Canadian Interiors May June 2020

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Listen First Design Second Indigenous knowledge leads three new projects

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The art of outdoor kitchens. www.roshults.com

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Bulthaup Toronto Inc. 280 King Street East, Suite 100 Toronto, ON M5A 1K7 +1 416 361 9005 / toronto@bulthaup.ca

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05/062020 Features

23 LISTEN, LEARN, REPEAT Designers discuss added responsibilities and benefits involved in creating Indigenous spaces. by Leslie C. Smith

30 SHOW THOSE PEARLY WHITES Modern dental clinics shed anything

and everything that might trigger those negative associations we may all still harbour.

By Rhys Phillips

Regulars

08 CAUGHT OUR EYE 10 SEEN Highlights and insights from IMM in Cologne; Ambiente in Frankfurt; and Domotex in Hannover. 18 THE GOODS These new floor-

ing products explore the fascinating interplay of pattern and material on our perceptions of space. 34 OVER & OUT A single treatment room serves as a testing ground for spatial experimentation.

COVER – Perkins and Will integrated Indigenous thinking into an academic setting for Seneca’s newest building at Newnham Campus. Photo by Doublespace Photography.

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inside

With, not For

It goes without saying that large-scale capital projects such as health care or educational centres carry enormous importance in the communities they serve. But while their discussion points tend to gravitate towards financial costs and functionality, what cannot be ignored is their symbolic significance. This may seem obvious to creatives in the A+D sectors, but what is often overlooked is the scale of that symbolism and the associated inverse ratio: the smaller the community, the bigger its symbolism. In more rural and remote places they tend to be the most prominent buildings, have a high profile (figuratively and literally) and are usually seen as the heart of the community.

Many First Nations communities in Canada are like that: rural and remote, which is why any architect or designer undertaking a large capital project in these communities should treat it with the reverence it deserves and requires. When looking at projects that fit these criteria, such as the three discussed in this issue’s cover story, overarching themes become dominant and underpin every stage and every solu-

Announcing New

tion, such as the inclusion of local Indigenous communities in the design process, incorporation of traditional design elements, the preservation of culture, and remembrance of history. Primary stakeholders in these projects describe with earnest the importance of consultation when designing buildings so that the identity of the population as seen in the teachings of Elders regarding nature and traditional use of buildings on their territories is reflected in the final product.

It is lamentable that architecturally there were few Indigenous-centred precedents to follow. But that must change, along with oft-cited drawbacks such as procurement processes driven by lowest cost. “Too often First Nation, Métis, and Inuit capital projects are designed with minimal community involvement, and ultimately fail to meet community objectives for this reason,” says Dr. Patrick Luugigyoo Stewart, chair of the RAIC Indigenous Task Force. “We need Indigenous architects, designers, and designs that will create long-term relevance, exemplify a respectful cultural and economic and environmental responsibility to sustainable development, and consider the reciprocal well-being and quality of life of the people. The time has come that First Nations/ Métis/Inuit/federal/provincial and municipal government capital projects not be done for us or without us.” This knowledge, when combined with contemporary technologies, has the opportunity to create truly meaningful architecture for Indigenous communities.

07 Peter Sobchak

psobchak@canadianinteriors.com

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caught our eye

Box Cutter MOCA Toronto’s winter programme included work by Barcelona-based artist Carlos Bunga, who was invited to produce site-specific installations (his first exhibition in Canada) over two floors. Called A Sudden Beginning, he used the Museum’s architecture as inspiration to explore issues of stability and permanence, for example spreading hundreds of standard packing boxes for Occupy (shown) around second-floor concrete columns.

Photo by Toni Hafkenscheid

www.moca.ca

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Lightning Fast Be they wildly futuristic (and unlikely to ever be seen on the road), or just the logical next generation of vehicles, concept cars are always a popular draw at the Canadian International AutoShow in Toronto, the largest automotive expo (as well as the largest consumer show) in Canada. The best of this year’s crop was the BMW Vision M Next electrified two-door sports coupe, with an interior modeling an augmented-reality enhanced curved centre glass display and sleek digital dashboard. www.bmw.com

com

The Adelaide Project This studio concept designed

by TPL Lighting offers a provocative way to experience and specify architectural and decorative luminaires.

ONE Heart Care This cardiac centre by C& Partners Architects hosts several cardiology-focused services in one place, offering an effective healing experience.

Photo by Toni Hafkenscheid

Dental on the Lake Designed by Bortolotto, this dental clinic sitting on the edge of Toronto’s waterfront is infused with energy and brightness.

