Showcasing BC & Alberta’s architects and interior designers
Summer 2017 Vol. 18 No.1
PM 40063056
d e s i g n q ua rt e r ly
Emily Carr University of Art + Design Architect D’Arcy Jones | Technology |Green Design
UBC’s Earth Sciences Building practices what it teaches The Earth Sciences Building at the University of British Columbia houses the departments of earth, ocean and atmospheric sciences, mathematics and statistics, as well as the office of the dean of science. The intent is to encourage interdisciplinary collaboration and creativity among the faculties and help advance solutions to such pressing global issues as climate change and environmental degradation. With that focus, the new building itself had to both actively encourage teamwork – which it does through a variety of formal and informal meeting spaces, including extra-wide landings on the staircase – and also model sustainability and energy efficiency. “We wanted this building to be a model of energy efficiency – not easy, when you consider it has 54 fume hoods that just eat up power,” says Craig Knight, Development Manager and Financial Analyst for UBC Properties Trust. Fume hoods are vital safety equipment intended to limit exposure to hazardous chemicals or toxic fumes, but one fume hood alone can use more energy than three typical B.C. homes. “Scientific research is very energy-intensive by nature,” says Knight. “In addition to the fume hoods, there’s the heating, ventilation and air conditioning, as well as the lighting that needs to be on many hours a day.” To try to mitigate that energy-intensiveness, UBC made a decision early in the design process to participate in the BC Hydro New Construction Program, which resources to conduct an energy-modeling study that identifies energy conservation measures. Our buildings will be more energy efficient for life if we design them right from the beginning,” Knight says. “It’s a win-win.”
Looking for new ways to build better? Visit bchydro.com/construction or call 1 866 522 4713 to learn more.
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in this issue
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12 Features 06 Designer Profile
Through thoughtful, high quality and intensely detailed designs, architect D’Arcy Jones is making his mark in Vancouver and beyond.
12 PROJECT Profile
16 16
The new Emily Carr University of Art + Design will provide students, faculty and the community a world class state-of-the-art facility for 21st century learning in art, design and media.
AIBC AWARDS
18 Green Design
▶ Discerning Spirit: Creating Place ▶ Architectural Implications of Passive House ▶ A Step Towards Net Zero
22 Technology
▶ The Digital Future ▶ Investing in Innovation ▶ Audiovisual Managed Services
ON THE COVER: The new Emily Carr University of Art + Design on Great Northern Way in Vancouver.
Departments 04 From the Editor Summer 2017 | DESIGN QUARTERLY
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from the editor
Inspired Living
sUMMER 2017 Vol. 18 No.1
www.designquarterly.ca PUBLISHER Dan Gnocato dang@mediaedge.ca Managing Editor Cheryl Mah Graphic Design Tang Creative Inc.
Living on Canada’s beautiful west coast has many advantages, especially in the summer. The water, mountains and natural beauty offer many places to explore and enjoy on sunny days. Camping is our annual summer tradition to enjoy our natural surroundings. Hiking through the lush forest or standing on the shoreline with the waves rushing in, it is pretty difficult not to be inspired. A Canadian artist influenced by the beauty of the west coast was Emily Carr. Her legacy continues to influence many artists locally and internationally, and now the B.C. university named after her is getting a bigger and better home. The Emily Carr University of Art + Design is set to open for classes this fall, providing current and future students with state-of-the-art spaces to explore, experiment and research in various creative media. For our profile, we speak with Vancouver architect D’Arcy Jones, who has had an accolade filled year so far with notable awards recognizing his talent and the innovative work his firm is doing. His firm took home two 2017 AIBC Architectural Awards — Emerging Firm and Lieutenant Governor of British Columbia Award in Architecture Medal for Friesen Wong House. All the AIBC winners are included inside. You will also find our annual features on technology and green design — two industry issues that are continuously evolving and impacting the process of designing and delivering leading edge buildings. Within the last few years, Passive House has gained rapidly in popularity. Read about its potential on page 22. For those who have worked on Passive House projects, the new B.C. Step Code approach is very similar. Find out more on page 20. Hope you enjoy this issue and look for our fall coverage of the IDIBC Awards.
CONTRIBUTING WRITERS Brittany Coughlin Paul Fenske Helen Goodland Colby Harder Charles Leman Lucio Picciano B.C./ALBERTA SALES Dan Gnocato 604.549.4521 ext. 223
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DESIGN QUARTERLY | Summer 2017
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.
