Showcasing BC & Alberta’s architects and interior designers
summer 2016 Vol. 17 No.1
PM 40063056
d e s i g n q ua rt e r ly
Audain Art Museum Designer Sarah Gallop, SGDI | Technology | Green Design
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in this issue
Features
06
06 Designer Profile
Interior designer Sarah Gallop has successfully grown her firm over the last seven years, building a reputation for award winning custom single family homes.
12 Project Profile
The Audain Art Museum in Whistler is the first of its kind in B.C, featuring a remarkable private art collection and iconic architecture.
18 Technology
▶ Acoustical Design for 21st Century Learning ▶ Technology in the Workplace ▶ Advancements in Decorative Glass
26 Green Design
▶ Green Material Verification Grows ▶ Dumb Buildings Are Smarter ▶ Is LEED Still Relevant?
Departments
12 04
From the Editor
34 IDA Renewable Resources 36 AIBC 38 Design Headlines
On the cover: Patkau Architects elevates the art experience with the new Audain Art Museum in Whistler, B.C. Photo: Mike Crane
Summer 2016 | DESIGN QUARTERLY
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from the editor
High Demand
Summer 2016 Vol. 17 No.1
www.designquarterly.ca PUBLISHER Dan Gnocato dang@mediaedge.ca Managing Editor Cheryl Mah Graphic Design Tang Creative Inc.
Housing and affordability is a hot issue in Vancouver. While everyone debates solutions, the high demand for new homes and breaking record sales is driving volume for many in the industry. All I have to do is walk around my neighbourhood to see how busy the residential market is because on almost every block there is a new home under construction or a major renovation taking place. Registered interior designer Sarah Gallop specializes in custom single family homes and says her firm SGDI based in Delta is extremely busy. The hot housing market in the Lower Mainland is creating a high demand for residential interior designers and architects. For our profile, we chat with Gallop about how she has successfully grown her firm over the last seven years, turning clients’ dreams into reality. For our feature project, we take a look at the Audain Art Museum in Whistler, B.C. The understated and elegant building by Patkau Architects houses a remarkable private art collection that showcases significant B.C. and First Nations artwork. The unique site was a driving factor in the iconic design. This edition has a focus on green design and technology, two issues that continue to be prevalent across the industry. In our technology section, read about acoustics in educational spaces, decorative glass advancements and how adoption of technology is changing workplace design considerations. The Architectural Institute of British Columbia announced the 2016 Awards for Architectural Excellence at its annual conference in May. Two projects received the Lieutenant Governor of British Columbia Award in Architecture — Medal and seven projects earned a Lieutenant Governor of British Columbia Awards in Architecture — Merit Level. See all the winners on pg 20.
CONTRIBUTING WRITERS Geoff D’Auria John Gustavson Mark Hutchinson Paul E. Marks Andrea Raimondi Cathie Saroka Susan Steeves B.C./ALBERTA SALES Dan Gnocato 604.549.4521 ext. 223
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DESIGN QUARTERLY | Summer 2016
The purpose of Design Quarterly is to reflect and represent practitioners and professionals in the architectural, interior design and design resource communities throughout British Columbia and Alberta.
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DESIGNER PROFILE
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DESIGN QUARTERLY | Summer 2016
DESIGNER PROFILE
functional
timeless design By Cheryl Mah
When working on a project, often the key to success is the relationship with the client. For registered interior designer Sarah Gallop, the decision to do a project is heavily based on who the client is as well as how they are to work with, more so than the actual project. “I can usually tell within the first five minutes if they will become a client or not,” says Gallop, founder and principal of SGDI in Delta, B.C. “The project might not be exciting or sexy, but if they are wonderful people who we feel we can service well, that factors into our decision.” Over the last seven years, that intuition has helped Gallop to grow her firm and build an industry reputation for award winning custom single family homes. Making a client’s dream come to life and exceeding expectations has been extremely rewarding. “I like finding solutions for people. I love the variety, the teamwork,” says Gallop. “When projects are done and the client is over the moon — that’s amazing.” Born and raised in Delta, Gallop never thought of design as a career but remembers enjoying drawing at a young age, in particular houses and house plans. “Interior design wasn’t as mainstream as it is now, so after graduating from high school, I went to Kwantlen University College,” says Gallop, 34. After exploring marketing and business management at Kwantlen University College, she then attended the Vancouver Film School before discovering the interior design program at BCIT.
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DESIGNER PROFILE
For Sarah Gallop, functional spaces are the primary goal in any project.
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DESIGN QUARTERLY | Summer 2016
“They had just started the full time program and I loved it,” recalls Gallop. “The program was intense, but it really prepared me for the crazy hectic design world once I got out of school.” After graduating from BCIT in 2006, she began her career working on commercial design for a small sole proprietor studio in Tsawwassen. She then joined a design/build construction company that did residential renovations and custom homes. In 2009, she struck out on her own and founded Sarah Gallop Design Inc, now known as SGDI. “I didn’t expect to start my own company so early in my career,” says Gallop with a laugh. “I thought I would give it a try and the timing worked. We’ve had some really great clients, which have allowed us to build the company.” She is the first to admit she’s surprised by how far she’s come in such a short time. “I have no idea how I did it,” she laughs. “We have a really good group of people with diverse strengths — a number of them who have been with me for quite some time.” In the early days, the firm’s portfolio was comprised mainly of residential renovations but in recent years, new build construction work has increased sharply. New single family custom homes now comprise half of their volume of work. “Houses are getting bigger and nicer,” notes Gallop. “Our first custom home was 3,000 square feet. Now they are 10, 12, 14,000 square feet.” The firm itself has also experienced significant growth, tripling in size since 2013. “The size we have now is working and I don’t want to get much bigger,” she says.
Today, the boutique firm is a talented group of 12 including her husband, Rob, who is a chartered accountant. He joined the firm five years ago. “It has worked out very well,” says Gallop, who even shares an office with Rob. “We complement each other. Given how much we work, it’s nice that we both are in it together. He handles the business side, which allows me to still do design work whereas many people running design firms do not anymore.” With their two dogs and three-year-old daughter often in the office, Gallop has built a close knit family work environment that supports a strong team to produce the best work possible. She remains hands on, overseeing all projects and defining the initial concept with clients. Each project team is comprised of Gallop, a lead designer and a junior designer. The firm works on projects of any scale — from small renovations to new custom homes. “We don’t have a defined aesthetic per se. All the projects are different and the variety keeps it interesting. We enjoy researching and understanding the client to offer solutions that are relevant to them,” says Gallop, stressing however functional spaces are the primary goal in any project. “If the space doesn’t work well, it doesn’t matter how pretty it is,” she states. “The space has to work really well before the details on what it will look like.” The firm’s commitment to functional and timeless design has resulted in many repeat and loyal clients. While SGDI specializes in custom residential interiors, the firm does undertake some commercial projects usually at the request of existing clients who also own businesses.
