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CANADIAN ARCHITECT jun/18 commercial/industrial

jun/18 v.63 n.06

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It’s a happy coincidence that Flynn Group of Companies helped give WSP Place in Edmonton a new lease on life just as both celebrate their 40th years. A lot has changed since 1978. When it comes to modernizing a decades-old building envelope to LEED® Gold, we’re aiming for a higher standard than “good as new”. Flynn’s design-assist team was involved at an early stage to advise on materials selection and design. Because however sleek the aesthetic, performance is the underlying beauty of any modern façade system. Flynn supplied and installed curtain wall glazing, punched windows, and wall panel, all while the building was fully occupied. The insulated wall panel assembly uses thermal isoclips to help bring the building’s thermal performance into the 21st century. Here’s to the next 40 years!


See more photos at

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canadian architect

June 2018


07 News

Projects, awards, letters to the editor; remembering Will Alsop.

37 insites

Robert Kleyn reflects on Selwyn Pullan’s nocturnal cityscapes.

41 Books

Berlin’s strained urban evolution; Stantec’s prolific airport designs. 15

48 Calendar


15 Two rivers run through it

An artisanal butcher cum bistro opens in Vancouver. TEXT Michael Turner

18 Urban Forest

In Quebec City, a parkade rises to the level of high art.


Design-related events across Canada and elsewhere.

50 backpage

David Theodore reports on an innovative park project.

Odile Hénault

22 industrial evolution

The Kiln Building in Toronto offers a paradigm of community-centred heritage conversion. TEXT Alex Bozikovic

31 high function Bob Gundu

In Brampton, Ontario, an operations centre embraces mindful design principles. TEXT John Lorinc

A close-up of the Sainte-Foy Parking Garage façade in Quebec City, designed by coarchitecture. Photo by Stéphane Groleau.


v.63 n.06


The National Review of Design and Practice / The Official Magazine of the RAIC

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­­Editor (2017-2018) adele Weder, hon. mRAIC

The banner response of GSD students at Harvard to the “Shitty Men In Architecture” list. Photo courtesy of


Gender equity starts at school TEXT

Brigitte Desrochers

The more we talk about gender inequity in architecture, the more disturbing the conversation. As Despina Stratigakos, author of the book Where Are the Women Architects? has said: “The simplistic explanation, trotted out for decades, that women leave practice to have babies doesn’t hold up to scrutiny.” Instead, “it is the presence of significant subtle (and sometimes overt) attitudes and biases that both exclude women, and disproportionately lead them to abandon architecture as a profession.” Earlier this year, the Architects’ Journal published the results of a poll of nearly 1,500 United Kingdom-based professionals, revealing that one in seven female respondents reported having experienced sexual harassment in the past year. Then, the New York Times reported allegations of sexual misconduct against Pritzker Prize-winning architect Richard Meier, who then took a six-month leave from his practice. And then someone created the “Shitty Architecture Men” list, an open spreadsheet of alleged misconduct. It was aimed at the profession, but it collected multiple citations of sexism, harassment, bullying, intimidation and assault in architecture schools, including the Harvard Graduate School of Design. That prompted some GSD students to hang banners to actively seek out a change of culture. Just last month, GSD female faculty signed a letter with the following assertion: “We too have suffered and still do from this culture in our own daily encounters, both here and in the broader design community.” Harvard is not unique. Other schools across the United States have been fielding growing complaints of a “boys will be boys” mentality that normalized “toxic” behaviour, and investigations and apologies have resulted. But what about Canadian schools? With their healthy gender ratios, architecture schools barely registered in our debates on gender

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equity in the profession. This might have been an oversight. The long hours of one-onone studio teaching, the theatrics of reviews, the virtual quarantine of students with their thesis directors during the now-mandatory Master’s degree, the protection offered by tenure and deeply entrenched pecking orders on many a faculty all contribute to creating a fertile ground for sexism and harassment. Pressed as they are to defend studio against the pressure brought by universities to use more lucrative teaching formats, schools lack incentives to bring sexism and harassment issues to the fore. Going down this path also risks deterring talented men and women from applying. And once registered in a programme, most students fail to identify sexism and harassment for what it is. Those who do ask for help usually receive support that is centred on their personal well-being; from there, very few will negotiate the fraught process of lodging a formal complaint. A whisper culture is the safer option, until one gets out of school—and into the workplace. The profession inherits the problem. It can also be key in addressing it, by requesting that architecture schools perform yearly evaluations of the potential toxic culture at their institutions. Standardized questions can be folded into the evaluation forms that students fill in after every course. Results can be broken down by course for Equity Offices; and by school for prospective students, employers and the wider public. A comparable system is in place in the federal public service and at the larger architectural firms bidding on federal contracts. As one element in an expanded tool-kit, it can help us chart a responsible way forward.

Editor (on leave) elsa lam, mRAIC Art Director Roy Gaiot assistant Editor Stefan novakovic Editorial Advisor Ian Chodikoff, OAA, FRAIC Contributing Editors Annmarie Adams, FRAIC Odile Hénault Douglas MacLeod, ncarb, MRAIC Regional Correspondents Halifax Christine Macy, OAA Regina Bernard Flaman, SAA Montreal David Theodore Calgary Graham Livesey, MRAIC Winnipeg Lisa Landrum, MAA, AIA, MRAIC Vice president & Senior Publisher Steve Wilson 416-441-2085 x105 sales MANAGER Faria Ahmed 416-441-2085 x106 Customer Service / production laura moffatt 416-441-2085 x104 Circulation 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 Website Canadian Architect is published monthly 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. Subscription Rates Canada: $54.95 plus applicable taxes for one year; $87.95 plus applicable taxes for two years (HST – #80456 2965 RT0001). Price per single copy: $6.95. Students (prepaid with student ID, includes taxes): $27.00 for one year. USA: $105.95 US for one year. All other foreign: $125.95 US per year. Single copy US and foreign: $10.00 US. Return undeliverable Canadian addresses to: Circulation Dept., Canadian Architect, 101 Duncan Mill Road, Suite 302 Toronto, ON M3B 1Z3. Postmaster: please forward forms 29B and 67B to 101 Duncan Mill Road, Suite 302 Toronto, ON M3B 1Z3. Printed in Canada. All rights reserved. The contents of this publication may not be re­produced either in part or in full without the consent of the copyright owner. From time to time we make our subscription list available to select companies and organizations whose product or service may interest you. If you do not wish your contact information to be made available, please contact us via one of the following methods: Telephone 416-441-2085 x104 E-mail Mail Circulation, 101 Duncan Mill Road, Suite 302, Toronto, ON M3B 1Z3 Member of the Canadian Business Press Member of the ALLIANCE FOR AuditED MEDIA Publications Mail Agreement #43096012 ISSN 1923-3353 (Online) ISSN 0008-2872 (Print)

Brigitte Desrochers is an alumna of the Harvard Graduate School of Design and the former Architecture Officer at the Canada Council for the Arts.

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PROJECTS Patkau and MJMA unveil tall-wood tower design at University of Toronto


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Just south of Bloor Street, the University of Toronto is planning a striking addition to downtown’s St. George campus. Rising above the Goldring Athletic Centre—which was designed by MJMA to accommodate a structure atop it—the design envisions a 14-storey mass timber and concrete hybrid tower. Designed by Patkau Architects and MJMA, the tower is expected to be the tallest mass-timber and concrete hybrid of its kind in North America. The project accelerates a growing trend in the use of mass timber technology at academic institutions. At the University of British Columbia, the recently completed Brock Commons Tallwood House student residence stands at a height of 18 storeys, while Toronto’s George Brown College recently held a design competition—won by the team of Moriyama & Teshima and Acton Ostry Architects—to bring a tall wood building to the Toronto waterfront.