Pandemic Preparedness A Canadian healthcare architect looks at how hospital staff can act now to modify facilities, contain a pandemic and address worst-case scenarios.

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seen

Photo by Constantin Meyer; Koelnmesse

1 Das Haus | MUT Design This Spanish duo delivered a provocative centrepiece for IMM Cologne’s annual Das Haus exhibit. Under the title A la fresca! (“Step out into the fresh air!”) architecture and furnishings seemed to merge into an informal whole – like a masonry bench growing out of whitewashed walls or a gangway that draws the gaze into the distance – and together created a space that thumbed its nose at the usual boundaries between interior and exterior spaces.

2 Yantra | Jan Kath When it comes to sacred geometry, there are few shapes as prominent as the square. Holding significance in meditative cultures such as Hinduism and Tantrism, it serves as a microcosm of the universe, or in this case, inspiration for Kath’s newest collection of customizable hand-knotted rugs. www.jan-kath.com

3 Tant | Aromas Del Campo Designed by JF Sevilla, this elegant table lamp in rattan with a matte gold finished steel frame creates a warm and inviting ambient lighting for any space (with a hint of Art Deco to boot). www.aromasdelcampo.com

4 Uilas | AMES Designed by Mae Engelgeer and handmade in the Colombian provinces of Santander and Boyacá, this rug showcases true Latin American craftsmanship. Dry fique fibres and natural virgin wool are combined to illustrate the contrasting radiance of the Rio Magdalena and Tatacoa Desert. www.ames-design.com

The Great In/Outdoors

The Das Haus exhibit by Valencia-based MUT Design was one centrepiece example of a concept being explored at this year’s IMM Cologne, which was blurring lines between traditional indoor and outdoor living, yet in the most organic way imaginable.

By Martin Spreer

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5 Pipe-Line | Vosding Industrial Design This dining table has a deliberate industrial-looking exposed pipe design that incorporates an extending mechanism that easily pulls apart to lengthen the tabletop, which is made from lightweight honeycomb cores. www.vosding.de

6 JoJo | Sofia Souidi When explained that “JoJo” is the German word for yo-yo, the design inspiration for this wall lamp becomes clear. Activated by a dangling string the lamp emits a bright warm LED light which starts to fade and gradually extinguish after a short period of time, making it ideal for small spaces in need of quick illumination. www.sofiasouidi.com

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seen

1 Stendhal | Ligne Roset Designed by LucidiPevere, this clean desking solution with a fold-out work surface, built-in shelving and lighting can be neatly closed after usage to hide any work clutter, making it a perfect companion for the current work-from-home environment. www.ligne-roset.com

2 Sail Out | Cassina Designed by Rodolfo Dordoni, framed in metal tubing and incorporating teak wood panels, polyurethane foam and water-repellent fabric and lining make this sofa system an ideal outdoor lounging setup, especially when combined with the cement top coffee table. www.cassina.com

3 Roll chair | Sancal A lot of slack is given to furniture pieces designed for site-specific installations, as this chair was for the Das Haus exhibit by MUT Design.

Yet considering the very minimalist design approach, this stackable and short-term seating solution manages to be surprisingly comfortable and stylish. www.sancal.com

4 ASPA | Pulpo Clearly something good should result when two Ăźber-cool companies like Pulpo and MUT Design team up. And something did: smooth and textured glass surface panels are merged geometrically to create this transparent coffee table in grey, rose and yellow. www.pulpoproducts.com

5 Ormeggio | Mariantonia Urru This rug, designed

by Paulina Herrera, mixes wool, cotton and linen and interprets the Sardinian landscape with a clever framing device that emulates the rush of water around the perimeter, an example of a popular trend this year toward asymmetrical thread weaving finishes and patterns. www.mariantoniaurru.com

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6 Ayno | Midgard Designed by German outfit Diez Office, this simple to use and unobtrusive lamp, with a clever and colourful power cord acting as height adjustment, manages to blend in perfectly into any residential or commercial space. www.midgard.com

7 Cuoio | Walter Knoll A simple leather and black powder-coated steel frame construction contribute to a truly minimalist feel augmented by clean lines and a touch of warmth.

Designed by EOOS, the chair is available with or without an armrest, as well as lounging armchair and ottoman combinations.

8 Caleo | Le Klint Originally designed by Rikke Frost for the popular Danish TV show Danmarks nĂŚste klassiker, this pendant dining table light is made from cross-pleated paper accentuated by bronze stringing and held together by a brass angular bar. www.leklint.com

www.walter-k.com

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Under the Wire

By being held in mid-February, Frankfurt-based Ambiente was one of the last design product trade shows to run before the coronavirusbased domino-effect of shutdowns began.