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DESIGNER PROFILE
The majority of the firm’s work is local but the team will work anywhere. SGDI currently has projects in the U.S., Asia and across Canada. Recent projects include a Built Green Platinum custom home in Richmond; a complete renovation of a rancher home called Deerfield and a second floor renovation for a home called Transitional Transformation. A renovation of a Tsawwassen home called Green with Envy and a home in West Vancouver are among favourites for Gallop, noting both projects were with great clients. Gallop says the firm is extremely busy with a number of projects in various stages. The hot housing market in the Lower Mainland is having an impact, driving business across the building industry and creating a high demand for home designers. With so much interest, a big part of Gallop’s job is educating clients on what is involved in residential projects. “The average homeowner has no idea what an interior designer actually does. People think we pick paint colours and pillows — a very small part of what we do,” says Gallop, who teaches at BCIT and has been a presenter at design shows. “Educating people about the process is important. The better informed they are, the better decisions they can make.” While the popularity of home shows has increased interest in interior design, the general public often does not understand the difference between decorators and interior designers. Interior design is a profession that requires specific schooling and formal training in a variety of subjects that impact the health, safety and welfare of people.
“IDI is working hard to have interior designers designated like architects are,” says Gallop, who is also NCDIQ certified. “With the popularity of the industry right now, there are so many people who want to do it and they are not qualified. The concern is the industry gets a bad name because we all get painted with the same brush as the unqualified people.” Gallop says the number one mistake that homeowners make is starting construction before having a budget. “When I say budget, it’s not a number they pulled out of their heads,” she explains. “Did they have their drawings and specifications quoted out firmly before construction started? It’s crucial to know upfront because once you start ripping down walls...problems are much harder to solve.” That’s why her firm has a clearly defined eight step process that they follow on every project. It’s a structured approach with a natural sequence of decisions that Gallop has developed over the years to ensure success on projects. “I don’t want problems. I want people to have a good experience. The process makes it easy for the client and it works. We go through phase 1-7 before construction starts,” says Gallop, adding that well thought out planning is key and makes project execution much smoother. “On our process sheet it says, ‘Failing to Plan is Planning to Fail.” As for the future, Gallop has no formal goals for the firm except to continue delivering functional and distinct spaces for clients to proudly call home. “Vancouver is an amazing city for design and I’m constantly impressed about what is being done,” she says. “We’ve been lucky — working with great clients and builders. I wouldn’t want to do anything else.” DQ
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T H E A R M O U R Y D I S T R I C T. C O M
PROJECT PROFILE
Artful Dialogue By Cheryl Mah
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DESIGN QUARTERLY | Summer 2016
PROJECT PROFILE
The new Audain Art Museum in Whistler boasts many unique distinctions, from an elegantly understated design by renowned Vancouver firm Patkau Architects to a remarkable private art collection that includes one of the world’s finest historical First Nations mask collections. Located on Blackcomb Way adjacent to Whistler village, the 56,000 square foot building is British Columbia’s largest purpose-built art museum. The museum features a 14,000 square foot permanent exhibition space as well as a 6,000 square foot temporary exhibition wing. Patkau Architects was commissioned by real estate developer and philanthropist Michael Audain in fall 2012 to design an art museum to house his collection of B.C. historic and contemporary art. The $30 million art museum is privately funded, one of the few in Canada. “Michael Audain’s personal collection had been accumulated over a long time and traces the visual history of art in B.C. It’s arranged in chronological order within the gallery, providing a unique and powerful and a very B.C. focused experience,” says David Shone, principal at Patkau Architects. Construction began in August 2013 and was substantially completed in October 2015. Officially opened in March 2016, the museum is one of the largest in Western Canada. The design intent, according to the firm, was to have the form and character of the building and interiors be deliberately restrained to provide a quiet, minimal backdrop to the surrounding natural landscape and art within. Nestled in the forest, the striking angular building form and massing are direct responses to the site, which is located in the floodplain of Fitzsimmons Creek. “The conception was a gallery in the forest which was Michael Audain’s vision and became a touchstone for us throughout the development of the project,” says Shone. “Building in a floodplain was a unique and important challenge because it meant the building had to be on a robust pier structure to raise it a full storey above ground. That created a unique expression for the building as well.”
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PROJECT PROFILE
Above: The structure is crowned with a steeply sloped roof, containing administration and back-of-house support functions. Below: The Class A museum had to meet a rigorous set of requirements for temperature and humidity.
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DESIGN QUARTERLY | Summer 2016
Raised on large concrete piers, the building is designed to stand a one-in2,500-year flood. The long span structure consists of a three dimensional steel frame, with concrete composite steel deck floor slabs. “The building itself is clad with dark metal so that it recedes into the surrounding natural landscape rather than asserting its presence,” describes Shone. “For a very large building, it’s quite hidden from the street in many ways because of its dark colour. We really wanted the landscape to come forward and be the predominant initial experience.” The structure has a steeply pitched roof to accommodate Whistler’s snowfall, an annual average of 12 metres. The space created contains administration and back of house support functions. The site is a long linear opening within the existing forest, previously used for a variety of purposes (impound lot, works yard). The building was carefully designed to fit into the footprint and only required the removal of one existing tree, according to Shone. “The building form and massing was located within that site to have minimal impact on the existing forest vegetation,” he says. “It also put the buildng in the right orientation in terms of exposure to flooding.” When the scope of the project more than doubled in size midstream (from the original 25,000 square feet), it required adding an extension to the original linear form. The addition, to accommodate temporary exhibitions, created a distinctive shape that resembles a hockey stick. “As tough as it was to absorb the change in the flow of the project, it actually turned out to be a positive decision in many ways. The temporary exhibits gallery will bring in new works on a regular basis, providing a vitaltiy to the museum so people keep coming back,” says Shone. “Architecturally it created, by virtue of that arm being added, a side to the adjacent meadow so the building now embraces the landscape in a more powerful way.” An elevated pedestrian bridge draws visitors into an entry porch alcove that features warm hemlock panels, which is used throughout the interior public spaces. When lit at night, the luminous wood panels will make the museum glow “like a lantern in the forest.”
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PROJECT PROFILE
...the firm wanted a strong sense of connection to nature...and designed a glazed interior walkway to the galleries.