Provencher Roy transforming Montreal’s Olympic Tower into office space

This summer, Desjardins’ online services office will move to the Montreal Olympic Tower. The premises, vacant since 1987, are currently being transformed into commercial space. The interior design follows the architectural work carried out by Provencher Roy + Associés. Desjardins’ call centres and administrative offices will take up seven of the tower’s 12 storeys—80 per cent of the available rental space. During the work undertaken in 2015 to refurbish and renovate the tower, which had been planned well in advance by the Olympic Park administration, Provencher Roy replaced the existing prefabricated concrete envelope with a curtain wall for more abundant transparency and fenestration, thereby augmenting the presence of natural light within while respecting the original architecture.

DTAH to design new Ontario Place park

Ontario Minister of Tourism, Culture and Sport, Daiene Vernile announced plans for more green space for Ontario Place, using the occasion of her May announcement to unveil the design for Celebration Common, a new multi-purpose waterfront park that will be roughly the size of 14 football fields. The park, designed by DTAH, will host large-scale festi-

ABOVE Rendering of the 14-storey mass-timber and concrete tower designed by Patkau Architects and MJMA, planned for the University of Toronto campus.

vals and events and feature an outdoor children’s play area and a beach for all ages.

DARE District by Diamond Schmitt opens at Algonquin College in Ottawa

Algonquin College in Ottawa has opened a new centre for learning, innovation and entrepreneurship with collaborative environments that emphasize sharing and embracing of Indigenous knowledge. The DARE (Discovery, Applied Research and Entrepreneurship) District promotes new, active ways of learning and teaching that connects students, researchers, the Indigenous and business communities. The 80,000-sq.-ft. program, designed principally by Diamond Schmitt Architects in a joint venture with Edward J. Cuhaci & Associates Architects, consists of newly built and renovated space at the heart of the campus. On the ground floor, the Indigenous Commons and Gathering Circle is a highlight of the new complex. The large event venue and collaborative work area is situated in a single-storey infill addition that opens onto a courtyard that will feature a wood

structure and fire pit configured to support Indigenous pedagogy. Led by Indigenous architect Ryan Gorrie of Brook McIlroy, the design of the Indigenous Commons and Gathering Circle involved extensive consultations between the project’s Indigenous stakeholders and the Brook McIlroy team designing spaces that specifically accommodate Indigenous pedagogy.

Lemay, Perkins+Will, and Bisson Fortin to design Montreal’s REM stations

One of North America’s largest public transportation projects, the Réseau Express Métropolitain (REM) will transform the commuter rail experience in the Greater Montreal Region. The firms Lemay, Perkins+Will and Bisson Fortin will design an integrated, sustainable system of light-rail train stations, woven into urban, industrial and natural landscapes, as part of NouvLR General Partnership’s new contract for the 67-kilometre network, the largest integrated urban design project in the history of Montreal.

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News Canadian Architect Awards of Excellence

Canadian Architect’s 51st annual Awards of Excellence program is now open for submissions. The awards celebrate projects in the design or construction stages, as well as student projects. The 2018 submission deadline is September 20, with more details at the link below.


Rendering of winning affordable-housing scheme designed by 5468796 Architecture.

5468796 wins affordable housing competition

Winnipeg-based 5468796 Architecture is one of four winners of the Housing Northwest Arkansas Professional Design Competition. Led by the Fay Jones School of Architecture and Design at the University of Arkansas, the competition aimed to develop inspiring, affordable housing options for the state’s growing population. The 5468796 proposal, called “14th Street Housing,” is intentionally organized to a 10x10x10 framework, whose post-and-beam grid extends from the cast-in-place concrete covered parking to the wood-frame mix-use residential buildings and interior configurations. The commercial areas, shared amenities, and residential units can be customized into various sizes to keep costs under control.

Ontario announces new investments in mass-timber

The Province of Ontario has promised new funding for research, education and construction of tall wood buildings through its Mass Timber Program. This program is part of Ontario’s Climate Change Action Plan and is funded by proceeds from the province’s carbon market. The Ontario government will commit $3.15 million for research and development of the next generation of mass-timber building systems, as well as $2.2 million to support specialized training for architects, engineers, designers, builders, educators and the trades. Up to $2.45 million is earmarked to support four mass-timber projects, including The Arbour at George Brown College and the University of Toronto’s Goldring Centre academic tower.

Audain Art Museum named among 2018 RIBA International Award winners

Already lauded with a Governor General’s Medal in Architecture, an AIA Award and other accolades, the Audain Art Museum by Patkau Architects has now been selected as the sole Canadian recipient of the Royal Institute of British Architects (RIBA)

International Award. Completed in 2016, the Whistler, B.C.-based museum is described by RIBA as “a very elegant gallery which exploits its beautiful forest setting. It uses the site and climate constraints to inform the design that is modest, considered and well built.”

Toronto YMCA wins Prix du XXe siècle

The Royal Architectural Institute of Canada (RAIC) and the National Trust for Canada has named the Toronto Central YMCA by Diamond Schmitt Architects as the 2018 Prix du XXe siècle, for its enduring excellence and signifi­cance to Canada’s architectural legacy. Jurors Michael Heeney, FRAIC, Kendra Schank Smith, FRAIC and John Leroux, MRAIC noted that the design “embraced its somewhat modest materials, such as raw concrete and precast masonry block, and gave them an inherent dignity through simple design gestures and daring interior spaces.”

Albion Library wins at COTE Awards

The Albion Library in Toronto, by Perkins+Will, is the sole Canadian project among the American Institute of Architects’ recently announced COTE Top Ten Projects, which celebrate the integration of design excellence with environmental performance.

Tom Arban


Opening credits for Fort York Visitor Centre, designed by Patkau Architects in collaboration with Kearns Mancini Architects, inadvertently omitted the Kearns Mancini name.

James Brittain


In regards to the May 2018 Governor General’s Medals in Architecture edition, we would like to apologize for the following errors:

Parallelogram House, designed by 5468796 Architecture in East St. Paul, Manitoba, somehow was relocated to Regina, Saskatchewan in the introduction and project opening credits. Also, we would like to clarify that the top and bottom photographs on page 74 were taken by the firm rather than the main photographer, James Brittain (whose photo is seen above.) Canadian Architect regrets the errors.

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lETTERS TO THE EDITOR CLIENT: The Siplast importance JOB#: SIPL-17-002 2018 Print Campaign

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We read with great interest the editorial message in Viewpoint in the May

TRIM: 3.8"w x 9.85"h 2018 edition of Canadian Architect, “A modest proposal for architecture LIVE: 3.8"w x 9.85"h awards: BLEED: .n/a make the judges experience the architecture.” The Moriyama COLOR: CMYK RAIC International Prize presents an interesting example of an architec-

ture award program that not only requires the building to have been PUB: Canadian Architect CONTACT: in use for a specified period of time (at least two years, in the first two Steve Wilson editions of the award), but also identifies the site visit as an essential

component of the evaluation process. In the 2017 edition of the prize, of the jury visited shortlisted projects in Australia, Denmark, Japan and Canada, and, not surprisingly, each described the experience as having revealed qualities of the project that had not been apparent in the original submissions. Architecture is a multi-sensory experience. In The Eyes of the Skin, author Juhani Pallasmaa reminds us that “qualities of space, matter and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle.” The concerns expressed by Robert Gretton in 1970 are even more pertinent today, and we hope that organizers of Canadian architecture award programs will hear Adele Weder’s call to action.

