socially attuned, and environmentally sustainable design and planning strategies.

TOP

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STUDENT AWARD OF EXCELLENCE

MILTON PARK AS FOUND Montreal, Quebec John Jinwoo Han, McGill University Advisor: Martin Bressani “This project shows a very good understanding of the urban context and existing materiality. It didn’t try to achieve a very spectacular architecture—but that is the essence of Milton Park. While sometimes students want to do a big gesture, this student was confident enough to produce a calm approach.” – Stephan Chevalier, juror

Montreal’s Milton Park neighbourhood, east of McGill University’s main campus, has a coherent but messy built fabric that is part of its charm.

Shaped by divergent social, morphological and demographic changes, its buildings range from Victorian townhouses to modernist high-rises.

Milton Park as Found adopts a realist attitude, exploring the possibilities of seizing this diverse built history as it is. It aims to study everything that has accrued in the area’s streetscapes—whether from the historical or recent past, whether beautiful or trite—and use it as a rich substrate from which to design.

The project proposes a medley of renovations and additions to Ballet Divertimento, an existing dance school on Milton Street. The school currently occupies the former École Notre-Dame-de-la-Salette, constructed by architect Paul G. Goyer in 1961.

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The new project is deliberately explored in fragments, rather than as a singular architectural entity, probing the possibilities of engaging with a constellation of existing elements of all scales in the neighbourhood. Through subtle transformations, the project elevates ordinary moments in Milton Park, and makes incremental improvements to the existing urban fabric.

These interventions involve weaving a new series of spaces into the school, including a central atrium, dance ateliers, a reception area, a café, a patio and a secret garden. Many of the spaces are deliberately ambiguous in use: a rehearsal space might sometimes serve as an office, or as something else entirely. Particular attention is paid to how the addition occupies the spaces between buildings, and creates intriguing interstitial spaces of its own.

The project’s design, along with its drawings, deliberately blurs the distinction between the existing fabric and new interventions. “So what has really changed?” asks project designer John Jinwoo Han. He hopes that a visitor to the project would answer: “Not much, it’s not too different from what it was before.”

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SITE PLAN

NEW INTERVENTION

An addition to a Montreal ballet school weaves quietly into its neighbourhood fabric, taking cues from the area’s eclectic mix of typologies.

ABOVE A new atrium, or “gap” space, joins the existing school to the new addition.

0

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5M

OPPOSITE

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GAP SPACE, UNFOLDED AXONOMETRIC

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PHOTO AWARD OF EXCELLENCE

MASSEY HALL DANCE FLOOR Salina Kassam Client: Massey Hall

“We’ve done our share of construction site photos, and it isn’t always easy to make sense of the chaos of that environment. This does so in a lovely, clever way. There’s something so refreshing about an image that is so real and so raw, and yet so beautiful and communicative.”

– Younes Bounhar, juror

The revitalization of Toronto’s historic Massey Hall is currently underway, led by KPMB Architects with heritage firm GBCA. One aspect of the renewal is the restoration of the concert hall’s plaster scalloped ceilings, which have long been covered with chicken wire to protect them from crumbling. A complex, four-storey steel scaffold holds up a work platform—nicknamed the “dance f loor”—that enables the crew to restore the 1890s Moorish Revival ceilings. For this shot, I sat atop the “dance floor,” high above the concert hall.

Through a process of journalistic observation, I am able to capture isolated moments. A photo like this offers a glimpse of a moment that will be hidden from view when the building is complete.

Much like a layered piece of music, my images are a tribute to Massey Hall—a place for performers and music lovers. They document a connection between the historic and the modern, the architecture and the acoustics, the past and the future.

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PHOTO AWARD OF MERIT

WELLINGTON (CONCRETE) Lisa Stinner-Kun

“I like the emotion of this image—the ladder is a small wood structure against this solid concrete box. There’s the idea of something very strong and something very fragile at the same time. It’s also a very particular moment: an hour after that, the ladder is gone, the photo doesn’t exist anymore.” – Stephan Chevalier, juror

This image is part of a photographic series titled Construct, which focuses on the creation of human-built space before it has reached its intended purpose. As seen in these photographs, the soon-to-be occupied spaces show no evidence of everyday use, and exist as decon­ textualized structures made purely of raw materials. The resulting

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ambiguity brings into play the viewer’s own tactile experiences of concrete, drywall, steel and brick.