DESIGNER PROFILE
photo: Undine Pröhl
Friesen Wong House
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Emerging Talent By Cheryl Mah
DESIGN QUARTERLY | Summer 2017
DESIGNER PROFILE
V
Vancouver architect D’Arcy Jones spends a great
deal of time thinking about potential — the potential to transform a space, to maximize a site or to inject fresh life into an older building. The desire to create thoughtful, high quality and intensely detailed designs has guided his firm’s work, which has been predominantly residential (often challenging renovations) but is now expanding into non-residential. Although Jones has been practicing architecture since 2000, he only became a registered architect four years ago. The path to professional registration was untraditional, but his talent and tenacity has earned him a national reputation for innovative, efficient and modern design. While architects typically train or intern in established firms before opening their own firms, Jones became self-employed right after graduating with a Master of Architecture degree and has never looked back. He ran a one-man architectural practice out of his home in Vancouver’s west end before moving to an office in Mount Pleasant in 2005. His early design achievements have not only earned him clients, but also prestigious industry accolades. His firm D’Arcy Jones Architecture (DJA) received two 2017 awards that recognize exemplary promise and distinguished architecture: the AIBC Emerging Firm Award and the RAIC Emerging Architectural Practice. Earning recognition provincially and nationally within two weeks was “a big honour” and validates the hard work that’s been put into creating good designs, says Jones. These awards join a string of other prominent ones already received. In 2014, Jones won the Ronald J. Thom Award for Early Design Achievement from the Canada Council for the Arts, which recognizes outstanding creative talent and potential in architectural design early in a career. There have also been two Canadian Architect Awards of Merit and the inaugural Arthur Erickson Memorial Award. His firm also won a 2017 AIBC Lieutenant Governor of British Columbia Award in Architecture Medal for Friesen Wong House. Built on a rocky hill in Coldwater, B.C., the design was budget driven but Jones was able to deliver a technically sophisticated house structurally and thermally. The house complements its homeowners’ lifestyle and rustic setting, featuring long cantilevered concrete slabs, burned fir planks, raw concrete blocks and steel sheets.
Summer 2017 | DESIGN QUARTERLY
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DESIGNER PROFILE
“It’s a stand out project because it was so successful,” says Jones. “The burned wood technique was done by the owner and his dad and will last without the need for stain. The house has twice the R-value that code requires and no air conditioning.” Regardless of the project size or type, the firm’s approach is to have an open mind, clear ideas and to balance budgets with excellence and technical accuracy. DJA’s design process focuses on quality craftsmanship and fostering close relationships with builders. “We do tons of drawings for every project...so much is determined by the front end work and design work,” he says. “We are tenacious about how our projects are built so finding the best builders is as important as creating good design.” It was his early interest in drawing that led him down the path to architecture. Born in Fort St John, Jones grew up in Abbotsford and enjoyed drawing and building. A drafting class in Grade 11 sparked that interest further, and he would go on to obtain two bachelor degrees in environmental design from the University 8
DESIGN QUARTERLY | Summer 2017
of Manitoba (1995) and Dalhousie University (1997). He then received a Master of Architecture degree in 1999 at the University of Manitoba. Jones designed his first project in 1996 — a house commissioned by his parents — and it was so successful that he began working for himself right after finishing architectural school. “I’ve never been traditionally employed,” he notes. “I’ve joint ventured with architects when I needed someone registered and that’s how I logged my time as an intern.” Today, DJA is a nine-person firm and projects include housing, renovations, galleries, interiors and commercial spaces in a distinct modern style. While many of the details and ideas from early projects inform current ones, each project is treated as a “clean slate” to create something unique. Jones runs a challenging work environment where everyone (interns, juniors or seniors) is responsible for leading two to three projects. He believes this offers a better rounded experience than being restricted to specific tasks.
photo: ema peter (top), Sama Jim Canzian (left)
Right: Yan House Below: Monte Clark Gallery
Brown Cabin
DJA’s commitment to innovation means embracing the most sophisticated technology available.