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DESIGN QUARTERLY | Summer 2016
The exhibition interiors are enclosed white volumes with only artificial light, as is typical for gallery spaces. With no natural light allowed in those spaces, the firm wanted a strong sense of connection to nature even while indoors and designed a glazed interior walkway to the galleries. The museum places art in dialogue with the natural landscape, which is successfully achieved through the 185 foot long, all glass walkway. “B.C. art is very connected and inspired by the landscape. So it made sense to have a strong connection to the natural landscape as you enter and leave the galleries. The building is meant to be complementary to the art and to avoid gallery fatigue,” says Shone, adding the landscaping is still being completed in collaboration with PFS Studio. Built as a Class-A art museum, it meets the rigorous set of requirements for accurate control of temperature and humidity, and security for the art. “The galleries are complex spaces in terms of their enviornmental conditions and for the protection of the art. The temperature and humidity must be maintained 24/7 within very strict guidelines,” notes Shone. “We put a lot of effort into the quality of the building envelope to achieve those objectives. The envelope was carefully considered for performance — high insulation values for the solid clad portions and triple glazed, Low-E glazing.” While the building has been designed and built to LEED Gold standards, adds Shone, the project is not formally pursuing certification. “It’s a very sustainably responsible building. Museums have specific and unique challenges to them, principally the environmental conditions for the art. It’s a project type that we’re very interested in.,” says Shone, whose firm also designed the Polygon Gallery in North Vancouver. “The Audain Art Museum was a great experience, a wonderful program and a great site.” The Audain Art Museum is an ambitious cultural project that will add to the popular mountain resort’s reputation as a destination not only for recreational sports but important local Canadian artwork. DQ
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TECHNOLOGY
Acoustical Design for 21st Century Learning
Today’s technology-driven world is shaping the design of educational spaces.
By Paul E. Marks
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DESIGN QUARTERLY | Summer 2016
Many of us work at hightech open-plan offices, communicating wirelessly over social media and accessing information at fibre-optic speeds through our smartphones and tablets — all while drinking almond milk Americano mistos handcrafted by in-house baristas. Okay, so not everyone has a corporate barista. Yet in today’s interconnected and technology-driven world, it’s safe to say that workplaces are no longer confined to a static, physical location. As the benefits of open-plan, communal offices become more evident, the trend has started to shape the design of classrooms and educational spaces. Contemporary schools and educational facilities are designed to meet
the needs of students and teachers, and also reflect the worlds of business, retail and commerce. These modern learning environments aim to accommodate both individual and group learners in an atmosphere that’s conducive to relationship building as well as formal and informal collaboration. To this end, 21st century classroom architecture encourages group, team and individual learning with a design flexibility that allows spaces to be re-configured through moveable furniture and walls. Yet this flexibility can alter the space’s acoustical environment and affect speech intelligibility. The need for learners to understand speech clearly, whether they are listening to
teachers or their contemporaries, remains a critical requirement for any classroom. Speech intelligibility Traditional classroom arrangements offer a relatively simple acoustical model: A teacher provides instruction from the front of a room to students seated in rows. Providing the space has low background noise levels and contains sufficient reverberation control (i.e., soundisolating perimeter walls, acoustical treatment to mechanical services and fibreglass ceiling tiles) the signal-to-noise ratio — a key factor for speech intelligibility — is sufficient for individual learning.
Photo: Darris Lee Harris photography.
GEMS World Academy is a private K–12 school in Chicago’s Lakeshore East Community. Design: bKL Architecture.
TECHNOLOGY
To preserve speech intelligibility in open-plan spaces, acousticians need to begin by considering the potential for intrusive noise from adjacent learning areas and circulation spaces. While intrusive noise can adversely affect any type of space, it can be more detrimental in open-plan environments because sound transmission paths from source to receiver are not as defined as they are in traditional classrooms. The primary source (i.e., teacher) is encouraged to move around the space. The receivers (i.e., students) might be congregated in a large group, clustered in small teams or perched on the third-floor atrium, listening through the speakers on their laptops. Similarly, sound sources can vary and include everything from a child’s voice with a distinct spectrum to an interactive MP3 file being played over the web. Consequently, acousticians face a number of variables over which they may or may not have control — variables that can affect the quality and clarity of acoustical communications. Design standards Acoustical design standards for schools are typically defined by the school board, and generally rely on objective standards from good practice guides such as ANSI/ASA S12.60 and the ASHRAE Handbook. While these resources provide a wealth of guidance about the acoustical requirements of sound isolation and the effects of underlying background sound levels and reverberation in core-learning spaces, they offer little or no information about speech intelligibility.
Improving speech intelligibility Acousticians should aim to optimize the variables under their direct control. Intrusive, reverberant sounds can be reduced (but not necessarily eliminated) by maximizing acoustical absorption within the space. Examples include high-efficiency ceiling and wall treatments, soft furnishings and carpeted floors. It’s also possible to delineate areas for individual learning within the open space by installing soundclouds or acoustical wall panels. Such treatments foster low reverberant conditions, which are ideal for individual learning. The underlying background sound level should be low in order to permit acceptable speech intelligibility, but not unduly quiet as that would detract from acoustic privacy. More importantly, background noise should be constant. Avoid relying on mechanical services to provide background sound and consider using electronic masking noise systems in open-plan classrooms. Finally, operable screens or moveable furniture can provide barriers to selected sound transmission paths. However, in areas that are recognized as noise generating or noise sensitive (e.g., music or drama rehearsal spaces), extra provisions are necessary to achieve higher sound isolation. Moveable raked bench seating not only provides opportunistic physical barriers but also increases the potential for sound absorption within the space. Moveable furniture allows schools to orientate spaces as they
...acousticians face a number of variables... that can affect the quality and clarity of acoustical communications.
require and enables shorter lines-ofsight between teachers and students, which aids speech intelligibility. While 21st century classrooms present considerable challenges to the acoustician, combining flexible space design and appropriate acoustical conditions is possible through planning and by including measures that increase sound absorption, reduce intrusive noise and promote short, clear lines-of-sight. DQ Paul E. Marks is a senior acoustical consultant at BKL Consultants Ltd., an acoustical consulting firm providing a wide range of acoustical, environmental noise, and noise and vibration control design services. Contact him at marks@bkl.ca or visit www.bkl.ca. Summer 2016 | DESIGN QUARTERLY
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aibc awards
2016 AIBC Architectural Awards
Lieutenant Governor of British Columbia Award in Architecture – Medal Telus Garden
Henriquez Partners Architects
Lieutenant Governor of British Columbia Award in Architecture – Medal Guildford Aquatic Centre
Bing Thom Architects in joint venture with Shape Architecture
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DESIGN QUARTERLY | Summer 2016
aibc awards
Lieutenant Governor of British Columbia Awards in Architecture – Merit York House Senior School
Acton Ostry Architects Inc.
Lieutenant Governor of British Columbia Awards in Architecture – Merit MNP Tower
Musson Cattell Mackey Partnership in association with Kohn Pederson Fox
Lieutenant Governor of British Columbia Awards in Architecture – Merit Centennial College Ashtonbee Campus Student Hub
MacLennan Jaunkalns Miller Architects Ltd.