RELEASE: 5/10/18 individual members INSERTION: June

Barry Johns, FRAIC AAA, Chancellor of the RAIC College of Fellows 2011 - 2017 Jury Chair, 2014 and 2017 Moriyama RAIC International Prize David Covo, FRAIC OAQ, Professional Advisor, 2014 and 2017 Moriyama RAIC International Prize  

More plans and drawings, please

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I just opened this month’s magazine featuring the Governor General’s Medal projects. It’s always exciting to see some of the best contemporary architecture in Canada. My big question is this: Where are the drawings?! I wish I could say that this month was unique in its lack of documentation, but it’s not. Canadian Architect is simply not technical enough. It would be so much more useful to your readership to produce articles that feature not just great photography and good writing but also plans, sections, elevations and wall sections. Otherwise, we just have to believe the editors that these buildings work on other levels, such as circulation and building envelope science. We must remember that one purpose of reading an industry publication is to learn something; that ability is greatly reduced without drawings. I do think the magazine could improve by becoming more technical.  

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For conventional feature projects, Canadian Architect usually publishes at least one floor plan, section, axonometric or other drawing, depending on the nature of the project. To showcase the Governor General’s Medal projects, we culled from the architects’ submission packages, which in some cases did not include any plans or drawings. From my perspective as both an architectural journalist and a jury member on the most recent adjudication, I believe that plans and drawings should be a requirement for all future GG submissions, and consequently all future corresponding coverage. Regarding our regular features—it’s largely a question of grappling with competing priorities for limited page space, but should we be devoting relatively more editorial space to plans and technical drawings? Your point is duly noted and well taken. —Adele Weder, Editor 2017-2018

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Will Alsop at work.

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British architect Will Alsop, whose exuberant buildings enliven cities on both sides of the Atlantic, died on May 12 at the age of 70. Born in Northampton in central England in 1947, Alsop studied at the Architectural Association in London. He cited Le Corbusier and Mies van der Rohe as well as Sir John Soane among his inf luences. But Alsop’s work had a playful style all its own. “Architects are the only profession that actually deal in joy and delight—all the others deal in doom and gloom,” Alsop once told The Observer newspaper. The Peckham Library in London (2000) helped catapult him to international acclaim and led to many work offers abroad, including Toronto. Alsop did the schematic design of IBI Group’s Finch West and Pioneer Village stations on the new Toronto-York Spadina subway extension, in joint venture with LEA and WSP. But his best-known project in Canada will likely always be the artfully elevated 2004 Sharp Centre at the Ontario College of Art and Design in Toronto, with Robbie/Young + Wright Architects. Landing like some rakish spaceship above the architecturally conservative heart of Toronto, the unapologetically declarative structure helped foster a stronger architectural identity for Toronto at the dawn of the 21st century. Walk along McCaul Street, or Grange Park, and try not looking up. Phyllis Lambert, the founder and Director Emeritus of the Canadian Centre for Architecture, sent Canadian Architect a tribute statement in the wake of his passing. “It seems impossible to lose someone as vital as Will Alsop. Alsop manifested in the daring of his work, the creative and original spirit of his mentor Cedric Price. Alsop’s methodology in perpetuating Price’s sense of ‘joy and delight’ was however very different, generating solutions through highly colored broad-gestured paintings, rather than being oriented towards Price’s broad societal concerns. Alsop’s approach led to the highly innovative box for studios at the Sharp Centre at the Ontario College of Art and Design in Toronto. Black squares against white ground camouf lage window openings, to assure the boxiness of the box that is held high above adjacent four-storey buildings on long, colored, sloping poles, giving open passage from street to garden. It brings joy and sensuality to the city.”

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Two rivers run through it

an artisanal butcher integrates an on-site eatery Two Rivers Meats, North Vancouver Campos Studio with Domain Creative TEXT Michael Turner PHOTOS Ema Peter PROJECT


While digital technologies have undermined and shuttered so many neighbourhood theatres and bookstores, a concurrent embrace of more ancient operations like bakeries and butchers has allowed progressive companies like Two Rivers Specialty Meats to expand beyond the production and distribution of meat to include its cooking and consumption onsite. A dream of Margot and Jason Pleym, Two Rivers began in 2007 with an office, meat-cutting room and warehouse in a shared groundlevel building in a light-industrial-zoned waterfront district of North Vancouver. As the business grew, so did consumer interest, with many asking if Two Rivers might one day “go retail.” In 2016, Two Rivers

and interior designer Anna Walentowicz enlisted Campos Studio to help turn an adjacent space into a point-of-purchase outlet and “fast casual” dining room that would both meet its clients’ needs and ref lect the company’s commitment to “quality meat products, respect for the animals and people we work with, and excellence every step of the way—from how we choose our partners to the cuts on your plate.” For designer Javier Campos, inspiration came from the open-air markets at the southern tip of Mexico’s Baja California Sur, where he has been designing sleek, low-impact houses for the past dozen years. “I’ve always been attracted to the improvisational nature of these markets,”

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says Campos, “the variability of the shops and the intimacies they engender.” These “intimacies” include a culinary version of modernism’s truthto-materials credo: a transparency that precedes the spectated assembly of a meal to include the public preparation of its constituent parts. Two Rivers retractable full-length windows allow easy circulation between the shop’s interior and its patio. Those partial to front door entrances are met by the butcher counter, behind which are two glassed-in rooms: one for the drying of meats (south end), another for its butchering (east end). Along the north wall is a canopied cooking area and dining counter; along the east wall to the butchering room, a bank of display cases. On the f loor between the butcher counter and the cooking area are three long tables surrounded by stools. Linking the production and dining areas are f luorescents sus-

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pended from the 20-ft. ceiling, with Tom Chung’s Spun Light over the customer counter. Materially, Two Rivers is composed of six main elements: a terrazzo f loor, square enamel tiles, stainless steel, glass, pine boards and birch-ply furniture, which Campos points out is “inspired by the exposed ceiling beams of the base building.” The distribution of these elements is complementary, balanced, with nothing out of scale, nor anything resembling a folly. The overall effect is a clean, “Dutch modern” environment punctuated by the colours of the meats and seasoned by a clientele that range from dusty tradespeople to well-heeled cosmopolitans. Like all thoughtful spaces, the Two Rivers outlet has attributes that only come to light after subsequent visits—one of which is light itself. When I ask how he achieved the sparkle along a vertical section of the

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Chef Tony Starratt’s kitchen and eatery works in tandem with the butcher shop. The retail outlet offers customers house-made sausages, salumi and hand-tooled cuts. aboVE Honesty is the design policy: the company, known for its mindfulness of animal husbandry, is open about its product preparation, seen freely through the glass walls that backdrop the shop and eatery. Far Left left






2 3

tiled east wall, Campos too lights up. “You noticed!” he beams. “Well, it’s important that a butcher shop be sparkling clean, so for those highly visible sections, we placed the tiles at different angles. Anna said it almost drove the tilers loco, but I think you’ll agree that it hits the right note.”



Michael Turner’s latest book, 9x11 and other poems like Bird, Nine, x and Eleven, will be published this fall by New Star Press. floor plan Client Two rivers Meats Architect Team campos studio: Javier Campos, Czarina Ray, Sarah Cree, Jacquelyn Bortolussi, Regan Appleton; Domain Creative: Anna Walentowicz | Structural Min park, PNB Engineering | Mechanical B.C. Comfort | other consultants Fraser Valley Refrigeration, Envirotech | Electrical Ambleside Electric | Contractor Humphries Construction | Area 2,565 ft 2 | Budget withheld | Completion October 2017

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 1 cookline  2 charcuterie  3 retail  4 Dry age room  5 walk-in cooler  6 butcher room  7 spice room  8 prep kitchen



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Urban Forest In Quebec City, a parking garage rises to the level of high art

Place Sainte-Foy Parking Garage, Phase 1, Quebec City Coarchitecture Text Odile Hénault Photos Stéphane Groleau Project


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In Quebec City, as elsewhere, one rarely sees a parking garage worthy of attention. But a new five-storey structure on the city’s periphery makes a delightfully bold statement. The building of this unusual shopping centre parkade however was the result of a series of coinciding events. For a start, the owners of Place Sainte-Foy, Quebec City’s very f irst mall, were facing the need to replace an existing parking facility that had long been considered an eyesore. New planning regulations had just been adopted in an attempt to make the area more amenable to local residents. Municipal authorities eventually agreed to a zoning amendment on condition that the architects come up with a visually compelling concept. Ivanhoé Cambridge, who built the mall in 1957—and still owns it—hired Coarchitecture, a well-known Quebec City firm to design the structure.