As such, we got a glimpse at many new and innovative concepts and products in the Dining, Living and Giving sectors.

By Tracy Bowie

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1 Familie Hempel | Marie Radke This furniture collec­tion, seen in the Talents Pavilion, pays homage to the classic pile of clothes on a chair that are already worn but not ready for the washing machine. The family has four members — a stool, pouf, bench, and high seat — and wants to dissuade unnecessary washing by encouraging an appreciation for our clothes in a fast-fashion world. www.marieradke.de 2 Door Mat Collection | Heymat+ This Norwegian company’s striking monochromatic floor mats designed by Kristine Five Melvær are inspired by water, wind, earth and rocks. Made from recycled PET bottles, the rugged structure not only meets sustainability requirements but is also ideal for rubbing dirt off shoes. www.heymat.com

3 Line Table | Craster This compact, versatile conference table system is available in a variety of shapes and finishes with separate indestructible tabletops, an intuitive locking system, ergonomic grips for easy set-up, breakdown and change-over with no tools required, and all fitting easily in a self-contained storage trolley. www.craster.com

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4 Elements | Lappa Designed and manufactured in Prague, these decorative acoustic panels in oval, circular or playful drop-shaped forms use a digitally printed acousticsabsorbing textile ideal for the walls of offices and residential spaces. www.lappastudio.com 5 Teppich Stamp | HEY-SIGN The eye-catching hole pattern designed by Wiebke Hoffmann is what makes this felt area rug a standout. Available in various thicknesses and even custom patterns. www.hey-sign.de

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6 Pick-Up Table | LindDNA Ultrasimplistic and inspired by the classic turntable, this side table comes with a reversible, recycled leather mat on its top plate, making it possible to change the look whenever you feel like it.

The aluminium jewel in the middle is a beautiful detail, and can be changed to brass. www.linddna.com 7 Grace | Pappelina This new collection of rugs blends metallic and solid colours using traditional looms and wooden shuttles but employing a new weaving technology that integrates recycled plastic threads, giving the rug an exciting surface and texture. www.pappelina.com

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seen 1 EasyMe | Rugstar A collaboration with Portland’s Christiane Millinger Handmade Rugs and Michael Howells Architecture + Design, these hand-knotted Persian weave rugs come in nine different designs from 100 per cent wool or a wool/silk mix and made in Jaipur, India. www.rugstar.com 2 Theo Silvery Squares | Asiatic Carpets London This handwoven kilim rug is made in India from 60 per cent wool, 30 per cent viscose and 10 per cent cotton in silver with an anthracite geometric dotted pattern of raised viscose. www.asiatic.co.uk

3 Shahnameh | Lila Valadan Inspired by classical Persian rugs from the city of Tabriz as well as Shahnameh, an 11th century epic poem written by the Persian poet Ferdowsi, this uniquely designed rug is made from Persian highland wool and Chinese silks using natural dyes. www.lilavaladan.com

Sometimes Less is The Right Amount

Overall, the 2020 edition of Domotex in Hannover showcased more subtle design motifs with almost muted colour palettes than in previous shows, meaning there was less attention-seeking flash and instead more emphasis on warm and organic designs.

4 Indigo Flow | Michelle Mohr Made of very rare Rhoen wool from a small region in Hesse, Germany, this macramé style knotted design blends various hand-dyed indigo colours into a much firmer and less elastic rug than weaving techniques would allow. The knotting design also offers the ability of either rug side to be used as a display. www.michellemohr.de

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5 Paprfloor Designer Heike Kobusch was looking for a way to find more uses for recycled paper and teamed up with Rodenborg and wallpaper manufacturer Erfurt to create Paprfloor, a perfect environmental solution engineered specifically for temporary spaces such as pop-up stores or trade shows. www.paprfloor.com

6 Stripes Olive | Creative Matters Part of the Stacked Collection, this handwoven dhurrie, a traditional South Asian flat-woven rug by Canadian company Creative Matters, is layered and stitched together in a combination of wool with linen and cotton detail to create a unique pattern and overall design, which can be customized in colour, pattern and size. www.creativemattersinc.com

7 Eye-Dazzler | Zollanvari Combining Navajo weaving traditions found in the northern Mexican settlement of Saltillo with traditional flatweave rug techniques and aesthetics of northern Persia in interesting ways, this colourful Baneh kilim rug stitches together four separate pieces made of hand-spun vegetabledyed highland wool from the Zagros Mountains of Iran. www.zollanvari.com

By Martin Spreer

8 Purple Abrash | Kirkit Rugs Winner of the Istanbul Young Designers’ Contest, the Purple Abrash is taking its inspiration from the galaxy and the night sky. This flat-weave kilim rug gets its vivid variegated colours through the abrash technique, a natural colour variation obtained through vegetable dyes. www.kirkit-rugs.com

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the goods

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Thread Count

These new carpet and rug collections explore the fascinating interplay of pattern and material on our perceptions of space.