Summer 2016 | DESIGN QUARTERLY
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aibc awards
2016 AIBC Architectural Awards
Lieutenant Governor of British Columbia Awards in Architecture – Merit Jasper Place Library
HCMA Architecture + Design in joint venture with Dub Architects
Lieutenant Governor of British Columbia Awards in Architecture – Merit Rough House
Measured Architecture Inc.
Lieutenant Governor of British Columbia Awards in Architecture – Merit Grandview Heights Aquatic Centre
HCMA Architecture + Design
Lieutenant Governor of British Columbia Awards in Architecture – Merit Fort McMurray Airport, International Airport Terminal
mcfarlane biggar architects + designers (project started at predecessor firm mcfarlane, green, bigger architecture and design.) 22
DESIGN QUARTERLY | Summer 2016
aibc awards
AIBC Emerging Firm Award
AIBC Innovation Award
marianne amodio architecture studio
Surrey Operations Centre
Taylor Kurtz Architecture + Design Inc. and Rounthwaite, Dick & Hadley Architects
Special Jury Award for Heritage Retention and Modernization Shaughnessy House
Special Jury Award for Contextual Innovation
Measured Architecture Inc.
2211 Cambie
Arno Matis Architecture Inc. and Azurean Architecture
Summer 2016 | DESIGN QUARTERLY
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technology
Technology in the Workplace By Susan Steeves
SSDG recently designed the new Vancouver headquarters for ACL, a global data-driven audit management software company, at 980 Howe.
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DESIGN QUARTERLY | Summer 2016
Back in the day when someone was promoted to the corner office, they had made it. Today people are less concerned about the office and more interested in having the best technology, seamlessly integrated into their workspace, to let them do their best work. Over the last few years the workplace has seen big changes, driven in large part due to the rapid pace of change with technology. Some key drivers include: digitization, the cloud, the cost of technology and the ability to work with anyone from anywhere, anytime. Let’s start with digitization. The term ‘the paperless office’ initiated in the 70s, but didn’t truly start to become even close to a realization
until recently, when the ability to digitize and retrieve all of a company’s processes and systems became easy to do. Five years ago when SSDG first started to work with Clio, a legal software company, they had no filing cabinets, no photocopier, no servers — this was a first! Since that time it has become far more common for clients to have very few or no files. For start-ups, going paperless is a no-brainer. For the rest, the transition to paperless takes a dedicated team to physically scan each piece of paper in every file. Once complete it allows people to access all of their files from anywhere they are working and to ditch the filing cabinets. What this means to office space design is that long banks of filing
cabinets are no longer being accommodated and big file rooms are not being built. The space is now being used for large social gatherings, cafes and team collaboration areas. If a company is still in transition, these areas are planned so they can be easily repurposed once the files are gone. The Cloud has also been a big change, freeing up valuable real estate. Server rooms have been shrinking rapidly over the last five years. Firstly, equipment has shrunk, but also, many companies are choosing to house their servers off-site or in the cloud. This reduces the real estate footprint within the office but also provides redundancy and
technology
...advancements in technology combined with lowering costs have been the biggest game changer of all in the workplace.
reduces costs when moving office locations. But perhaps advancements in technology combined with lowering costs have been the biggest game changer of all in the workplace. Mobile now exceeds the PC — unsure how this will play out in the office — WIFI and mobile devices have untethered people from their desks creating opportunities to work from anywhere. However, within the office, designers create a variety of places for people to work beyond their desks and meeting rooms. The varied mobility also provides an opportunity for people to change their posture throughout the day. One of the most common requests from staff is for AV to be included in
every meeting / collaboration space, and that it is easy to use. AV systems are notorious for being complicated to use, to the point that they are not used to their fullest potential, or not at all. All people want is for it to be the same in every room and easy to use. Today systems are far more sophisticated with excellent user controls that let anyone at the table ‘take control’ and run the presentation within the room. Once meeting rooms are equipped to allow people to collaborate using technology, they are more widely used, and people are far more effective in meetings. Individuals and organizations that don’t have technology throughout the office, don’t know how it could transform the way
they work. SSDG’s clients and own office culture are examples of how providing people with easy ways to communicate and collaborate with each other, in all places within the office, not just meeting rooms, from remote locations around the globe, and at all times of the day, really does change the way they think and the way they work. Once a cringe-worthy buzz word overly used by academics and researchers five or seven years ago, collaboration is now a word heard from clients and organizations as they move toward a collaborative model of working. Consequently, designers are able to engage clients to find out what collaboration means to them, how it facilitates their people to work better together, and therefore deliver more creative spaces for them to work together in. DQ Susan Steeves is a partner at SSDG Interiors in Vancouver. With a client base crossing over corporate, retail and hospitality industries, SSDG is an award winning professional interior design consulting firm with more than 30 years of experience. Summer 2016 | DESIGN QUARTERLY
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technology
Advancements in Decorative Glass How decorative glass technology is evolving to meet the needs of architects and designers. By Cathie Saroka
Winnipeg Women’s Hospital in Manitoba features digital ceramic printing.
Decorative glass is a versatile product that has been used for centuries to meet a variety of design and structural needs. As style and design trends evolve over time, decorative glass technology has responded and improved to develop innovative products that will meet the changing needs of architects and designers. These improvements in glass technology have allowed decorative glass to stay relevant, and continue to be a key building material used in modern architecture and design. One such advancement in glass technology is the introduction of Electrophoretic Ink, or E Ink. Developed by it’s namesake company, E Ink, this product is a component of a film used in Electronic Paper Displays (EPDs). For use in EPDs, E Ink film is laminated between glass and has a unique, bistable display, meaning that the image on the screen remains visible even when electricity is no longer being applied to the film. This significantly reduces the energy consumption of an E Ink display, and is a main reason why EPDs have an extended battery life when compared to a traditional LCD display, which refreshes the screen content 30 times per second. Another component that makes an EPD unique when compared to a traditional LCD screen is the reflective display. An LCD screen has an internal light source which projects the light toward your eyes from behind the screen. The EPD’s reflective display mimics traditional ink and paper, as it is lit by the ambient light available in the environment. Compared to the LCD screen, the reflective display uses less power and also causes less eye fatigue for users when reading for long periods of time. Although E Ink is most commonly used in eReader devices, due to it’s versatility, low voltage, and bistable display, this product is gaining popularity and is now being used in various decorative glass applications including signage and promotional displays. Another advancement in decorative glass technology is the introduction of a switchable film that allows a glass lite to go from opaque privacy, to non-privacy glass at the flick of a switch. Often referred to as Smart glass, or Switchable glass, the film is laminated between two glass lites and attached to a power source. When an electric current is applied to the film, the LCD particles react, causing the crystals within the film to align
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technology
...improvements in glass technology have allowed decorative glass to stay relevant, and continue to be a key building material used in modern architecture and design.
and the glass to appear in it’s nonprivacy state. In it’s “off ” state, with no electricity applied, the crystals will revert back to their original position in the film, offering enhanced privacy as the view through the glass is obstructed. In recent years, several technological improvements have made switchable glass more accessible to architects and designers. This includes a new generation of film that requires less electricity to activate the LCDs and improves the overall clarity of the glass in it’s non-privacy state. A key industry where demand for switchable glass has increased significantly is in the healthcare sector. This is not only because of the product’s sleek aesthetic and ability to provide instant privacy, but also because it maintains the easy-to-clean, durability of glass.