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ABOVE The new Place Sainte-Foy Parkade is proof that even parking structures can be designed in a visually compelling way. Right The assembly sequence: the aluminum panels and superimposed modules are fixed to metal columns bolted to the slabs.

The firm has developed over the years a strong reputation for its innovative use of materials and its environmentally sound approach to building. It has also attracted attention for its increasing design capabilities. The program was simple, yet challenging: it called for a naturally ventilated building that would appeal to the eye, enhance shoppers’ experience, and hide from view up to 700 parked cars. The idea of an urban forest came up as the architects searched for a narrative. The site is located on territory once covered with giant oak trees, eventually harvested and shipped to England. According to Normand Hudon, Coarchitecture principal and project director, “A stylized oak leaf was the inspiration for the design of the perforated aluminum panels used as the building’s main cladding.”

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Painted in shades of red, yellow and off-white, these identical 5’ x 5’ panels are bolted to metallic columns anchored to the parking structure. The concrete slabs were poured in place with the rim beam extended upwards to serve as protection along the perimeter. The modulating of the façade came out of the introduction of concrete “pyramids,” open on two sides and placed over parts of the metallic cladding to create a dynamic effect. The rotation of these elements and their clever positioning over the lace-like underlying motif serve to animate the façades. The modular approach adopted by the architects was also a reference to an early pavilion built on the nearby grounds of Laval University. A new type of high-performance fibre-reinforced concrete (HPFRC) was used for the pyramidal modules. Still not used on a large-scale

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ABOVE The five-storey parking structure was designed to accommodate two extra floors above the roof, which currently serves as a parking area. Vertical circulation is located in each of the four corners. Below The composite drawing shows the architects’ various sources of inspiration, including a 1957 mural, the modular panels of a nearby university pavilion, and the leaf and trunk of an oak tree. upper right View of protected ground link between parkade and the shopping centre. lower right Interior of the parkade, where the cladding generates interesting patterns of light and shade.

mosaic colours




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in North America, it is basically the same material that generated widespread attention when the Musée des civilisations de l’Europe et de la Méditerranée (MuCEM) in Marseille, designed by French architect Rudy Ricciotti, opened a few years ago. Among its many properties, such as its higher density and its great resistance to freeze-thaw cycles, this type of concrete can be tinted and poured into moulds, opening countless possibilities for designers. To complete the urban-forest analogy, the architects introduced contrasting grey concrete panels evoking tree trunks at street level. The shopping centre is connected to this first parking structure through a glassed-in upper-level link and a protected ground level access. The success of the operation soon led to a second similar structure that is currently nearing completion. Imagination and talent played an immense role here, as did the introduction of this fibre-reinforced concrete technology. Although its artistic potential is still not widely recognized on this side of the Atlantic, the Sainte-Foy Parkade may well inspire architects to look more closely at this versatile material and the wonders it can create. Odile Hénault is an architectural writer and consultant based in Montreal.

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Client Ivanhoé Cambridge | Architect Team Normand Hudon, MRAIC; César Herrera, Guy Gilbert, Guylaine Lafortune, Jean-Philippe Saucier, Diego Diaz Bolanos, Vincent Morissette, Sébastien Vachon, Vanessa Proulx, Lydia Comtois, Paul Ouelette | Structural/Mechanical/Electrical WSP | concrete Modules bétons génial | landscape François Courville | Area 21,440 m 2 | Budget $50 M | Completion 2017

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Industrial evolution

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the kiln building offers a paradigm of community-centred heritage conversion

The Kiln Building at Evergreen Brick Works LGA Architectural Partners TEXT Alex Bozikovic PHOTOS Ben Rahn/A-Frame PROJECT


Stock and sand-lime. Soft-mud and stiff-mud. These are some types of brick produced between 1889 and 1989 at what’s now the Evergreen Brick Works near downtown Toronto. The place, at the bottom of the Don Valley, has a historic and visual richness to match the jargon masonry: Its obsolete industrial buildings have been adapted into a collage of new and old uses, new concrete and old brick. The latest addition to that ensemble is a redevelopment of the Kiln Building, the largest structure on the site, as an event and educational centre. Led by LGA Architectural Partners, this is a subtle and complex project: providing an example of sustainable building through the adaptive reuse of a heritage building in a f lood plain. And doing so while retaining as much of its brick and steel as possible.

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The Brick Works development repurposed an abandoned brick-making factory and quarry that shuttered in 1984 and added a LEED platinum certified building to create a vibrant new public space. opposite Renderings show the planned interior finishings and some of the future activities of the Kiln Building. To extend the building’s use through all seasons, the design team enclosed the open portion of the building with a custom, retractable wall of high-performance glazing. left


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There’s a lot to retain. The building embodies the industrial sublime: Its massive, cathedral volume contains an assembly of low kilns, each with improbably long proportions and thousands upon thousands of bricks that testify to the craft of a century ago. “There are so few places left that have this kind of texture,” explains LGA partner Janna Levitt. “The project was a series of edits and surgical operations. You couldn’t leave it just the way it was, but we wanted it to feel as close to that as possible.” Also known as Building 16, the 133-by-37-metre structure sits in a corner of the Brickworks site, which also includes a former quarry and renaturalized open space. The whole place has been a city park since the 1990s, and since 2010 its dozen or so buildings have been operated by the non-profit Evergreen with a variety of programs, including an education centre, a restaurant and event venue. Evergreen “always saw a really big use for this building,” says the group’s CEO, Geoff Cape, “But we hadn’t had the big idea.” It is, after all, a big place, even cavernous: close to 60,000 square feet, with a roof that peaks at four storeys. Until recently about a quarter of its f loor space was open, and the rest filled with remnant kilns–long brick structures, variously vaulted or f lat-roofed, which served as stations in the brickmaking process. The current renovation makes the space usable for large-scale events of up to 2,000 people, principally by closing the envelope, adding washrooms and raising the building’s f loor level.

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50 year flood





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The architects worked with the City of Toronto’s Heritage Preservation Services, Toronto and Region Conservation Authority, and Ontario Heritage Trust to stabilize, flood-proof and retrofit the building.

flood projection

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The work was more complex than it sounds. The Evergreen Brick Works, after all, has a complex history. During Toronto’s rapid growth from the 1880s to the 1950s, many of the bricks that define the city’s architectural fabric were pulled from the earth, formed and baked right here. “There is hardly another place that has the same pervasive relationship with the built fabric of the city,” says Evergreen CEO Geoff Cape. The Kiln Building was constructed in 1956-1957, containing a series of long, narrow kilns for drying and then firing brick. Railroad cars were used to move the brick, and also coal that was used to feed the kilns. The rail tracks on which those carts ran created one of the major heritage conundrums in the current project. The client and architects agreed that the f loor needed to be raised: It had been about three feet below grade, which made the building inaccessible and awkward. You had to step down from an adjacent courtyard “like you were stepping into a pit,” as Levitt aptly puts it. And yet heritage planners wanted the pattern of the f loor preserved in some form, as a trace of the site’s material history. “It was a big negotiating issue—if you’re going to raise the f loor and cover it, what do you do with the existing f loor, which is part of the history of the place?” LGA and their collaborators, including heritage architects ERA , designed a new poured-concrete f loor that replicated some of what lay below. Embedded steel strips trace the paths of the rail tracks. The move echoes the replica rail ties that James Corner Field Operations and Diller Scofidio installed on the High Line in New York, albeit in a more subtle form. Elsewhere in the Kiln Building, the concrete f loor surface is sandblasted to show the footprint of kilns long since removed. Raising the f loor also made the building less vulnerable to f looding, a major issue. After all, the Brick Works sits in a valley, and while the Don River is a relatively narrow river it is very much prone to f looding.