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2 1 C olor Core | Bentley Contrasting yet complementary yarn components give this new collection a dynamic dimension that can still easily morph and blend with other products.

This is created using a unique fiber twist process that provides the ability to create an all loop product with the illusion of a slight tip-shear. The result is a complex visual conveniently delivered in a single yarn. www.bentleymills.com 2 O rganic Interruption | Patcraft Their newest modular flooring collection is inspired by the natural interaction between organic elements and man-made structures, with linear patterns disrupted by organic textures. 12 vibrant and colourful accents are incorporated within six neutral bases, designed with an eye specifically towards education environments. www.patcraft.com 3 Diagnol | Coalesse Part of the new Nanimarquina Collection, this outdoor, handloomed flat-weave dhurrie rug is constructed of 100 per cent recycled PET. A classic twill weave is enlarged into a diagonal-textured pattern with wide borders coloured in coordinating shades for bolder visual interest. www.coalesse.com

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4 G uest Rooms | Interface This new collection is designed for the hospitality market and was created based on how texture, pattern and colour impact a person’s experience in a space. Available in 19 patterns in square and plank styles and grouped in four natural shades, they can be installed in a variety of ways: wall-to-wall, in combination with other collection styles, or as an inset area rug. www.interface.com

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5 Campus | Shaw Contract This Cradle-to-Cradle certified carpet tile collection is inspired by the teachings of Bauhaus. Rooted in patterns and tones from calm neutrals to corresponding multi-coloured brights that work across multi-use spaces, the No Rules carpet tiles meet the cycles of activity at the heart of any corporate or educational campus. www.shawcontract.com 6 A utomata Collection | Mannington Commercial Inspired by Cellular Automata, originally developed in the 1940s by mathematicians and scientists, this new collection conveys complex patterns well-suited for office, education and commercial spaces.

The four styles of CoDi, Cryptogram, Rule 30 and Seeds (shown) come in an 18” x 36” format and feature Infinity 2 Modular backing. www.manningtoncommercial.com

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By Peter Sobchak

7 Volentieri | Magis The company’s first foray into flooring is a rug series designed by Inga Sempé inspired by two architectural details: Cornice and Finestra paned windows (the Italian word for ‘window’).

The two styles combine shiny viscose and matte linen to achieve the textured look and feel, and are available in a range of colours. www.magisdesign.com

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8 A ll the Way | Ligne Roset Designed by Susana Godinho, each rug suitable for indoor and outdoor use is hand-woven and combines the origins of Portuguese traditional weaving techniques with recyclable cork, natural linen, and upcycled cotton jersey from clothing offcuts. www.ligne-roset.com

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the goods

Cube | Ciot Suitable for both walls and floors, Cube is a new collection of coloured body porcelain stoneware that features highly durable tiles with the look of natural stone in uninterrupted patterns that permeate from the surface throughout the body of each tile.

Infused with multiple rich colours, Cube is available in three different tile formats as well as a mosaic. www.ciot.com

SuperSolid 5 | Torlys This new range of engineered hardwood uses Deca – a technology composed of nine layers of transverse hardwood plantation fibers and coated in a nanoparticle finishing from German Klumpp – that resists bulging and helps prevent the appearance of breaches during the cold and dry winter months. Available in eight colours reminiscent of American and European white oak. www.torlys.com

The Hard Way

These new collections demonstrate the science behind (or under) hard surface flooring products is getting more impressive all the time.

Escape Collection | Mirage The hallmark of these new floors are its brushed and engraved surfaces, a useful textural effect that masks nicks and other signs of wear and tear. Plus, with neutral earthy tones ranging from pale brown to golden, this collection should appeal to young families and pet owners who don’t want to sacrifice design for durability. www.miragefloors.com

iD Latitude | Tarkett This new LVT flooring product is a checklist you can walk on: being carbon neutral helps decrease a company’s carbon footprint and reduce greenhouse gases; low TVOCs improve health and wellness of a space; and with the proprietary Techtonic polyurethane technology it is resistance to scratch, scuff, stain and abrasion. www.commercial.tarkett.com

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FITT COLLECTION DESIGN BY

VICTOR CARRASCO

TUSCHSEATING.COM

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DEADLINE EXTENDED! You asked, we listened.