Using ceramic frit as a decorative glass component is hardly a new technique or technology, but in recent years a new way to apply ceramic frit to the surface of glass has emerged, with the introduction of Digital Ceramic Printing. Digital ceramic printing is a technology that applies ceramic ink directly onto the surface of glass, similar to the way that an inkjet printer prints onto paper. This solution is ideal for creating multi-colour, or full photographic images on glass. An example of a stunning project using this technology, is the Winnipeg Women’s Hospital in Manitoba. This building is LEED Silver certified and aims to combine natural earthy elements into the structure, including a fresh air circulation system, and a solarium with a living green wall. Goldray Glass created the exterior glass for
this project, using a combination of vision and spandrel glass panels to form a mural of a forest. Creating this complicated facade took planning and precision during production. In order to correctly divide the larger image into a series of panels, each panel was numbered and designated a specific elevation, with a very particular pattern to be applied. By numbering the panels carefully, it ensured each panel was printed correctly and could be easily placed together during the installation process. The completed facade portrays a seamless vision and works to support the overall natural and green theme of the building. DQ Cathie Saroka is president of Goldray Glass, a manufacturer of decorative architectural glass based in Calgary, Alberta. Goldray produces innovative glass products. Summer 2016 | DESIGN QUARTERLY
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green design
Green Material Verification Grows By Mark Hutchinson
As most green building professionals in Canada are learning, demand for products and materials that have third party green verification is growing, and this trend will continue well into the foreseeable future. The change is being driven in part by programs like LEED and the Living Building Challenge, which are putting greater emphasis on reducing the environmental and health impacts of materials. This is where third party verification comes in, as it is a natural requirement for such programs. The building construction industry is also taking notice and turning to safer, more sustainable options. Inherent in any significant change is a lag time while the market adapts. However, before the full impact of LEED v4 was even felt, the industry was already recognizing the potential. In the CaGBC’s 2014 joint report with McGraw Hill Construction titled Canada Green Building Trends: Benefits Driving the New and Retrofit Market, it was found that 29 per cent of contractors surveyed said they considered the lack of products or solutions available in their market to be one of their top three obstacles to building green. The same survey found that Canadian firms were expecting to grow their green practices from one third in 2014 to one half by 2017.
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LEED v4 leading the charge The good news is, LEED v4 helps provide a framework for building designers and project teams in understanding and assessing the use of greener materials. It establishes the broader elements to consider, including impacts on health and the environment, as well as responsible extraction and sourcing. LEED v4 specifies programs and methods for assessing these elements, and it also provides the market with the time and incentive to evolve, by rewarding the act of simply gathering the information necessary to make informed choices. For example, the new Building Product Disclosure and Optimization credit for Environmental Product Declarations includes a possible two points for achieving the following: Option 1: Environmental Product Declaration (1 Point). Use at least 20 different permanently installed products sourced from at least five different manufacturers that meet specific disclosure criteria. Option 2: Multi-Attribute Optimization (1 Point). Use products that comply with one of the criteria listed for 50 per cent, by cost, of the total value of permanently installed products in the project. This aspect of the industry is still maturing. Many of the programs and methods LEED v4 references are evolving themselves, with LEED in turn
green design
Canadian manufacturers have a big role to play in the evolution of green building ...and the trend towards greater transparency...
responding where necessary; the USGBC and CaGBC are taking active roles in this. The type of products and information available from manufacturers is also changing in response to market demand, and of course the ability of product specifiers to interpret the information they are gaining access to is growing. Just a couple of years ago, concepts like Life Cycle Assessments (LCAs), Environmental Product Declarations (EPDs), and Health Product Declarations (HPDs) were not part of the average product specifier’s lexicon. Why EPDs? Of the tools LEED v4 raises for consideration, EPDs are perhaps gaining the most attention. This might be because EPDs have been in use for some time in other parts of the world, or because they provide a comprehensive overview of the environmental impacts of products. In any case, EPDs are considered the ‘gold standard’ in transparency. They are created according to an agreedupon set of international standards and are third-party verified, ensuring that the results are legitimate, and making comparisons between products more feasible (though not necessarily easy — EPDs are also maturing). While the process of developing an EPD can take several months, the market already has access to a wide variety of products that have registered EPDs, and the number is growing rapidly. Early Adoption Benefits Canadian manufacturers have a big role to play in the evolution of green building, and stand to gain a great deal by being at the forefront of the trend towards greater transparency and safer, more sustainable materials. By acting quickly to consider how their products can meet or be adapted to meet LEED v4 rating system requirements, they’ll be offering the industry something it needs and providing it ahead of the competition. Owners, designers, architects and builders also stand to gain a great deal through early adoption. By more fully understanding the environmental and
health impacts of the products and materials being used, they’ll be able to create the best possible spaces for occupants, and benefit from being recognized as industry leaders. Path Ahead As Canada’s national advocate for green building, CaGBC believes that the entire industry has a role to play in ensuring that the greenest products and materials are created and used going forward. However, we also recognize a great deal of education and support is required to make this happen. We’ve expanded our education offerings to include easily accessible and affordable one-hour webinars that cover a variety of topics related to materials. We also hold yearly Materials Summits, held in conjunction with our annual Building Lasting Change national conference, which offer the industry an intensive, one-day series of mini-workshops about materials and how they can contribute to healthier, more sustainable buildings. CaGBC is committed to being a source of ongoing updates about LEED v4 and its product/material requirements. We are also working with groups like the Canadian Standards Association to provide discounts and education to members. It is an exciting time to be in the design and construction industry, and together we will ensure that we can continue to lead the world’s green building movement — providing products and knowledge that meet heightened requirements for transparency and performance. DQ As vice president of Green Building Programs for the Canada Green Building Council, Mark Hutchinson has overseen the strategic and operational planning and implementation of green building programs, including the Leadership in Energy and Environmental Design building certification program, for the past eight years. www.cagbc.org
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green design
Dumb Buildings Are Smarter The Heights, Canada’s largest rental building built to the international Passive House standard, proves it. By Geoff D’Auria
“It’s a dumb building that just works.” That’s Ed Kolic. He’s the principal of 8th Avenue Development Group Ltd., the company developing a unique, high-performance, ultra-low energy, mixed-use rental residential building in Vancouver called The Heights. He’s sitting at a table in the offices of Cornerstone Architecture. “But it’s so smart because of its simplicity. I’m not sure we want to say it that way.” That’s Scott Kennedy across the table. He’s a principal of Cornerstone. Scott and his team put in countless hours designing the building to the 30
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exacting international Passive House standard. When it’s done, it will be Canada’s largest multi-unit residential structure built to that standard. Kolic says he appreciates the building has little in the way of “smart” technologies that will need repair, upgrade, or replacement whenever the winds of high technology blow. More so, he appreciates there’s no central heating and cooling system. The building is designed to heat and cool itself simply by how it is designed — the orientation to the sun, the envelope details and so on. This makes Kolic smile because it means no costly maintenance and
repairs, reducing the rental building’s operating costs significantly and future-proofing it against rising energy prices. Kennedy, who is also chair of the board of Passive House Canada, agrees but wonders if framing the message in such a way belies the thoughtfulness and attention to detail demanded by the Passive House standard that’s been 25 years in the making. The question they are wrestling with is how to market such an architectural success with the least sexy architectural name since perhaps “modern brutalism.”