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YR 2525YR yr 1010YR yr 5 5YR 2 yr 2 YR

Significant f loods are a frequent occurrence on the site. The new, higher f loor level is above the level of a so-called 50-year f lood, an event that actually happens much more often than that. Further f lood mitigation comes from channels within the f loor slab; the concrete was poured over domed plastic modules (the Canadian-made Cupolex system), which provide a drainage channel while also reducing the amount of concrete required for the slab. LGA and their collaborators were given a strong sustainability mandate: The project, over the long term, is intended to be carbon-neutral. In order to achieve this, the architects specified a combination of geothermal heating and cooling, combined with a radiant system within the f loor slab. They also relied on passive ventilation; new skylights near the top of the gable will ventilate the massive space. Otherwise, the structure remains remarkably thin. Its walls had been open in places at ground level; the architects filled these gaps with a highperformance triple-glazed curtain wall. The upper reaches of the structure, which are not airtight, were largely left alone. “It was a restrained and light-touch approach in all respects,” says LGA’s Drew Adams, “whether it was how we insulate the building or how we make interventions.”

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With Phase 1 of the project now completed, the Kiln Building will re-open operations as both a preserved post-industrial heritage site and a functional 2,000-person event and educational space.

Indeed, the new additions are designed to be quiet and distinctly contemporary, a counterpoint to the existing building. Washrooms—21 stalls, in a gender-neutral arrangement—are contained within a box that will be clad with white back-painted glass. A classroom and studio to be inserted into the rafters, in a second phase, will be similarly minimal. Where the new architecture cuts into the old, it does so quietly. The long, narrow kilns are difficult to reuse, but LGA called for a few of them to serve as the Kiln Gallery; to allow visitors into this sequence of parallel spaces, they designed one crosswise cut, topped with new structural steel that matches the trusses above, and patched the brick walls with reclaimed masonry from elsewhere in the building. It’s almost impossible to spot the architects’ hand. Similarly, LGA and ERA called for much of the interior detail to be left as is. Graff iti—which was painted while the site lay vacant in the 1990s—hasn’t been cleaned off. Beneath it, the hard-working masonry of the kilns remains in place, its cornucopia of brick spanning thirty years of production and a menu of bonds and weaves. From up above on a catwalk, you can glimpse the whole assembly of architectural elements, “and you can begin to read it,” as Adams suggests. “The way this place worked starts to reveal itself.” In the future, it will be home to events for rental and also the hub of Future Cities, a new alliance between Evergreen and other urban-focused nonprofits across the country. To Levitt, this place, so redolent of history, is just the right spot to think about the future of cities. “We’re interested in opening up the possibilities of this space and of these artifacts,” she says. “Do you want to put a glass over it so that it never changes? Or do you want to allow it to evolve as we put our contemporary interests into these spaces? I think that’s a more compelling way to look at heritage.” This approach echoes the High Line, that rail-line-turned-promenade, but even more closely Peter Latz’s 1991 Duisburg-Nord Landscape

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Park. Like that site in Germany’s industrial heartland, Evergreen Brick Works speaks to a vanished industrial past, and there as here the machinery and spaces of the past are treated as artifacts. It’s an approach that treats material history and patina as finite and valuable resources, wisely so. Evergreen and its architects deserve credit for their incremental approach, which allows us to remember that the city, now so unfathomably complex, began with hunks of mud. Alex Bozikovic is architecture critic for The Globe and Mail and co-author of Toronto

Architecture: A City Guide. Client Evergreen | Architect Team Janna levitt, FRAIC (partner-in-charge), drew adams, MRAIC (project architect), fernando alexim,mary chui, rachel cohen-morison, chantal cornu, jennifer davis, rachel law, joseph loretto | Structural ARUP | Mechanical brookfiELD GIS | Electrical IANUZZIELLO & ASSOCIATES | civil SCS CONSULTING | inteRIors I LGA architectural partners | heritage consultant E.R.A. | Contractor Ltd | Area 5,650 m 2 | Budget $10.6 M | Completion May 2018

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Bob gundu

canadian architect 06/18


high function a municipal operatons centre for maintenance equipment benefits from mindful design principles Williams Parkway Operations Centre, Brampton, Ontario RDHA TEXT John Lorinc PHOTOS Tom Arban and Bob Gundu PROJECT


The periphery of Brampton, Ontario, a rapidly growing satellite city in Greater Toronto’s 905 belt, can feel like the land of the giants: the arterial roads are exceptionally wide, even by suburban standards, and they are lined with fortress-like distribution centre and vast car assembly plants. Amidst the over-whelming industrial scale of this landscape, the City of Brampton’s new Williams Parkway Operations Centre is a structure built not only to human scale, but with expressive design ele-

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ments that literally stick out in an otherwise inhospitable environment. The 190,000-sq.-ft complex—designed by RDHA and completed last fall after a two-phase construction period—declares its intent from a distance with a luminous, glass-walled boardroom cantilevered out over Williams Parkway. That space is the end of a 500-ft-long corridor—a light-filled, two-storey corridor that serves as the central spine linking the two elements of the centre.

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At one end is a two-storey open-concept block for administrative offices. At the other are functional areas: a sign shop, a cavernous vehicle repair bay f illed with soft natural light, and then facilities (change rooms, a cafeteria) for the plough and vehicle operators for whom the operations centre is a dispatch hub. A landscaped courtyard with tables and seating is nestled between the two. The slab-on-grade structure features exposed steel beams, acoustically treated cherry-wood panels, frameless glass partitions and a suspended staircase near the entrance. The glazing has a frit pattern designed to filter afternoon sun and the spine structure is lined with vertical shade fins secured by cable bracing. Outline, a long scrim with the words Williams Parking Operations Centre extends along the edge of the parking lot: this structure is the outward facing wall of a covered walkway leading into the parking area where the heavy equipment is kept. Brampton officials decided to replace its 1970s operations complex— home to snow ploughs, salt sheds, municipal f leets, and capital works staff—after evaluating the long-term needs of a municipality projected to grow from 600,000 people to almost a million, says Mike Parks, Brampton’s director of road maintenance, operations and f leet, and the principal client for this project. The complex was built to LEED Gold standards, with features such as geothermal heating, a green roof, FSE-certified wood and solar-powered lighting in the works yard; the certification process is underway. RDHA design partner Geoff Miller says his firm has carved out a specialization in municipal operations centres—supremely functional buildings that particularly benefit from mindful design principles. The firm has com­pleted two others, in Newmarket, Ontario, and Surrey, British Columbia, and is working on several others, for the municipalities of Quinte West and Halton Hills, as well as a large centralized facility for province of Alberta. The City of Brampton, he explains, had multiple goals for the $46-million project: inserting distinctive architecture in an otherwise industrial setting, and using distinctive design to break down subtle social barriers between the white and blue collar employees who work in the centre. “One of the big generating ideas was to expose all of those people to one another.” To that end, there’s a single main entrance, and shared common areas along the spine. Transparency was another goal. The City, says Miller, wants to project the image of openness and accessibility; the curtainwall façade and

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the cantilevered meeting room figuratively communicate the idea that public business, even the prosaic work of planning capital works projects and plowing routes, is done in the open. In the boardroom, he adds, “you can see the meetings happening up and down the street.” Lastly, the design process involved extensive consultation with the men and women who use such facilities. Over the course of a year, Miller and his team and City of Brampton officials conducted detailed interviews and workshops to understand precisely how the space would be used, especially the industrial parts. “It was quite a long and involved process,” he says. But the result is that the spaces are not only optimized but organized with the needs of Brampton works crews or mechanics in mind. In the case of the latter, the repair technicians advocated for a garage with more natural light and less clutter in a space with lots of heavy and at times hazardous equipment, some of which is suspended from the ceiling. One consequence: the use of translucent retractable garage doors that fold accordion-style instead of rolling on tracks along the roof. The result is a space with better light and more safety.