The COVID-19 pandemic has been causing many unforeseeable difficulties for the Canadian A+D industry, for example inabilities due to lockdown and quarantine restrictions to access and photograph new project sites. Therefore, based on your strong feedback regarding that and many other logistical hurdles being faced by the Canadian design community, we at Canadian Interiors have decided to significantly extend the submission window in order to give you more time to submit your Projects and Products to the Canadian Interiors Best of Canada Awards competition.

All winners will be published in the November / December issue of Canadian Interiors.

Submission Deadline: Thursday, September 10 at 11.59 p.m. www.canadianinteriors.com/BoC

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Let us find a way to belong to this time and place together. Our future, and the well-being of all our children, rests with the kind of relationships we build today. –Chief Dr. Robert Joseph, Reconciliation Canada

Listen, Learn, Repeat

By Leslie C. Smith

Designers discuss added responsibilities and benefits involved in creating Indigenous spaces.

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Dr. Joseph is addressing the broader concerns of truth and reconciliation in our country, but his words could apply to all endeavours directly affecting Canada’s Indigenous communities. For designers pitching or working on native-focused projects, the bar is set high. We asked three designers of recently completed projects for their perspectives.

Photography by Doublespace Photography

Andrew Frontini, principal and design director at Perkins and Will’s Toronto office, says his experience with Indigenous design stretches back nearly 20 years. Still, he was “surprised and impressed by the level of engagement and the diversity of voices that came forward in the sessions with the Indigenous College Council” during the pre-plan stages for Seneca College’s new 274,000-sq.-ft., five-storey Centre for Innovation, Technology and Entrepreneurship (CITE). Located on Newnham Campus, itself part of the Mississaugas of the Credit’s traditional territory, CITE represents a portion of Seneca College’s 2015 Indigenous Education Protocol commitment, developed in response to a call for action from the Truth and Reconciliation Commission.

Previous page and this spread Seneca’s Newnham Campus houses a highly visible atrium running along the building’s southern edge. Bleacher stairs allow students to showcase their work and adaptable, modular interiors provide flexible classrooms and breakout spaces. A 10-metrediameter terrazzo medallion at the main entrance, called the “Circle of Indigenous Knowledge,” by artist Joseph Sagaj, includes abstract references to hundreds of Indigenous teachings. A graphic treatment of a hoop dance on the wall beside the medallion represents the strong spirit present in many Indigenous teachings.

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“At first, we were concerned that we couldn’t occupy the space in an authentic way,” Frontini continues. But, “we had a very open dialogue with varied perspectives, from elders to first-year students. Most interesting was their perspective regarding design, what ‘it’ looked like was secondary to what message the design communicated and how it supported use and community. Indigenous people were talking to non-Indigenous designers and teaching us how to tell their story with our skill set.”

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In CITE’s case, the result is an odd but successful blend of native history and tradition combined with cutting-edge technology. A futurist’s vision of sustainable innovation weaves its way through the building’s Indigenous structural and graphic symbolism (the latter courtesy of 5/6 2020 CANADIAN INTERIORS

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Bruce Mau Design). These “overlapping Indigenous and technological stories initially might speak to different audiences,” says Frontini, “but over time our hope is that they merge together as one.”

A mixed stream of Indigenous worldviews and modern design flows across the building’s exterior as well. One entrance features a twostorey-tall rendition of the signature page and map from the 1787 Toronto Purchase land deal between the Mississaugas of the Credit and the British Crown. The opposite entrance shows a map of the universe, a metaphorical signal for the progression of technology since the signing of the treaty. Running between the two on the front façade are 13 columns, representing the 13 moons of the lunar cycle with the corresponding moon names written in Anishinaabe. Sharing space with bright galvanized steel and glass is a matte brown longhouse box clad in punctuated terracotta panels, meant to evoke Anishinaabe birchbark memory chests.

The melding of many into a shared experience moving ahead is, to Frontini, the ruling principle for this building and others. “Let’s work towards a common future that is guided by a diversity of voices. Let’s stop organizing people and ideas into boxes that don’t overlap. Let’s use design to embrace the complexity of our age and suggest a path forward.”

Farshid Rafiei, principal of Vancouver’s Unison Architecture, also has had broad dealings with native-based design, given that the majority of his firm’s work is on Indigenous-focused public space projects. Its latest completed commission is the 18,800-sq.-ft. Ts’kw’aylaxw Cultural and Community Health Centre, located along the Fraser Canyon in B.C.’s south central interior.