green design
What is “Passivhaus? It’s not necessarily a house, for one. The “house” is a slight mistranslation of “haus,” German for “building.” Therefore, a Passive House can be any size and have any number of purposes. Key is the thermally efficient envelope — the exterior walls, floors, and roofs (think a warm sweater). That envelope is air-tight (no drafts) with triple glazed windows (no cold interior surfaces) and no thermal bridges (no colds spots for mold to form). A highly efficient heat recovery ventilator supplies constant fresh air (85 percent of the heat transfers from the outgoing air to the incoming). Use these strategies with any materials in any climate and one can hit the Passive House heating/cooling target of 15kWh/m2 per year. (This is 10 per cent of the typical 150 kWh/m2 load). Therefore, the “passive.” Such low heating/cooling demand means no “active” heating system is needed. Appliances and body heat provide most of the necessary heat. The rest, as they say in Passive House circles, you can heat with a hair dryer. No wonder Kolic is smiling. But will residents? “It’s the most comfortable building you can live in.” That’s universally what Passive House residents say after living in a building with constant fresh air and no cold spots or drafts. Plus, those thick walls are essentially soundproof, creating a quiet sanctuary. Perfect for The Heights on busy Hastings Street. What’s the catch? Construction costs can be higher, between two to seven per cent
according to some local studies. Partly due to the higher cost of necessary products new to the local market; partly due to the cost of more specialized labour skills. (In Europe, however, where the product market is more mature, some architects claim they can construct a passive house for less than a typical building.) But this project has been a true collaboration of developer, builder and architect. And it’s made all the difference. Kennedy and his team developed a wall assembly to fit how trades normally operate locally. And Doug Wilson of Peak Construction, a development partner in the project, is organizing the work so those trades are minimally affected by the additional air-tightness. Any specialty work will be done and overseen by his crew, which has ramped up in training and process control, keeping the risk of the unknown out of the sub-trades pricing. From Kolic’s perspective, if there are any extra envelope costs, the mechanical system savings offsets them: “In effect, we’ve taken the budget from a reduced mechanical system that was driven by the LEED Gold energy points and put it into the envelope. In addition, the reduced operating costs have improved the valuation of the building, which is the all-important metric in revenue properties. So, how do you put a marketing frame on an approach born of building science fundamentals, rigorously and elegantly applied? To a building that provides more comfort, uses less energy, is simpler
Construction costs can be higher, between two to seven per cent...
to operate, will last longer, all while reducing the carbon footprint? “I don’t know,” says Kolic, closing his book. “What I do know is it’s a big deal and the development and building industry should all be moving to this direction. “Dumb buildings can actually be smarter.” DQ Geoff D’Auria is in the process of becoming a registered energy advisor. When not calculating the heat load of one- and two-family homes, Geoff also provides communications services to high-performance, sustainable projects like The Heights. Summer 2016 | DESIGN QUARTERLY
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green design
Is LEED Still Relevant? By Cheryl Mah
LEED has become synonymous with green in the mainstream building industry over the last decade. While the voluntary green building rating system has been a successful market transformation tool, it has its limitations. Today, competition has increased with many other green building systems being used, according to Andree Iffrig of DIRTT Environmental Solutions. She said there are also new codes which are narrowing the gap between what it means to build to code and build to LEED so it is timely to consider whether or not LEED is living up to its reputation. A panel of recognized industry leaders discussed the impact of LEED, required improvements and whether it is still relevant at the sustainability keynote session during Buildex Vancouver 2016. Working for a manufacturer, Iffrig cited the benefits of lean principles and recommended applying them to LEED because incremental change will not meet the 2030 Challenge of carbon neutral buildings. “We could reduce the complexity of the [LEED] system, diminish waiting times and approvals, promote flexibility,” she explained. Further benefits include saving money and moving the focus away from “chasing credits.” She said four ways to improve LEED would include: building modeling, lifecycle costing, performance data reporting and smarter construction. Helen Goodland of Brantwood Consulitng agreed that new processes have to be adopted from manufacturing to deliver building performance improvements because the construction industry has reached the limits of what is possible with traditional methods . Industrial methods are key to delivering transformational environmental performance, she said, citing farmers as an example where automation has successfully optimized yield of crops. “We need to fundamentally re-tool the R&D in our industry before we go to the next level. I don’t see any rating system helping us with
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that,” said Goodland, noting that in Europe there is a range of incentives for innovative business solutions and in the UK, BIM is mandatory for all projects over $50 million pounds. LEED is not perfect, stressed Sebastian Garon of Sebastian Garon Architecture + Design. It was never meant to be perfect — it was meant to be improved over time, he said. He also agreed LEED will not deliver the drastic changes at the pace required to reach a truly sustainable environment but it is “part of the solution.” He believes the rating system needs to be less complicated and more focused on quantity and achievements versus administration. “LEED has had a tremendous impact on the industry. LEED is the carrot while the codes...bylaws are the stick. We need a combination of tools, programs and regulations in which LEED plays its role.” LEED also must be part of a balanced approach to energy performance and sustainability, according to Graham Twyford-Miles from Stantec. He focused on the need to close the gap between predicted and measured energy performance of buildings. (Energy performance reports are currently not mandatory under LEED.) Closing this gap requires a rethink of how project teams are structured, he said, recommending energy modelling must be a design tool used from the outset. “LEED has admittedly had less significant impact on existing buildings. We need legislation to support mandatory benchmarking disclosure of existing building data,” he said, noting more than half of the building stock that will exist in 2050 has already been built. Eden Brukman of Concenter Solutions talked about the positive impacts of LEED, noting almost 20 years ago there was no framework or common reference point for building green. But over the last decade, LEED has been getting a lot of attention — both positive and negative. Simplification would improve its effectiveness and LEED v4 is starting to incorporate some of the elements necessary to keep LEED relevant, she said. But for it to be relevant, the system has to be approached in an entirely different way. DQ
ida
Renewable Resources By Andrea Raimondi
There is huge debate bet-
Yellow Door Bistro, Hotel Arts, Calgary