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“I like to be involved in every job and I’m always in the loop. The focus is to deliver a high quality product no matter what the project is,” he says. “We do turn away more work than we accept — to maintain that quality.” DJA has current and completed projects throughout B.C., as well as in Ontario, Switzerland, California and Washington. Now that he is licensed, Jones is broadening the scope of the firm to include non-residential projects such as commercial and institutional buildings as well as larger multifamily residential. “We only want to work on nonresidential that are very boutique and design driven — not market driven,” explains Jones, adding the goal is to grow the portfolio to be 50/50 in residential and non-residential. Sustainability is also integrated naturally into DJA’s design process, often through the use of robust and common building materials over exotic and imported materials. “Even with modest materials, design can be thoughtful and creative,” he says. “My favourite projects use stucco and drywall.”
A good example is the Brown Cabin on Hornby Island, which embraces crude stucco and wood to achieve a modern sensibility without being elaborate. Another highlight project is the Monte Clark Gallery where rustic industrial materials were executed modestly to transform a former derelict paint shop into a popular art space. Most of the firm’s work has been “intense renovations” of single-family homes. And it all began with the 430 House, which is a stunning example of the retention of an iconic Vancouver building form. While the entire foundation and structure of the house were retained, Jones completely reimagines the Vancouver Special with contemporary and gracious spaces. The success of that project created a huge demand for his firm that subsequently led to other renovation projects. DJA’s commitment to innovation means embracing the most sophisticated technology available. So while the recent slate of building code changes (provincially and locally) might be daunting to some, DJA has been specifying products that meet today’s code for more than 10 years. Jones cites windows as an example.
“We’ve already been using the best European windows we could find so we didn’t bat an eye when the code changed here,” he says. “We pick quality and large window sizes to maximize on views and the bonus is they are thermally sophisticated.” As for the future, Jones believes for Vancouver to grow to the next level, single-family home neighbourhoods will have to evolve. “They shouldn’t be replaced by towers, it should be row houses...like New York did on the Upper West Side and East Side,” he says. “We’re working on a few projects like that and there is a growing conversation around the issue.” Jones also gives back to the industry by sitting on design panels, teaching and lecturing. He was an adjunct professor at the University of British Columbia’s School of Architecture and Landscape Architecture, teaching studios and serving as a thesis advisor and guest critic. Most recently he was a guest critic at the University of Calgary’s Faculty of Environmental Design. Outside of work, the 45-year-old is a father-of-three and enjoys travelling, art painting and being a “perpetual student” through YouTube lectures. DQ
photo: Sama Jim Canzian
feature PROJECT
Project Profile
Collaborative Learning Environment
By Cheryl Mah 12
DESIGN QUARTERLY | Summer 2017
Project Profile
O One of Canada’s most
renowned art and design universities is getting a new home in Vancouver. The 290,000-square-foot Emily Carr University of Art + Design (ECUAD) is set to open in September 2017 with state-of-the-art spaces that will strengthen the school’s world-class reputation. The art university is moving from Granville Island to a new purpose-built building on Great Northern Way in East Vancouver, a burgeoning creative and digital media community. “The new campus will be the beginning of a creative cultural precinct and a centre for 21st-century learning in art, design, media and applied research,” says Dr. Ron Burnett, president and vice chancellor, Emily Carr University of Art and Design.