By turning the subject matter into a unique sculptural version of itself, I hope to strip away visual references to each space’s function. To describe these photos, I often use the conceptual model of a museum diorama, where the constructed nature of a scene takes prominence. This series of images creates a new stage from which to view the human-built world: one where the building blocks form the structures for an imagined space. Instead of seeing a building’s intended use as, for example, a school atrium, viewers could just as easily envisage an obscure archeological site from the past, or a science fiction film set in the future.

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PHOTO AWARD OF MERIT

LA MAISON HATLEY James Brittain Clients: Pelletier de Fontenay and François Abbott “This image has an interesting, powerful composition. The light is fairly even; the sky and snow have the same quality of light. The tactile nature of the skin of the barns is quite beautiful.” – Michael Moxam, juror

Grey skies, snow and cold. These are constant features of life during a Canadian winter, and yet they show up fairly infrequently in photographs of architecture.

Mostly, representations of architecture are made during summer or fall, with cheerful blue skies the preferred visual language.

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Summer pictures do have the advantage of f lexibility for a publishing schedule—it seems no-one wants a reminder of winter at other times of year.

But winter is an exceptionally beautiful time for pictures. It’s tough on the hands when out with the camera, but snow and soft winter light have special qualities that can inspire feeling and wonder.

Pelletier de Fontenay and François Abbott asked me to photograph La Maison Hatley over the winter in Quebec, and I chose to make this— and all the other exterior photographs of the project—in overcast skies.

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PHOTO AWARD OF MERIT

ESPACE SUD, PAVILLON LASSONDE

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Félix Michaud “Most of the images you see of this museum are very white and bright, and focus on its big spaces. I like that this is just an intimate corner of the building—it’s really moody but subtle, with a sense of mystery.”

– Amanda Large, juror

When I was living in Quebec City from 2019 to 2020, I had the chance to visit the Musée nationale des beaux-art’s Pavillon Lassonde on numerous occasions. This is a building that I particularly appreciate for the quality of its light and the spirit of peace that reigns there.

Sitting inside, everything slows down.

In seeking to transpose this sensation into a series of photos, I walked for many hours through the museum’s public spaces, until I finally discovered the golden end-of-day light in the southern part of the pavilion. The result seems particularly successful to me: the soft January light is enveloping, and time feels suspended.

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OUR JURORS

College’s Waterfront Campus, Bridgepoint Health, Peterborough Regional Health Centre, Montfort Hospital Redevelopment, University Health Network – Toronto Western Campus, the 51, 14 and 11 Divisions for the Toronto Police Service, the Ontario Provincial Police Headquarters, and the Krembil Discovery Centre.

Susan Fitzgerald is design principal at FBM and an assistant professor of Architectural Design and Practice at the Dalhousie University Faculty of Architecture and Planning in Halifax, Nova Scotia. Originally from the UK, she is both an architect and an interior designer involved in teaching, research and practice.

Her work with FBM and with Susan Fitzgerald Architecture has earned Fitzerald many accolades—including the Canada Council for the Arts Professional Prix de Rome, a Governor General’s Medal in Architecture, a Wood Design Award, the EnRoute Air Canada Award in partnership with the RAIC, numerous Maritime Design Awards, and several Lieutenant Governors’ Awards.

In addition, her work has been nominated for multiple rounds of the Mies Crown Hall Prize of the Americas, administered by the IIT College of Architecture.

Fitzgerald’s specific approach to practice was showcased in curator Elke Krasny’s exhibition Thinking out Loud: The Making of Architecture. At Dalhousie University, she has been running an urban systems design studio in Havana, Cuba since 2014, working in close collaboration with Universidad Tec-

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nológica de La Habana José Antonio Echeverría (CUJAE).

Fitzgerald was made a fellow of the RAIC in 2015. She received her PhD in architectural design from the Bartlett School of Architecture, UCL. Michael Moxam, vice president and design culture lead for Stantec, is committed to achieving excellence in all aspects of the design process. He possesses over 30 years of experience in the design and development of complex project types. Moxam’s approach is characterized by a commitment to design quality, pursuit of a collaborative process, and desire to redefine the “type.” Moxam is a frequent guest lecturer at the University of Toronto and the University of Manitoba, and regularly participates in a number of North American and global design conferences.