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ween the benefits and the detriments to the environment from “salvageharvesting”. The term is loosely defined as “the practice of logging trees in forest areas that have been damaged by wildfire, flood, severe wind, disease, insect infestation or other natural disturbance ....” So is salvage-harvesting a good green approach? Some of the products produced from a salvage-harvest of the fire-kill and mountain pine beetle-affected timber have been developed to exceed other standard products produced in a conventional method. There have been many successful commercial projects that have utilized reclaimed fire or pine beetle- affected timber. The preference was to use salvaged material over a standard newly manufactured one. By doing so, the appearance of the wood was unique and special with an inspiring back-story to tell. There is great debate on the benefits and considerations referencing the topic of “sustainability” and the greater good of the environment. Some contrasting views on the ecological impact are varied and a great controversy has emerged from the salvage logging dilemma. Proponents argue that salvage harvesting provides a number of advantages. The first being the removal of dead or damaged trees reduces the risk of additional fires and reduces the spread of insects which flourish in dead and damaged trees. The income from the reclaimed
trees can be used to finance rehabilitation of damaged areas through replanting and help implement erosion control measures. There are a number of recent companies specializing in developing products using dead standing timber, crafting it into SFI & FSC certified products with a zero wastage protocol. These companies are making a commitment to eco-friendly, affordable alternatives through local supply and recycling all shavings and remaining fragments into alternative bi-products such as animal bedding. While there are benefits, there are greater concerns from an environmentally responsible perspective. One of the main risks is if harvesting is not carried out properly, there could be a greater increase of soil erosion/damage when too much is disturbed or the wrong equipment is used. It seems to be unvalued and overlooked that dead trees are in fact needed for wildlife habitat and necessary to aid in the process of returning nutrients to the soil as well as protection of water quality. Despite the debate, the use of salvaged wood in projects is valuable in many respects. Regional fires and infestations certainly ensure that the product can be sourced locally. It is also favourable from a timeline and cost perspective. Environmental impacts and cost savings can be realized with a reduction in transport of the product. The look and function are unparalleled when integrated within the right application.
ida
Salvaged wood is just one option to meet the need for sustainability in projects. It has become a primary concern for members of the design community to integrate sustainability within the interior specifications, mechanical, lighting, architectural, and landscaping protocols. Sustainability has become a more conventional concern but in some cases it is immeasurable which leads to it being viewed as a “contested concept”. Some projects would only be allowed to exist with the mandate of being built to a specific LEED standard as a general framework. The practice of sustainability and incorporating it into the standard design process, when not mandated, has always been of importance within the design community. Ultimately responsible and thoughtful design must inherently consider green practices and environmental impact. It is imperative to look at the lifecycle and performance of a selected product first and foremost, even if it is within a residential application. Over the years the “cost to perceived value ratio” of the more sustainable specifications has become less of a spread. Still the paradigm must shift and a fundamental rethinking must occur in order to have the client spend more upfront to save later in the long term by being responsible. Of course it is easier said than done within the current economy, if the sustainable green option is not mandated. For some accounts is appears to be “up to the client” and
Salvaged wood is just one option to meet the need for sustainability in projects.
not the designer based on the guideline for budget. If the movement and recognition can equate to the client seeing additional dollars in their pocket from the sustainable option then it will get less difficult to justify the additional initial expenditure. The progressive approach is taking a direction that tells a story which in turn the end user aligns with. The materials will have a better chance of appreciation and utilization in the project. When that value is recognized things change for the greater good. As we move forward and look at potential specifications on up-andcoming projects, the best approach
is to push the envelope with respect to environmentally responsible design. Being creative about the use of our renewable resources and being responsive to our local conditions. And using dependable materials and taking into account long term performance, history and “cradle to grave” cycles. The serendipitous evolution of these types of materials will lead to better design in the future. DQ Andrea Raimondi is the founder and principal of Ingenium Design Group Inc. in Calgary and has a varied and highly successful background in the field of interior design.
Summer 2016 | DESIGN QUARTERLY
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Adaptive Reuse Breathing new life into old buildings. By John Gustavson
The Motive Power Centre of Excellence, Annacis Island, Delta.
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After
built
structures
become disused or abandoned, adaptive reuse can be the perfect way to breathe new life into an old building while conserving resources and where applicable, historic value. Whether due to environmental reasons, land availability or true desire to conserve a historic landmark, architects are turning to adaptive reuse as a solution to some of the problems of the built environment.
The Motive Power Centre of Excellence, on Annacis Island in Delta, B.C., is a unique opportunity to showcase the collaboration between the private and public sector as well as to repurpose an existing building into a world class educational and training facility for heavy-duty mechanics, transport trailer mechanics, diesel mechanics, commercial transport mechanics, railway conductors and forklift operators. Further to the collaboration between the private and public sector, a partnership between BCIT and VCC began to accommodate the needs of the two post-secondary institutions. Both are facing space requirements and student growth challenges. The new Motive Power Centre of Excellence created opportunities to develop synergies between the two post-secondary institutions as well as with prospective employers, while providing physical space and opportunity for industries to be present in the centre. The original facility located on Annacis Island was an industrial building initially developed for Kodak and was purchased as part of the Kodak portfolio in Vancouver by a local developer. The specialized nature of the building, built specifically for the needs of Kodak, many thought to be a liability and would require a major renovation to reconfigure the spaces to accommodate the new functional program for the new heavy equipment training and education facility for BCIT/VCC. Through the continuous cooperation and communication between all the stakeholders (the building owner,
architect, engineers, facility managers, BCIT staff, VCC staff, and building contractor) the project was value engineered to accommodate a strict budget and construction schedule. The original functional space program for the project did not fit into the existing conditions of the original building. By reprogramming the functional space relationships to be accommodated into as much of the original building interior as possible, the consultant team was able to recommend savings to the project in time and budget. Numerous workshops, design charrettes, meetings, and presentations were key in keeping all the stakeholders well informed on the process and focused on the major milestones in the aggressive project schedule. The key to adaptive reuse is with the owner and stakeholders. Without their buy in and understanding, it would be difficult to make this happen. Adaptive reuse requires leadership. The onus lies with the design professional to ensure that all parties understand the objective and have a common goal. Owners will often try meeting leaseholder’s demands especially when the site may not have been leased for some time. Leaseholders, on the other hand, obviously would like to have the best facility, including a new one if necessary should that prove to meet their program and functional requirements. It is the job of the design professional to understand the delicate requirements of both the owner and the user and to come up with a design solution that addresses all the issues.