Spread over three acres, the new facility is almost double the size of the old one, allowing the university to meet increased student demand and accommodate current and future programming. Applied Arts Partners was selected to design, build, partially finance and maintain the new campus — the first and only post-secondary institution P3 project procured in Canada. Construction started in summer 2015 and substantial completion was achieved in June 2017 by EllisDon Corporation. Designed by Diamond Schmitt Architects (DSA) in joint venture with Chernoff Thompson Architects, the four-storey building features expanded studio, shop and learning spaces as well as lecture theatres,
including a 400-seat venue for major gatherings and events. Key to the design of common spaces was the need to foster interaction, informal gathering and discussion. The goal was to create a flexible and collaborative environment for Emily Carr’s students, according to Ana Maria Llanos, senior associate and project architect at DSA. “The intent of this facility is to bring all their student population under one roof,” she says, noting the university currently occupies multiple buildings. “Integration, interdisciplinary collaboration and cross-pollination are all fundamental to how the building was conceived.” The main entrance is located on level two and connected to Great Northern Way and the St. George
Plaza. A public internal street called the concourse flows through the level featuring the main gallery space, 400-seat theatre, cafeteria and offices. Studio, art and shop spaces are spread throughout levels one, three and four along with outdoor terraces. Another key design consideration was to maximize natural light and wall space for art display, work and experimentation. “The idea of the white canvas existed from the beginning...having both internal and external spaces to allow for display of artwork,” says Llanos. “The floor-to-floor height is quite unique with close to five-metre high ceilings which is important for the production of art. Volume in each room is generously supported by an abundance of light.” The building exterior is a combination of glass, metal panel and standing seam metal cladding. The predominantly white metal panel facade acts as a “blank canvas,” while punches of colours were applied with spandrel glass panels. The palette of colours (green, blue, purple and red hues) was inspired by the university’s namesake Emily Carr and her paintings of B.C.’s west coast. “The choice of exterior colours that overlays the white canvas was done with participation of the university and two faculty members,” says Llanos. “The expression of the building is unique and speaks to the culture of Emily Carr. Our hope was to deliver a landmark and reflect the identity of the school within the larger community.” The building is divided into effectively four quarters with interconnected light-filled atria running north-south. Clerestory glazing up at the top helps to create “internal light wells.” “They allow us to interconnect visually all four levels which is very important and is also critical for wayfinding within a facility of this scale,” says Llanos, noting the glass also provides transparency and views to the interiors. Summer 2017 | DESIGN QUARTERLY
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Project Profile Spandrel glass panels add colours inspired by Emily Carr’s paintings.
Sustainability was also important. The building is designed to achieve LEED Gold certification with extensive interior and exterior use of wood, in keeping with the provincial government’s Wood First Act. A feature butterfly canopy (on south side) is comprised of 2x4 NLT panels supported by both glulam beams and glulam columns. “Heavy timber is used both as structural columns and as an interior finish,” says Llanos. “At the east and west ends of the project, we have these volumes called lanterns that are fully glazed from the third floor to the fourth floor. They are intended to act as beacons of lights…and to anchor the corners of the overall massing.” To meet the LEED target, an energy-reducing passive strategy was used with the focus on a high-efficiency building envelope and a stateof-the-art mechanical system that includes active chilled beam technology, a dedicated heat recovery chiller plant, air side heat recovery and demand control ventilation exhaust systems. The facility will also connect to the city’s Neighbourhood Energy Utility district heating system. 14
DESIGN QUARTERLY | Summer 2017
The building design is flexible for evolving future uses and features decentralized heating, cooling ventilation, power and IT infrastructure. Meeting the schedule and the programmatic requirements were the main challenges, says Llanos. “To deliver a successful project within the tight time constraint was challenging. The building is quite tight on the site with minimal setbacks so fitting the programme within the site was also challenging.” The new ECUAD represents the most significant addition to the Great Northern Way campus to-date. The 18-acre site on the False Creek Flats is owned and developed jointly by UBC, SFU, BCIT and ECUAD. The vision is for the university to become a catalyst in reshaping the area as well as serving as a crossroads between East Vancouver and the rest of the city. “This is a hugely significant project for the university and aims to revitalize that whole area of the city,” concludes Llanos. “The success of the project comes from the high level of engagement with the university to meet their needs and vision.” DQ
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AIBC
2017 AIBC Architectural Awards Lieutenant Governor of British Columbia Award in Architecture – Medal Audain Art Museum
Patkau Architects Inc.
Photographer credit: James Dow
Lieutenant Governor of British Columbia Award in Architecture – Medal Friesen Wong House
D’Arcy Jones Architecture Inc. Photographer credit: Undine Prohl
Lieutenant Governor of British Columbia Awards in Architecture – Merit UBC Robert H. Lee Alumni Centre
KPMB Architects in joint venture with HCMA Architecture + Design Inc
Photographer credit: Nic Lehoux
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AIBC
AIBC Emerging Firm Award D’Arcy Jones Architecture Inc.
Lieutenant Governor of British Columbia Awards in Architecture – Merit Tsawwassen Beach Home
Frits de Vries Architect Ltd.
Photographer credit: Ema Peter Photography
Special Jury Award Christ Church Cathedral Restoration and Renewal
Proscenium Architecture and Interiors
Photographer credit: Martin Knowles
Special Jury Award Sneakerbox
DCYT Architecture
Photographer credit: Jon Meade Summer 2017 | DESIGN QUARTERLY
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green design
Discerning Spirit: Creating Place
Central Park, New York City
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A copy of Olmstead and Vaux’s 1858 Greensward Plan for Central Park hangs above my desk. Today it stands as a testament to the role and calling of landscape architecture. New York’s Central Park was the first great city park in the United States; one that continues to define NYC. Chosen for its mix of open space and wilderness, the plan integrated formal patterns and structures like the park’s bridges, mall and Bethesda Terrace with the natural landscape.