Dedicated to holistic health care, the Centre was designed to act as a “wellness anchor for the community while maintaining spiritual and cultural values in the form of a service hub model.” It anchors the village’s physical centre as well. Its locale was selected for proximity to existing daycare and administration buildings; an adjacent six-unit Elders Housing Complex is also planned.

Photography by Ema Peter Photography

The site’s steep topography led to a layered approach in the design, one that would maximize energy efficiency. The first-floor community recreation hall sits half underground, for added insulation. A central atrium draws in sunlight and allows for natural ventilation. It also serves to visually draw visitors up to the second-floor fitness room and the third-floor health and social services space. Here, the Elders Lounge, a gathering spot encircled by aspen poles, facilitates group discussions.

Inside and out, from small millwork to its tall-timbered façade, the building relies heavily on the calming energy of wood. It also employs the latest in sustainable construction: insulated pre-fabricated wood panels and triple-glazed wood-framed windows; large structural members made from carbon-sequestering and fire-resistant heavy timber; and high-efficiency HVAC systems. The Ts’kw’aylaxw, like many First Nations and others, believe a natural life should exist hand-in-hand with environmental sensitivity.

This spread All social interactive spaces in the Ts’kw’aylaxw Cultural and Community Health Centre (community hall, main stair, atrium, reception, Elders Lounge, offices) use a variety of wood species to provide tactile and emotional benefits, from veneered surfaces on walls and millwork to solid sections on windows, doors, benches and countertops, including the celebratory recalling of the aspen trees in the Elders Lounge as a sustainable material of choice for its health and wellness attributes.

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Because Canada’s First Nations are really an amalgamation of distinct cultures with their own priorities and histories, Rafiei points out that “every project is a new adventure for us due to the client’s programmatic and cultural requirements.” His advice to “outsider” designers thinking about pitching an Indigenous project is very basic: 5/6 2020 CANADIAN INTERIORS

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“I would say respect and listening should be the core of working with Indigenous clients. Learning and understanding the culture before pulling the gun and starting to design is the most important factor. It’s easy for us to start responding to site and orientation and programmatic challenges of a facility, but what makes it unique and challenging is the response to cultural requirements.”

On a more mundane note, Rafiei mentions other challenges often faced in First Nation communities that are not present in urban settings. “Simple things such as potable water, hydro capacity and sewage systems” should be taken into account by design professionals.

Echoing his colleagues’ words, Lubor Trubka of Vancouver’s Lubor Trubka Associates Architects, says community involvement is key to successful Indigenous design. He advises conducting “a thorough study of the client’s cultural heritage to incorporate their values and identity into the design.” In his 40-plus years’ experience in such projects, Trubka finds design charrettes enormously helpful.

“Some of the community charrettes in the past involved up to 160 community members, engaging all ages from children to elders. Based on our experience, the more community involvement the more successful and appreciated the facility becomes for all of the community members.”

Trubka’s latest project, the 31,000-sq.-ft. Tsleil-Waututh Administration and Health Centre, draws heavily on the "People of the Inlet’s" culture, which is closely related to the surrounding cedar forests and the sea. Indigenous plant species dot the temperature-regulating green roof; cedar log columns and beams support the roof’s wavy form, whose serpentine shape repeats in the interior’s ceiling, most spectacularly in the central, multi-purpose Gathering Space that doubles as a community centre and council chamber for local government.

The building is sited on a wooded lot beside a creek running out to the Pacific Ocean. Generous glazing allows 360-degree window views of forest and water that are so integral to the Tsleil-Waututh people. Such extensive fenestration does come at a cost, however. The challenge for Trubka’s team was concealing all necessary technical infrastructure, from HVAC to electrical distribution to a security network, behind precisely cut panels manufactured off-site. The final result seems worth it: visitors can revel in the Centre’s literally soaring aspirations without being sidetracked by its more prosaic features.

Photography by Ema Peter Photography

For Trubka, indigenous-based projects offer an added benefit to Canada’s designers: “These projects hold special appeal, as we enjoy working with the community and learning about their past, present lives and aspirations for the future. The feeling that, in some small way, we can play a part in that future makes all the difference.”

This spread The structure of the Tsleil-Waututh Administration and Health Centre utilizes engineered wood products and natural lumber in a combination of post and beam frames infilled with glazing and a limited amount of strategically placed shear walls, requiring precision pre-manufacturing off-site. The clarity of the interiors are created by exposing every structural building element without the need for additional artificial interior finishes in an almost furniture-like assembly of parts.

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“Everyone is watching this work here in Canada.

If we succeed in transforming our relationships and society, the world will be watching us and will emulate us. If we can do that we might have a chance to save this divine place.” –Chief Dr. Robert Joseph 5/6 2020 CANADIAN INTERIORS

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Show Those Pearly Whites

Modern dental clinics shed anything and everything that might trigger those negative associations we may all still harbour.