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Ground Floor  1 offices  2 parking  3 site entry  4 stormwater retention pond  5 workshop wing / green roof  6 fleet repair wing  7 screen fence / covered walkway  8 recessed loading  9 equipment storage 10 works yard entry 11 surface storage



A linear two-storey glass atrium forms the transparent spine of the administrative wing, connecting every major space and encouraging interaction between office staff, outdoor workers and tradespeople in a common transitional zone, easing both access and security. right The reception foyer, elegantly designed and filled with natural light, exemplies the architecture’s attention to visitor and employee well being, advancing the industrial-building typology. below The Operations Centre aims to increase civic pride, as well as improve interaction between administrative staff, outdoor workers and tradespeople.

bob gundu

Tom Arban

Preceding pagE and opposite

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3 5


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Ground Floor  1 vestibule  2 reception  3 open office  4 cafeteria  5 meeting room  6 quiet room  7 comm room

 8 kitchen / copy room  9 electrical room 10 mechanical room 11 file archive storage 12 terrace 13 atrium extention 14 workshops

15 central stores 16 change rooms 17 storm control centre 18 fleet repair garage 19 screen fence / covered walkway



west elevation

longitudinal section through atrium

bob gundu

east elevation

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Tom arban

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“In other facilities that we’ve designed, we’ve had a lot less exposure to those people,” Miller points out. In the case of Williams Parkway, though, “it makes [for] a far better building.” Although Parks says that this outreach process delayed the project by about a year, he nonetheless agrees that the result is a building that’s highly synchronized to the tasks performed there. “That adjacency exercise was really important.” Given the substantial cost of the industrial portions of the complex, Miller says the high-concept architecture that unifies the different parts of the building didn’t drive up the price significantly. “This wasn’t a budget buster.” Parks, however, points out that phase two, the administrative off ice portion, did come in over budget because of engineering complexities associated with the suspended staircase, which is a showcase feature. Yet Miller also notes that the business case for a non-utilitarian design has to do with the fact that the city needs to attract and retain employees as it grows, and the quality of the work environment has a role to play. “It projects an image of a forward-thinking city, and that what happens here is taken seriously.” John Lorinc is a Toronto-based writer on architecture and urban affairs.

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Tom arban

Sustainable features contributing to the building’s targeted LEED Gold status include geothermal heating and cooling, an extensive green roof and ground-level courtyard, operable windows, solar-powered site lighting, on-site stormwater retention pond, and plug-ins for electric vehicles.

Client city of brampton | Architect Team bob goyache, MRAIC; Geoff Miller, MRAIC; Dan Herljevic, Tony lopes, sanjoy pal, shelley vanderwal, soo-jin Rim, tyler walker | Structural/Mechanical/Electrical/civil exp | Landscape nak design group | Interiors RDHA | Contractor elite construction (Phase 1), Aquicon (Phase 2) | sustainability consultant opresnik area 17,650 m 2 | Budget $46 M | Completion December 2017

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Selwyn Pullan: What’s Lost Text

Robert Kleyn Selwyn Pullan


The photographer’s Night images prompt a reconsideration of midcentury utopianism

The skills of Selwyn Pullan (1922-2017) and other architectural photographers of his generation changed the way we see architecture of the postwar era. The image is not transparent to the building; in its setting, it creates a scene. Through staged elements and framing of specific views under particular lighting conditions, architectural photography instituted an idealized relationship between viewer and building. As the current exhibition at the West Vancouver Museum reminds us, photography is a much more intention-laden medium than is commonly presupposed. This exhibition reveals a photographer testing his mastery, fully exploiting the range of his film stock, first in capturing the image, then in the darkroom printing where great craftsmanship was required. Today, Pullan’s images reveal degrees of obsolescence neither intended nor even conceivable at the moment of their making. These photographs show a side of Selwyn Pullan distinct from his colour pictures of sleek new postwar houses with happy young Vancouver families within. Instead, the night photos investigate a uniquely Canadian view of technology: “the electric drama,” as Marshall McLuhan called it, evoked by broad windows and brightly illuminated signs, and the purity of black and white f ilm. This “cosmic” view

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ABOVE “Clarke-Simpkins Showroom,” Vancouver, 1963, a car dealership designed by Thompson, Berwick & Pratt; demolished 1993.

of technology, however, hints at a darker counterpoint: the deprivation and emptiness that would grow out of these new technologies Among the roughly 50 images on display in What’s Lost, four pictures stand out to me as exemplary pictures of innovation that now appear as an imaginary technological pastoral. First, “B.C. Electric Headquarters.” Pullan had taken many daytime photos of this renowned building, but this night shot offers a different perspective. The view gathers the cityscape, luminosity and detail into a panoramic gaze associated with modernity and the sublime. The glowing tower brings order to the phantasmagoria of scattered streetlights and illuminated windows of the few remaining 19th-century houses around it. Yet f lattened by a wide lens, the building becomes just another vertical sign, like those of the movie palaces in the foreground. Next, “Clarke Simpkins Showroom.” The advanced design of the car dealership is characteristic of high-end imports, but the real subject of this picture is light. First, we have the glowing glass box and the signage, topped by four lanterns on the building’s roof. In the adjacent lot sits an enormous arc-light, dimmed but ready to light up the dark sky. On the opposite corner, an ordinary street light barely illuminates

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a wooden power pole and drab apartment building. Pullan has meticulously assembled a complex dreamscape of history and technology as if to anticipate obsolescence. Then, “CKWX–Radio Station,” which presents communications as a utopian ideal in Pullan’s time, one that would help create a modern Canada. The anachronism of broadcast radio is made more poignant by the tiny scale of the constructivist mast that holds both the station call letters and transmission antenna. Note the paltry vegetation: in a city where the forest biomass defied the settler’s axe and imagination, nature is now ornamental. Finally, the photograph “Hungry?” depicts a decidedly gendered space: even though the figures are veiled by window glass, we know the drivers to be predominantly male, with the female consumer dominant in the home. Just to the left is a woman in an apron talking to a child. For Pullan to have cropped them away would have been so easy, but he has left them there to inhabit the scene of absence. These images of bright figures against the rich black of the night suggest a city and a culture emerging from its past and still imagining its future. Robert Kleyn is an architect and artist based in Vancouver. What’s Lost is curated by Kiriko Watanabe and exhibits at the West Vancouver Museum until July 14.

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ABOVE “CKWX Radio Station,” Vancouver, designed by Thompson, Berwick & Pratt; 1954-56 (photo 1956). ABOVE right “Downtown Vancouver (B.C. Electric Building),” 1957. below “Hungry?” Vancouver, built 1956 (photo c. 1963); architect unknown.