It also artfully constructed “natural” areas such as waterfalls and rock caves intended to allow New Yorkers to connect with nature and experience its seasons. The partners envisioned Central Park as a unified work of landscape art: a park as a public institution to enhance the lives of its citizens. Nearly 160 years later, what is remarkable is its continuing, vital role in the life of the city: open space and habitat, urban respite
and recreation, economic anchor and international destination. Conceived during a time of social improvement, the park remains a rich and nuanced landscape filled with activity. It also continues as a testament to the power of landscape to articulate a distinct sense of place. LANDSCAPE AS ACCESSORY While the Greensward Plan serves as an enduring example of the
Photo by Paul Fenske
Story + Photo By Paul Fenske
green design
transformative power of landscape design, it also stands in stark contrast to how often landscape architecture continues to be understood and practiced. Landscape design is frequently overlooked in the rush to jump into architecture; its role regularly reduced to one of backdrop and decoration. Clients, and designers alike, often assume a straight path in determining a project’s form and feasibility; one that begins with the site and ends with buildings. However, like in most endeavours, the straight path is not often the best path. For in this state-of-mind, there is a smallness of purpose, a certain meanness of spirit. The design finds its foundation in the utility of space planning and the requirements of bylaws and building regulations. The resulting design can best be described as orderly and banal. These places are inspired not by the land but by fashion trend, driven not by experience but by market preference, and rooted not in place but in price point. In such designs, the land remains silent; the landscape simply an accessory. LANDSCAPE AS SOURCE CODE Yet the landscape is in fact foundational to good design. To articulate a sense of place, design needs to begin as a conversation with the land and the community. Good design seeks to be a response, rather than an imposition — to the context, landform, natural systems, uses and people who call it home. Despite the reams of data and stacks of technical reporting, the defining qualities of the land itself often remain overlooked during the inventory and analysis stage of a project. For in the landscape are the clues to place. It is evident in the forms and contours of the land, in
its vegetation and views, in its play of light and colour, its scents and seasons. The land is the source code to unlocking the spirit of place. LANDSCAPE AS COMMON GROUND On this 150th anniversary of Canada, the work and enduring significance of the Group of Seven come to mind. Through their interpretation of the landscape, they saw an identity of a nation. Considered at the time an unworthy subject for the artist, they saw the poetry and spirit of the land, capturing it in brushstroke and pigment. Today, their work has to come to symbolize a distinctly Canadian identity. Rooted in its scale and geography, the landscape uniquely holds the ability to generate a defining experience of place; one that is shared by all. It stands as the common ground upon which we move and have our being. It is in the landscape — its mountains and wilderness, parks and shorelines, sidewalks and backyards — that a sense of common experience and shared community is born. This divining role is the calling of landscape architecture: to be the poet of the built world and unveil the unique spirit of each place. Yet while the landscape holds the power to forge a common experience and shared identity, the greater challenge for most of us is, “not that our aim is too high and we miss it, but that it is too low and we reach it”1. The Greensward Plan hangs above my desk as a reminder of just that. DQ
Landscape design is frequently overlooked in the rush to jump into architecture...
Paul F. Fenske is principal, urban design at EKISTICS. He leads the firm’s local urban design and master planning projects. 1 | Michelangelo di Lodovico Buonarroti Simoni (Michelangelo) (1475-1564)
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green design
A Step Towards Net Zero The B.C. Energy Step Code introduces new building energy efficiency requirements By Brittany Coughlin
Net zero has long been
Net zero has long been used to describe the highest performing buildings...