By Rhys Phillips

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This spread For River Dental, Parallel 45 Design Group used reclaimed wood from barn beams in Québec, bio-based polyurethane plank flooring, LED lighting mainly sourced locally from Montréal, and other products with top sustainable certifications. “Juxtaposing a clean white feeling of the space against [a] warm, natural wood element along with little pops of colour throughout creates a nice marriage of two different concepts,” says Oakley.

standards to patients. “They wanted the full interior to be a holistic type environment,” says Sarah Oakley, principle of Parallel 45. The wood used on walls was reclaimed from local barns, floors are biobased polyurethane planks and lighting is all LED. Most products are sourced locally including quartz counters.

Embedded in the warm wood, a large flower-like logo dominates.

Developed by Shine Creative’s Ali McComb, it is composed of 36 water droplets that signify the waterways, but also the 36 teeth in a complete set. “This is right in line with our concept,” says Oakley, “[so we] played off this vibe and this environmental location spin.”

Extending the water image, strips of ceiling lighting cascade down the wall. In the waiting area, a chandelier of water-like droplet globes “are almost like a little rain shower,” she adds.

Any Baby Boomer can attest to the excellent progress made in dental care over the last 70 years. At the same time, improved dental hygiene, fluoride treatment and preventive care have all increased the competitive environment for dental practices. Increasingly, work involves elective procedures relying on patient discretion, meaning now the most painful extraction will likely come from the wallet.

Designs for three quite differently focused dental practices, therefore, all recognize clients’ experience as a core consideration, although mediated by unique functional and workflow requirements.

For the waiting room wall, Oakley worked with McComb to create a map of the area between the river and canal that was then installed like wallpaper. In a small alcove in the same wall a simple text-onpanel summarizes the space’s story and its design intent. Finally, two fixed iPads are for children’s amusement, replacing magazines and toys for sanitary reasons.

All these elements contribute to a warm, welcoming, and engaging space balanced with crisp clinical whiteness to signal its health function. “The psychology behind our design is that just because you go into [a clinic] doesn’t mean you have to endure a completely clinical feel,” says Oakley.

Photography by Justin Van Leeuwen

River Dental A traditional storefront practice in a new residential condo, River Dental borders East Ottawa’s emerging Greystone urban village on land bracketed by the Rideau River and the UNESCO-designated Rideau Canal. Core elements on which Parallel 45 Design Group focused included a patient-friendly but modern environment that clearly reflected the client’s eco-friendly brand and provided a strong graphic presentation-of-place.

River Dental already considered their practice an environmentally friendly clinic. They use, for example, only natural silk floss and distribute bamboo toothbrushes and other products that reflect green

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Atlantic Oral Surgery & Implant Centre

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According to Nancy Shepherd, partner at Carvel & Helm, a key priority for St. John’s Atlantic Oral Surgery and Implant Centre entailed providing a state-of-the-art facility capable of attracting top level professionals in a highly competitive market. While the centre’s services are distinct from River Dental, the doctors also recognized their services are elective. Her focus, therefore, included creating a hospitalitylike patient experience that included alleviating wait-room anxiety.

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Photography by Maxime Brouillet Photography by Crockwell Photography

Prior to settling on an engaging aesthetic, a clear “functional assessment” of layout and workflow needs was conducted, including reducing wait times. The average patient is an adult who will experience longer stays and require an escort because of sedation. Previously, patients recovered in the treatment chair, which delayed starting the next procedure. In response, the new centre is divided into three defined spaces: a public area (reception/waiting); semi-public zone (consultation/diagnostic rooms); and a completely secure treatment area with a separate recovery area. A secondary entrance from the elevator lobby provides escorts access to the recovery area without going through the surgery zone as well as providing a discrete exit for the patient, unseen by those nervously awaiting surgery.

The generous waiting area, awash with abundant natural light, boasts large lounge pieces (such as Bevi from Steelcase) to improve comfort for longer stays. Unique, baffled light fixtures mediate noise. A dedicated escort wait area includes a beverage centre, television and digital connections enabling escorts to work while waiting.

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More so than at River Dental, Shepherd wanted a crisp medical feel.

“It is a clinical environment,” she says, “and we wanted to keep that sense of sterility [but] without sacrificing comfort.” To introduce comfort, curving wood grain walls link zones and add an organic, biophilic-sense by “mimicking natural textures and materials and introducing the curved profiles you see in nature.”