Aibc
It is no small feat to have the owner and leaseholder to come together and agree on their needs — especially when trying to sell the adaptive reuse of a building. A full on integrated design approach is required to make this happen. Teams of design professionals that are experienced in the art of adaptive reuse go a long way in terms of ensuring that the project will succeed. This includes an ability to understand what the existing building is capable of, and to be able to explain the benefits of adaptive reuse to both the owner and leaseholder. Obviously green design strategies come into play, but the greenest design strategy is to question whether or not we can live with what is currently in existence. Through these design tools of communication, many compromises in the functional program were proposed to the user groups and accepted in a joint effort to complete the project within the aggressive schedule. Further to these functional program compromises, the donation of a 140 ton, 30 foot tall Mann Machine Engine, by Mann Diesel and Turbo Canada, proposed a greater challenge. The size and weight of the engine made it impossible to locate within the existing building, where the original functional program had located it, without major renovation to the existing structure. The proposed compromise to the functional program was an architectural design solution where the Mann Engine became the signature of the Annacis Island development by
building a new glass structure addition at the main entrance of the existing building. This new glass structure exposes the 30 foot tall engine to the public, as well as provides a working class room for students to study heavy marine diesel mechanics. The glass box addition, to house the Mann Engine, helps the public identify with the new life of the building as an educational facility. The dual function, as a display of the massive marine engine, with the additional use as a work classroom for students helps give the repurposed building life with the visual impact of the students working on the 30 foot tall Mann Engine. The new campus was completed, including renovation of 142,000 square foot existing space as well as new building area of the 3,000 square feet housing the 140 ton, 30 foot Mann Diesel Machine Engine, in less than 12 months and within the project budget of $16.5 million. The renovation of the existing space included upgrading existing warehouse space to heavy-duty mechanic shop areas to constructing new classrooms and support space for students and teachers. Projects of this type are not widely studied or discussed. In most situations the preferred method to renovate an existing building for the reuse to a new functional program is to gut the interior of all existing interior improvements and reconstruct all new improvements to fulfill the new program requirements. As architects, our main focus is to review the specific needs and requirements of the users of the space we
The architect should do the minimum in the most intense way. create. The architect should do the minimum in the most intense way. The adaptive reuse of buildings in a sustainable way, through value engineering, communication and collaboration of all project stakeholders, can prolong the life of an existing built environment saving time and the cost of construction. In the end, with a lot of effort, a little elbow grease, and enormous cooperation, the design consultant can become the steward of an existing facility and plan appropriately for its successful re-use. The success or failure of the project lies in the hands of the project architect. There is certainly a risk of failure, but these can be minimized with a dedicated design team, the owners and cooperative leaseholder. The result will be a project that you will be very proud of for years to come. DQ John Gustavson is the managing partner of Gustavson Wylie Architects Inc. in Vancouver, B.C. John has over 30 years of experience as a project designer and project manager in corporate, commercial, industrial, and institutional projects as well as residential developments across Canada.
Summer 2016 | DESIGN QUARTERLY
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design headlines
Vancouver Central Library Expansion Vancouver Public Library is planning to expand the central library with new community event and meeting spaces, exhibit spaces, a theatre, a reading room and a ‘garden in the sky’ public garden, among other enhancements. The $15.5 million project would revitalize the top two floors. Design and planning work is expected to be finished this year. Construction is expected to start in the first half of 2017, with the new space completed by March 2018. VPL is working with world-renowned Safdie Architects and locally-based DA Architects, the original designers of the project in the early 1990s. For the garden’s landscaping, they have contracted landscape architect Cornelia Oberlander who designed the building’s original green roof. VPL’s central library opened on May 26, 1995 — and at the time, the Library Square project was the City of Vancouver’s largest-ever capital project. Site development partners included the federal and provincial governments. Levels 8 and 9 of the building were planned to be leased office space for a period of 20 years, after which time they would become part of the library for community use. Expanding the central library will create a new place for Vancouverites to get together, read, reflect and experience the outdoors in the heart of the city.
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Multiple Honours for Telus Garden Henriquez Partners Architects took home the Best Architectural Studio in Vancouver and Most Innovative Civic Focused Project for Telus Garden in the 2016 BUILD-News Awards. Telus Garden has radically transformed an aging block of downtown Vancouver into a future friendly community fusing beauty, functionality and environmental stewardship. It is one of the most technologically and environmentally advanced sites of commerce, employment, and residence in the world and with local and international recognition. This is the fifth award in 2016 for Telus Garden, which recently took home the prestigious Architizer A+ Awards both jury and popular vote for the Office High Rise category, the 2016 AIBC Lieutenant Governor Medal and the Vancouver Urban Design Award for Urban Elements.
New SSDG leadership SSDG Interiors has announced new leadership for the Vancouver design firm with the retirement of founding partner Gerry Shinkewski. Veteran associate Kenna Manley will step in as a new partner. The transition is set to happen October 1, 2016. Manley has been with SSDG for more than a decade, starting as a student and quickly growing to the talented designer and strong leader she is today. She has led many award winning projects and she will compliment Susan and Julie’s skills to ensure SSDG continues to grow and prosper. Continuing the SSDG legacy has always been important to the leaders of the company. Formerly Seeton Shinkewski Design Group Ltd., SSDG Interiors Inc. was founded in 1980 by Keath Seeton and Gerry Shinkewski. SSDG’s succession planning started back in June 1996, when Susan Steeves, a seven-year employee of SSDG, purchased one-third of the company, and it continued five years ago when Julie Campbell purchased Seeton’s shares. Manley will be the newest SSDG partner to continue the legacy.
chinook hospital photo: Andrew Latreille
Chinook Regional Hosptial expansion opens Chinook Regional Hospital, one of two major healthcare facilities serving the communities of southern Alberta, celebrates the grand opening of its new addition. Designed by Perkins+Will, in association with Group2 Architecture, the new addition complements the existing building while creating a fresh, modern feel. Chinook Regional Hospital is the first healthcare project in Canada to use the LEED for healthcare rating system and is targeting silver certification. Balanced with the practical concerns of a healthcare building, the design incorporates local, sustainable and healthy material choices wherever possible, promoting environmental quality and social benefits while minimizing operational costs. Natural daylight was an important design feature. A new main entry, along with technological and materials advancements and a narrow floorplate, enabled the new addition to maximize daylighting and optimize workflow. Lean strategies were integrated early in the design process to improve and optimize outcomes through the delivery of an efficient and effective workflow, with shorter distances for most tasks and better sightlines for improved supervision and safety.
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