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used to describe the highest performing buildings — an objective in the building industry’s quest to reduce its environmental footprint and combat climate change. In 2016, B.C. released the Climate Leadership Plan, with the goal to make buildings net zero ready by 2032. But what does net zero ready mean? And is it an achievable goal for all buildings? Net zero is typically defined as a building that produces as much energy as it consumes on an annual basis. But this definition can vary
by project — is renewable energy production on-site or off-site? How does it consider efficiency versus renewables? Does net zero hinge on the building’s size, location, and access to solar? Does it consider greenhouse gas emissions or just energy? Toward Net Zero the “Right Way” In theory, any building can be net zero energy with enough photovoltaic (PV) panels. However, the best practice approach to net zero takes three steps:
1. Reduce the demand for energy through passive design measures like a highly insulated building enclosure and heat recovery ventilation. 2. Efficient use of energy through low-energy mechanical systems, equipment and lighting. 3. G enerate the balance of energy through renewable supply like PV, geothermal, etc. The B.C. Step Code tackles the first two: reducing demand and using energy efficiently. Whether this achieves net zero ready will vary
Green design
Fig. 1
Figure 1: Figure 2: The Step Code includes four steps for Part 3 residential buildings that apply to B.C.’s Climate Zone 4, and three steps for Part 3 commercial buildings (not pictured) that apply to B.C.’s Climate Zone 4. (Image courtesy Energy Step Code Council) Figure 2: Figure 1: The Step Code includes five steps for Part 9 residential buildings that apply throughout B.C. (Image courtesy Energy Step Code Council)
Fig. 2
some key differences between the metrics in the two programs. The highest Step Code steps achieve close to Passive House performance and allow teams to use the Passive House software tool to demonstrate Step Code compliance.
by building, but it’s a step in the right direction. The Step Code Approach The Step Code introduces new energy performance targets through two primary metrics: Thermal Energy Demand Intensity (TEDI) and Energy Use Intensity (EUI). TEDI is a metric of the building’s modelled heating needs, which is primarily influenced by building enclosure insulation and airtightness, as well as the ventilation system. A more highly insulated, airtight enclosure with heat recovery ventilation will achieve a better TEDI value. Airtightness testing is required, with Part 9 limits ranging from 3.0 ACH50 for Step 2, to 1.0 ACH50 for Step 5. In Part 3 buildings, the tested airtightness rate is used in the energy model to meet the TEDI and EUI targets. The Step Code TEDI and airtightness testing requirements ensure
the building loads are reduced to a reasonable performance level. EUI is a metric of the building’s total modelled annual energy consumption including heating, cooling, ventilation, plus lighting and plug load energy for Part 3 buildings. The metric is slightly different for Part 9 buildings, which looks at only Mechanical Energy Use Intensity (MEUI) and omits lighting and household appliance/plug loads. The Step Code EUI/MEUI requirements ensure the building equipment and systems use energy efficiently. For those who have worked with the Passive House certification program, the Step Code approach may sound familiar. Passive House uses a similar approach with requirements for heating demand (similar to TEDI), primary energy (similar to EUI) and airtightness, although there are still
Implications for New Buildings in B.C. The introduction of the Step Code means a few changes for new buildings in B.C. Although the Step Code is now a part of the BCBC as of December 15, 2017, the Building Act will change to require that local governments reference the Step Code when setting requirements for better-than-code energy performance. While the Step Code will be optional to jurisdictions, local governments can choose to require or incentivize it as part of their sustainability strategy. This will remove ever-changing requirements that varied from jurisdiction to jurisdiction while mapping out a path forward. Teams that want to get ahead can aim for higher Step Code levels and learn from the experience with a consistent set of metrics. The Step Code will improve delivered performance by requiring airtightness testing for all buildings that comply with the Step Code. Airtightness is a highly cost effective energy conservation measure and while there may be an initial learning curve for some teams, experience south of the border has shown that
airtightness testing is highly effective and achievable. The Step Code will expand the role of energy modeling as all buildings meeting the Step Code will require a model. The Code references the City of Vancouver’s Energy Modelling Guidelines, which must be followed to determine the TEDI and EUI for Part 3 buildings. Other guidelines for professionals are in the works, including energy modelling professional practice guidelines as well as additional guidelines and training material. The Step Code only applies to certain building types: Part 9 residential, Part 3 multifamily residential, and Part 3 commercial. The Step Code applies to Part 9 buildings province wide, but Part 3 buildings only in Climate Zone 4, covering the Lower Mainland, Southern Vancouver Island, and Southern Okanagan. In summary, the B.C. Energy Step Code will bring consistency and predictability to the building industry, while advancing the energy performance of new buildings towards the province’s ambitious goal of net zero ready by 2032. DQ Brittany Coughlin is an associate, energy and sustainability specialist at RDH Group. For more information, go to: http://www2.gov.bc.ca/ gov/content/industry/constructionindustry/building-codes-standards/ energy-efficiency/energy-step-code Summer 2017 | DESIGN QUARTERLY