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Go Orthodontistes

Far left column Curved walls were used throughout Atlantic Oral Surgery to create a sense of organic softness and flow, and lighting with inherent acoustic performance baffles were specified in public areas. Technology played a big role in this project, for example one operation room is equipped with video conferencing to create a “surgical theater” to share procedures with colleagues. Above trio A challenge in building Go Orthodontistes was to bring warmth to a cold, stark concrete-defined space. The idea was not to mask base materials but rather transform them and create contrast using an array of complementary colour shades for a warm and calming environment for patients and staff.

Located in the heart of Montréal and occupying the base of a new condo building, this clinic boasts 13-ft. ceilings and extensive glazing offering light and views of a landscaped streetscape. According to Natasha Thorpe, principal of Natasha Thorpe Design, the practice centres on alignment technology using clear “trays” rather than braces. Many clients are young or mature adults rather than teenagers and this patient base, along with a less invasive treatment process, a raw spatial canvas, and a design-oriented client permitted a not-your-average dental clinic.

An open reception/waiting area is linked by a “channel” defined by an undulating wall of bright white corrugated steel connecting into the treatment area. The latter space stretches along a grid of widows facing the street with individual window shades controlling for light and privacy. By contrast, treatment chairs are separated by semi-transparent gold mesh curtains with only an illusion of privacy, making it feel more like a hair salon, says Thorpe.

The full ceiling height is exploited. Carefully tucked-in ducts and the raw concrete ceiling are visible behind gold-coloured metal ceiling screens, providing easy access to ceiling mechanics but also combining with the vertically installed corrugated metal panels and the similar vertical treatment of the clinic’s slim, richly coloured Italian wall tiles to maximize a sense of height. “In fact,” she adds, “these

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materials are continued past the [mesh] ceiling tiles to really give the impression of an infinite [extension].”

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Perhaps most unique is the waiting area. A gold-coloured platform raised above a reflecting pool and overlooking the landscaped street offers a comfortable lounge or funky bean bag seating. Bleacher-cumsteps facing the reception desk augment this seating. Powder coating the platform reflects Thorpe’s underlying goal of material durability.

The reception desk, therefore, is limestone, the transaction counter Corian and a technique called “edge band fusing” was used for laminated cupboards. This, along with an aesthetic durability, like midcentury Scandinavian modern, means “you don’t need to keep renovating, you don’t need to keep changing the space [and] this is sustainability in a different way.”

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Photo by Borzu Talaie

over & out

Put on a Happy Face

A single treatment room serves as a testing ground for spatial experimentation.

By Peter Sobchak

ties in addition to its visual appeal. Everything else in the room is either white or black to be visually unobtrusive.

Debating the nature of beauty has preoccupied humans since time immemorial. Different thinkers from different disciplines have differing opinions, but perhaps it is no surprise that when it comes to our own body, designers see beauty as symmetrical, balanced, and ordered. This was certainly the case for Atelier RZLBD when tackling their smallest intervention project to date. The AK Clinic Room is “a spatial experimentation of these values,” says Reza Aliabadi, principal of Atelier RZLBD, referring to the conversion of a typical treatment room in a skin care clinic in Brampton, Ont. with a tiny 60-sq.ft. footprint into one “that transcends its physical boundary and inspires a deeper sense of well-being.”

Taking the idea of “care” beyond clinical service, the room is composed of two symmetrical “hands” coming together from above and below, embracing the body. A ceiling of natural knotty pine and a floor of glossy-finish porcelain tiles (supplied by Olympia Tile) meet on the walls at a ribbon mirror in the middle. The wood (supplied by Central Fairbank Lumber) was left in a natural state in order to maximize the wood aroma in the exam room, providing haptic qualiCANADIAN INTERIORS 5/6 2020

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A dark entry foyer separates this “pilot” room from the rest of the clinic, which includes a waiting area with reception, a pharmacy, various support rooms and seven other enclosed exam rooms. Upon entering, the bright room is reoriented along a new axis “and unfolds like a small universe in which everything is perfectly symmetrical,” says Aliabadi, referring to both horizontal (by the one-point perspective in the centre, both from and towards the “gate” or door) and vertical (by the zenithal relationship between the seating and the rectangular light above, carved into the ceiling) axes.

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The AK Clinic Room “offers a ritual in which the very act of entering and inhabiting the space brings a profound inner change,” says Aliabadi, and it appears the owner of the clinic (a previous client Aliabadi worked with on a residential project) not only agrees but is planning to expand this experiment, first to the rest of the clinic and then into new branches.

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McMaster University Medical Centre Design: mcCallumSather Illuminated acrylic graphic panels with brushed stainless steel frame

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