All photos: Gift of Selwyn Pullan, West Vancouver Museum Collection

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Berlin 2013/1983 By Daniel Young and Christian Giroux, with essays by Anh-Linh Ngo, Kenneth Hayes, Anne Huffschmid and Sandra Bartoli. Arch + Verlag, 2018 REVIEW

Lawrence Bird

Canadian artists Daniel Young and Christian Giroux have long focused on both the architecture of the banal, and the banality of architecture. They’ve produced sculpture from IKEA f latpacks, HVAC components and department store racks, referencing ironically and a little sadly the utopianism and the commercialism of modernist architecture, from Bucky Fuller’s geodesic domes to office-building curtainwall. Like arte povera and Marcel Duchamps’s “readymades” before them, their work targets the privileging of visual perception and the alienation created by modern production systems. Practising architects are only too aware of our involuntary complicity as we engage in mastering those standardized codes and regulations, while struggling to create places with value and meaning for human life. The risk is that the spaces we produce become little more than images that mask an impoverished reality. Young and Giroux have documented that entanglement with technocratic reality in video-based works like Every Building, or Site, that a Building Permit Has Been Issued for a New Building in Toronto in 2006, and Infrastructure Canada (2012). Now they have turned their eyes to Berlin. The product of a recent arts residency, the original goal was to document structures built in 2013 along with nearby buildings from three decades earlier. Planning and permit regimes, along with strict privacy laws and poor municipal record-keeping, offered distinct challenges for the artists. To track down the East Berlin construction projects, for example, they had to compare aerial photography from different years. The resulting uncertainty is the reason for the digital strike-through of the titular 1983.

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In gallery installations, buildings from different decades appear in sideby-side film loops. In the book, the buildings are presented in adjacent pages: a 2013 building beside a nearby structure from, well, 1983. The artists anticipated a marked difference between 2013 and 1983: besides three decades of design evolution, there was the 1989 fall of the Iron Curtain and German reunification. But rarely do the images make a clear distinction between eras. The accompanying essays unpack some of the reasons. For one, Berlin’s landscape-preservation regulations discourage tabula rasa construction, and so most new buildings are set in visibly older landscapes, blurring the line between past and present. But the artists consciously contributed to this absence of distinction. All the images were taken in the span of a few months by Young, Giroux and two others, from roughly the same across-the-road vantage point, projecting not just similarity but also alienation. In this depiction of a grey, undifferentiated urban tissue, the project challenges our assumptions about urban form and its ability to mark distinctions. If the passage of time and the shift from one regime to its ideological opposite is barely inscribed on the city, what does that say about architecture’s ability to respond to the evolution of ideas, technique, social change, even cataclysmic events? Young and Giroux often target the privileging of image through image itself. The short moving image or stop-motion photographic image— amounting to barely more than a moving postcard—are tropes dating to the early history of film. They have re-emerged today (as GIF-based memes, for example), and they do so in this work. Installed in a gallery, such images can challenge and play with our experience of space through duration, but even the form of the book manages to do so. It is something like a dysfunctioning f lip-book that refuses to turn the recurring images into a smooth transformation f low. Sequential images, but from a comic book that has been dismembered, recomposed, and emptied of characters. The artists’ strategy of harvesting images is also interesting. Their system of survey completely ignores the conventional structure of the city. The four photographers worked from the northwest to southeast corners of the city in a sequence of tracking lines: left-to-right, down, right-toleft, down, repeat that ensures complete coverage of the land. The critic Kenneth Hayes draws an analogy between their path and boustrophedonic texts—that is, early forms of script which move back and forth across the page, like an ox ploughing the land. The motion of the plough was fundamental to the earliest human settlements, attested famously in Joseph Rykwert’s writing on the foundation of Rome. But the artists’ back-and-forth trajectory also evokes the actions of more contemporary tools: the motion of the head of a dot-matrix printer, the tracking of a cursor, a progressive scan or the rolling shutter of a digital camera. The scan of Berlin’s urban form by Young and Giroux harnesses a timeless, and timely, visual machine that prompts us to reconsider whether contemporary architecture matters to the city. In no other city has the production of the image been more important than in Berlin. From the infrastructure of the Wall itself, to the arts both official and informal—IBAs (Internationale Bauaustellung) to graffiti (which reacted to it), to the post-unification pile-up of monuments, governmental compounds and corporate f lagships with their goal of a new global and national order, the city and its image is tasked with first separating and then integrating two worlds. Recent opposition to Google’s proposed new Kreutzberg campus reminds us that Berliners are skeptical of agendas at the conf luence of urban space and media. But these are projects in which architecture has invested heavily and played a key role. Young and Giroux are provocative, even merciless, in undermining that role. If our art means something in this context, in their eyes it signifies something much different from what we usually want to imagine. Lawrence Bird, MRAIC is a visual artist, planner and architect at pico ARCHITECTURE in Winnipeg.

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CA Awa

CANADIAN ARCHITECT INVITES ARCHITECTS REGISTERED IN CANADA AND ARCHITECTURAL GRADUATES TO ENTER THE MAGAZINE’S 2018 AWARDS OF EXCELLENCE. Submission Portal is Now Open! Deadline: September 20th, 2018 ($175 + applicable taxes) Projects must be in the design stage, scheduled for construction or under construction but not substantially complete by September 20, 2018. All projects must be commissioned by a client with the intention to build the submitted proposal. All building types and concisely presented urban design schemes are eligible. Awards are given for architectural design excellence. Jurors will consider the project’s physical organization and form, response to context, innovation, and demonstration of exemplary environmental or social awareness. Winners will be published in a special issue of Canadian Architect in December 2018. Submissions will be accepted in PDF format, up to 12 pages with dimensions no greater than 11” x 17”. Total file size is not to exceed 25MB. There is also the option to submit a video up to two minutes in length. For more details and to submit your entry, visit: * PluS APPliCAble TAxeS

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books Stantec: Airports Edited By Trevor Boddy; texts by Trevor Boddy and Stanis Smith. Figure 1 Publishing, 2017 REVIEW


For the past several years, Stantec has been an undisputed leader in airport design in North America and abroad, now reflected in a captivating new monograph, Stantec: Airports. As noted in its opening pages, every day one in three airline passengers travelling in North America passes through an airport that Stantec has worked on. This book, overseen by longtime Stantec senior partners Noel Best and Stanis Smith, is the first that the firm has published on their work. Edited by architecture critic and curator Trevor Boddy, with book design by Pablo Mandel, it features 12 of the firm’s recent airports across the country. The Stantec of today—a multinational consulting firm with over 22,000 employees on six continents—is partially the result of a 2003 merger with the Vancouver-based firm Architectura, which specialized in airport design. But Stantec: Airports begins its covering several years earlier in 1996, with its design and oversight of the new international terminal at Vancouver International Airport. And bringing us right up to the present day, the book features the new Iqaluit Airport in Nunavut, which opened just last year. With half the featured airports located in Canada, the other half of the book showcases the firm’s work in other countries, among them Chile, the Bahamas and of course the US. One particularly interesting terminal, in Tijuana, allows travellers to park their cars on the American side of the border and then cross over to use the Mexican airport only a few metres away. The book opens with a foreword by former federal minister of industry and foreign affairs David Emerson, who was CEO of Vancouver International Airport between 1992 and 1997, and closes with an essay by Stantec executive vice-president Stanis Smith. Between these texts, Boddy has done an excellent job of describing the architecture and history of each featured airport, along with how each serves its larger urban context. The book’s photography depicts each airport’s central space, in some cases from a panoramic vantage point. As the first monograph of this firm’s work, Stantec: Airports offers important insights into one of the most paradigmatic building types of the 21st century, buildings that are often taken for granted by the harried commuters that use them. Sean Ruthen, MRAIC is an architect with VIA Architecture.

ARCHITECTURE AND WASTE: A (Re)Planned Obsolescence By Hanif Kara, Leire Asensio Villoria and Andreas Georgoulias Actar Publishers, 2017

Initiated as a compendium of a three-year design research project at Harvard University Graduate School of Design, this book serves as both manual and manifesto for a design-led approach to waste-to-energy plants. As densities increase and consumption patterns shift, more such facilities will be built, and architecture’s current minor role in their design and construction will expand. Beyond the theories, case studies and technical challenges, the book argues for a more vaunted role of energy recovery plants on aesthetic grounds—to wit, Hanif Kara’s chapter entitled “Industrial Buildings Don’t Have To Be Ugly.” But we knew that already.