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green design
Architectural Implications of Passive House Design By Lucio Picciano Casa Luca
Since the 2010 Vancouver Olympics when Canada’s first certified Passivhaus or Passive House was constructed, we have a seen a slow but steady rise of this approach to building. Especially within the last two years, the Passive House approach has now entered the lexicon of the building industry. Some jurisdictions have even adopted policies and bylaws that give incentive for targeting Passive House certification. The recently approved Step Code by the B.C. government takes a similar building approach in its four levels of advanced energy efficiency. These levels are modelled around the science of Passive House that increases thermal resistance and air tightness to greatly reduce energy consumption while improving occupant comfort and reducing carbon emissions. Further to the adoption of the Step Code, some recently Passive House certified and in-progress projects, especially in B.C., have proven that this approach to building is no longer a fringe movement supported by a few advocacy groups. The knowledge and ability required to build to the Passive certification is now easily attainable. Local manufacturers and suppliers have also enhanced their product lines to make available certain components necessary to achieve this level of energy efficiency. Some of the components, specifically windows and heat recovery ventilators, had been difficult or costly to source in the past. This is no longer the case.
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Green design
The biggest challenge has been designing within zoning bylaws that do not consider building efficiency, density and livability... Now that Passive House and the Step Code will become part of the daily lexicon of building and design in B.C., it is no longer enough to build just for energy efficiency. We now have the means, skills and products to allow us to do this economically and practically. The focus must now shift equally to architecture and urban design. It has become apparent that energy efficient building must be thought of in equal measure with other zoning policies that affect the daily cultures of our cities and the form of our neighbourhoods. Only then can we fully realize the potential of conserving. In a way, the culture has to change along with the building standard. For many cities in Canada, this will mean a rethinking of the density of our largely single family residential zones. As an example, the City of Vancouver has up to 70 per cent of its land area devoted to single family zoning. Even a gentle-density approach could greatly reduce potential sprawl and enhance the urban fabric. We can then optimize our neighbourhoods by promoting pedestrian oriented smaller streets and reduced setbacks. Simple planning moves can help us avoid the cultural anonymity created by the traditional suburban model. Our
dependence on the automobile and television can also be reduced in neighbourhoods where people now live closer together and are encouraged to interact at the sidewalk level. Within our firm we have realized or designed Passive House certified projects in various different bylaw zones within Vancouver. The biggest challenge has not been the sourcing of higher quality building materials or skilled trades to achieve certification. Nor has it been applying architectural style to the limited possible forms that the zoning bylaw creates. (Though this is also an important topic). The biggest challenge has been designing within zoning bylaws that do not consider building efficiency, density and livability as the primary focus. In Casa Luca, the first certified passive house in Vancouver, and W house, the area to volume ratio that affects the efficiency of the heating demand suffers because the bylaws prevent a more compact volume. We have had to respond architecturally in order to achieve the PH standard but also add purpose to the design. With moveable and fixed exterior shading devices coordinated with the orientation of openings we can reduce or enhance the cubic forms often associated with passive design. Superfluous detailing is not required. Allowing
New fourstorey condo
the site and orientation of the building and openings to inform ‘architectural moves’ is how we achieve complexity and style in the passive house approach. Details added to simple forms show purpose and are more maintainable. Unfortunately, density in the RS zones of Vancouver and other cities has been granted in the form of small inefficient laneway housing. This approach seeks to ‘tuck away’ the density to the rear lane. It increases construction cost and renders most backyards unusable. Fee simple and zero front and side-yard setbacks shift volumes to one building. The effect is lower construction costs, more energy efficient volumes, larger backyards and buildings closer to the street for active participating residents. In our soon to be built four storey condominium, the shape of the project was almost entirely informed by the antiquated zoning bylaw. This bylaw focuses on parking, limited density and shape. To set this project apart from the investment