Moxam’s multi-sector portfolio of work has been recognized by Canadian Architect Awards, RAIC and Governor General’s Medals, World Architecture Festival nominations, and Ontario Association of Architects and AIA awards. His key projects include Science Commons at Lethbridge University, Cambridge Memorial Hospital, George Brown

Stephan Chevalier co-founded Montreal firm Chevalier Morales in 2005 with Sergio Morales. Chevalier Morales has been shortlisted for over fifteen national and international architectural competitions. The firm is known for competition-winning projects throughout Quebec, including Saul-Bellow Library (Lachine), the Maison de la littérature (Quebec City), Drummondville Library (Drummondville), Pierrefonds Library (Montreal), and most recently, the Agora des Arts (Rouyn-Noranda). The quality of this work has been recognized by two Canadian Architect Awards, two consecutive Grand Prix d’Excellence awards from the Ordre des architectes du Québec, the RAIC ’s 2018 Emerging Practice Award, and two Governor General’s Medals in Architecture.

Chevalier is a graduate of the Université de Montréal, and has worked for Patkau Architects and Busby + Associates. He has been involved as a teacher and guest critic at architecture schools in Montreal, Quebec City, and Ottawa. Chevalier and Morales are regularly invited to lecture and to exhibit their work throughout Canada, and their projects have been published nationally and internationally.

Amanda Large and Younes Bounhar are the duo behind doublespace photography.

They make simple, bold and elegant architectural photographs. Their creative vision is the product of their combined experience and diametrically opposed backgrounds: Amanda is trained as an architect and worked in the field for five years, while Younes is a biologist-turned-landscape-photographer. Their work has helped clients garner national and international awards and is regularly featured in architecture and design magazines.

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Floor Doors, Safety Posts Included In Elaborate Project at VA Hospital Floor access doors and LadderUP® safety posts from The BILCO Company were included in the construction of an elaborate central utility plant at the Edward Hines Jr. Veterans Administration Hospital near Chicago.

The new plant replaced a nearly-century old system at the hospital, which opened in 1921. After a nine-year design and construction process, the new plant opened in 2019.

After years of design, government-requested cost-saving changes and 242 drawings submitted by architects, work on the new plant started in 2016. The scope of the project included the installation of four new boilers, an emergency diesel generator, and the construction of an underground steam distribution system.

PHOTO CREDIT

Architects started design on a new boiler plant in 2009, but flooding in 2010 of the Des Plaines River took out the existing boiler plant and exposed a major flaw in building a boiler plant below grade. The flooded plant was drained and existing systems repaired to allow the campus to remain operational until a new plant could be designed and constructed.

Photos: James Keller

“We worked with the design team and needed to install all new equipment,” said Mike Deis, the senior project manager for The Walsh Group, the general contractor for the project. Some of the buildings had deteriorated during the flood. The distribution system was directly buried, and was not enclosed in a concrete tunnel. All the tunnels needed to be replaced for the steam system on the campus.”

The project includes fifteen BILCO floor doors. They are frequently found in exterior applications where there is a concern of liquids entering the access opening. The doors include a channel frame, aluminum frame and engineered lift assistance for one-hand operation. Illinois Construction Specialties procured the doors for Walsh.

Workers ascend and descend on ladders equipped with fifteen LadderUP® safety posts, also manufactured by BILCO. The safety posts feature a telescoping design that is spring balanced for easy operation and includes adjustable mounting hardware that accommodates virtually any ladder rung size or spacing.

“We do quite a bit of work with BILCO for this application, especially in maintaining a fire rating or if there is a tank underground,” Deis said. “They service the entire country, and

we do work all across the country. We know that we can count on them to service this product.”

The hospital recorded more than 850,000 patient visits during the fiscal year in 2017, providing care to more than 57,000 veterans from 3 counties in the area. It was listed in the National Register of Historic Places in 2013 and is named after the son of Chicago lumber magnate Edward Hines, who purchased the property in 1917. Edward Hines Jr. died while serving on the front lines in France during the opening months of World War I. The hospital was the first VA hospital to be named after a person.

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For over 90 years, The BILCO Company has been a building industry pioneer in the design and development of specialty access products. Over these years, the company has built a reputation among architects, and engineers for products that are unequaled in design and workmanship. BILCO – an ISO 9001 certified company – offers commercial and residential specialty access products.

BILCO is a wholly owned subsidiary of AmesburyTruth, a division of Tyman Plc. For more information, visit www.bilco.com.

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