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calendar ACROSS CANADA Vancouver —10/08

Offsite: Shigeru Ban A look at Shigeru Ban’s innovative use of low-cost materials to house victims of natural disasters. Offsite: Shigeru Ban is organized by the Vancouver Art Gallery’s Institute of Asian Art and curated by Bruce Grenville, Senior Curator.


Cabin Fever The exhibition traces the cabin tradition in Canada and the United States—from the settlement of the frontier to the contemporary depictions circulated across the Internet—showing how this humble form of architecture has been appropriated for its symbolic value and help in shaping a larger cultural identity.

of Manitoba (PIDIM). This event provides an informal and informative atmosphere designed to offer a snapshot of the latest products and services.

Toronto —07/31

Revisited: Habitat 76 Photographer James Brittain presents his large-scale colour photographs of present-day Habitat 67 and its various permutations, installed at Bulthaup Toronto as part of the Scotiabank Contact Photography Festival series of exhibitions.


IDC Symposium: Value of Design Thinking Over three days, the Interior Designers of Canada (IDC) offers a program of in-depth education, panel discussions, design tours, awards galas and breakfasts, emerging professionals programs and provocative conference keynotes.


Philip Beesley: Transforming Space An immersive experience that merges chemistry, artificial intelligence and encompassing sound-

BUILDEX Calgary 2018 BUILDEX Calgary is Alberta’s largest trade show and conference for the construction, renovation, architecture, interior design and property management industries.

Winnipeg 10/11

Manitoba Design Exposition The one-day trade show for the design community of Manitoba presented by the Professional Interior Designers Institute

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“Revisited: Habitat 67, number 5,” from James Brittain’s exploration of present-day Habitat, now at the Contact Photography Festival. ABOVE


Lab Cult: An unorthodox history of interchanges between science and architecture As this Canadian Centre for Architecture exhibition ref lects, architects and designers are once again enchanted with the concept of the laboratory. Case studies from the nineteenth and twentieth centuries are presented through archival material from the collection, as well as materials on loan from institutions across North America.

Utopie Radicali: Florence 1966–1976 Organized by Palazzo Strozzi and curated by Pino Brugellis, Gianni Pettena, and Alberto Salvadori, this CCA exhibition brings together the work of Archizoom, Superstudio, 9999, UFO, Zzigurat, Remo Buti, and Gianni Pettena—iconoclast practitioners who made Florence a focal point for new developments in architectural thought.





IDS Vancouver The Interior Design Show Vancouver is the Pacific platform for all things design and is a leading showcase of new products and furniture, designers and avant-garde concepts from North America and beyond.



Know Your City: Heritage Toronto Walking Tours Heritage Toronto has launched its 2018 Tours programme, sponsored by TD Bank Group. This year, the walks will encompass Toronto’s waterfront and ravines, and explore over 88 acres of Toronto’s parkland. The Tours programme also explores the city’s rapidly changing neighbourhoods, sharing the invisible histories of well-known locations, and asking what we can learn from Torontonians past and present.

scapes into a visually immersive, interactive environment.

10/11 2018

Green Building Festival The festival explores the design, construction and management of sustainable buildings and cities.


The Buildings Show The leading show of the North American design, architecture, construction and real estate industries, this event includes Construct Canada, HomeBuilder & Renovator Expo, PM Expo and World of Concrete Pavilion.


Unstable Presence: Rafael Lozano-Hemmer An installation of artist Rafael Lozano-Hemmer’s participatory “anti-monument” works that incorporate technology, light and the architecture of public spaces.

Ottawa 10/04—10/05

50 Years of Architecture at Carleton University Fall 2018 marks the 50th anniversary of architectural education at Carleton University, alumni, faculty and current students will convene to disucss issues of architecture and urbanism, engaging in the spirit of things past and the shape of things to come.

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La Biennale di Venezia Yvonne Farrell and Shelley McNamara curate the 16th installations of this international architecture exhibition. The Canadian entry to the biennale is UNCEDED, led by Douglas Cardinal and celebrating the work of Indigenous architects in Canada.

New York 06/21—06/23

AIA Conference on Architecture 2018 At A’18, some of the most creative architects, designers, and firms will share how they’re creating their own blueprint and making a difference in cities of every size all over the world.


Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980 The Museum of Modern Art explores how Yugoslavia’s architects developed a postwar architecture.

Washington, D.C. 07/04—09/03

Fun House The National Building Museum and Snarkitecture create a temporary structure, Fun House, for the Summer Block Party exhibition in the its Great Hall.


Making Room: Housing for a Changing America A presentation of The Open House—a f lexible, 1,000-squarefoot home designed by architect Pierluigi Colombo.




Design for Diversity: The Aga Khan Award for Architecture This exhibition highlights 19 works of architecture from the 2014-2016 cycle of the Aga Khan Award for Architecture. The Award recognizes excellence in architecture, planning, preservation and landscape architecture.

London —06/30

London Festival of Architecture 2018 Celebrating architectural experimentation, practice and debate.


Serpentine Pavilion 2018: Frida Escobedo Architect Frida Escobedo harnesses light, water and geometry.

London Design Biennale Installed at Somerset House, entries from over 35 countries will explore how design affects every aspect of our lives.

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Paris 09/07—09/11

MAISON&OBJET The exhibition brings together decoration, design, furniture, accessories, textiles, tableware and other domestic offerings.

Valencia 09/18—09/21

Feria Hábitat Valencia The exhibition of Spanish design integrates all domestic elements: furniture, lighting, kitchen, decoration and home textiles.

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Collaborative action TEXT

David Theodore

A small park project demonstrates the power of architects and engineers working together

One of Montreal’s inconspicuous urban garden projects just got some stunning architectural updates. Through a program called Jardins-jeunes—Youth Gardens—each summer, kids from eight to 15 years old have a chance to cultivate a modest plot of land in the Jardin botanique, just north of the Olympic Stadium. “It’s this crazy place in the city where kids have been harvesting food for almost 80 years,” says architect Eric Majer. The Jardin botanique (Botanical Garden) is part of Montreal Space for Life, billed as the largest natural science museum complex in Canada. As a way to celebrate Jardinjeunes’ anniversary last year, the Jardin botanique commissioned Majer to design two photogenic wooden pavilions, replacing seasonal tents with permanent structures. Majer worked closely with structural

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engineers Roger Bartosh and René Delrue at Montreal-based BCA Consultants to create the distinctive roof. The technical development was a “conversation,” he says, with suggestions and ideas validated quickly on both sides. “It’s an exposed structural system,” adds Majer, “so that was an attractive aspect for the engineers. I think we were all excited to be creating something out of the ordinary.” Their resulting design is thoughtfully convoluted, inviting the kids to delight in a complexity of construction details. Both pavilions are skinned in polycarbonate panels. A modest black-and-green service pavilion holds gardening equipment and supplies. The bigger piece comprises a canted roof of cedar supports and glulam beams that f lies over the 350m 2 assembly area. It’s a place-making icon that shelters kids from the sun and celebrates

ABOVE The pavilions are designed for rainwater recuperation and for use without electricity, limiting the impact on their surroundings.

roof-building beyond its bare function. Majer does not shy away from expressing the largest possible hopes for this delicate local project. “The discovery of a simple agrarian landscape, when it just happens to be in the middle of a busy metropolis,” says Majer, “sends a message both radical and traditional.” For him, the mixture of architecture and agriculture is fertile ground for a manifesto: “I see the commission as promoting local food production as well as community mobilization,” he says, “and in doing so, defending the quality of our built, natural, and cultivated environments.” The world needs more of these smallbudget, big-idea buildings. David Theodore, MRAIC is Canada Research Chair at the McGill University Peter Guo-hua Fu School of Architecture.

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Canadian Architect June 2018  

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

Canadian Architect June 2018  

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