market-saturated ‘unlivable condo’ we provided a family-sized condo without the costs and hassles of owning a single family property. The 2,000 sf units will target an energy efficiency to certified passive house standards and be within walking or biking distance of all important amenities of the city. The first milestones toward an energy efficient society have been set with enhanced building codes and passive house incentives. We now must ask if our zoning bylaws are contributing or reducing the goals we are trying to achieve. Architects, builders and now the public have shown they can rise to the challenge of an energy efficient building approach. Planners and lawmakers must now follow in our footsteps to ensure the Passive House approach can reach its maximum potential. DQ Lucio Picciano, Architect AIBC LEED, is principal of DLP Architecture Inc. in Vancouver. Summer 2017 | DESIGN QUARTERLY
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technology
The Digital Future Is there a place for small firms in the future of the AEC industry? By Charles Leman
Technology is a critical and complex issue for all firms. It has been for many years now and constantly increases in complexity. It used to be relatively simple: PC or MAC? Now it seems intractably complex. The strategic management decisions seem endless: What software? Spend on training or hire for the skills? Buy hardware or virtualize in the Cloud? To BIM or not to BIM? That‘s still a question? 24
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Change has been happening painfully slow: large contractors developing more integrated supply chains with their trades, progressively relying more consistently on digital models by architects and engineers instead of paper for estimating and scheduling, while the industry adopts standards that are robust enough to allow successful ad-hoc collaboration. But the prefab segment of the industry may now lead this
transformation. Based on the principles identified by Clayton Christensen in "The Innovator's Dilemma", it makes sense that disruptive change won't come from the large established firms, it will come from smaller peripheral segments of the market and spread. The prefab market is positioned to take advantage of this, as they are already significantly more vertically integrated and already serving a market of simple generic
building types. As the technology gets more refined and sophisticated, it will become possible to apply it to more and more complex building types, slowly taking over the entire market. Imagine this scenario: in the near future an owner-operator with a piece of land needs a building. An office building or a retail infill building, the kind of building that is prototypical. They would go to a website, where they would identify the parcel
technology
It’s about shifting the role of the designer.
on a GIS system, choose the building from a catalogue of prototypes, choose various options packages and right then would get a price and a delivery date. Just like shopping for an IKEA kitchen or a car! Why not? Buildings are more complex, yes, but that is only an issue of scale. With ubiquitous unlimited computing power, that really isn't an issue. Architects and designers may not be impressed with this scenario. This upsets their sensibilities. They think this makes them obsolete but that is not the case. It’s about shifting the role of the designer. Instead of designing specific buildings, they design prototypes, assemble pre-defined systems, create new parametric building components that other designers use to assemble their prototypes. This will of course require platforms, digital marketplaces, standards for data structures and most importantly supply-chain management based on digital exchange. No more eyeballs on paper! No more measuring with
little plastic rulers. No more counting on your fingers. This all sounds like it will require a lot of expensive infrastructure, big systems that only big companies can afford to build and manage. Is there room for small firms in this vision of the future? Yes! Because all this is going to look similar to software development: open source and collaborative, ad hoc, plug and play. The prefab company is really going to be a platform. Something like combining GitHub and Amazon for the AEC industry. Small firms actually have an advantage: They can pivot, adapt much faster than large firms. And this new digital infrastructure will allow small firms to scale very rapidly. So what does this mean in terms of strategic positioning for firms in the AEC industry? • Know your core business: Be highly specialized, know your core/unique capabilities and focus on developing those proprietary workflows, tools and assets. Outsource everything else. • Be a connector: In the new digital
economy more than ever, it really is all about relationships. Not just people, business-to-business digital connectivity. Seek out and understand how your business integrates into an ecology of digital exchanges, workflows with digital inputs and deliverables. • Always be learning: A prediction is BuildingSMART will set the standard for workflows and data structures, IFC will be the file format. The authoring tool will be BIM/VDC software (Revit, Tekla, ArchiCAD, etc.) but it will run in the cloud, not on a desktop. Node-based visual programming tools (Grasshopper, Dynamo) will be core skills for designers. School is in. Get busy. This is happening during the next decade. DQ
Visual programming tools like Grasshopper and Dynamo could change future of design.
Charles Leman, Architect AIBC, is the founding principal of LEMAN Architecture. He has been a proponent of BIM/VCD for over ten years, as Senior Architect and BIM Specialist for Bing Thom Architects, HCMA, and Ankenman Marchand Architects. Summer 2017 | DESIGN QUARTERLY
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technology
Investing in Innovation Re-tooling the procurement process will deliver performance improvements in buildings
By Helen Goodland
There is no question that technology is taking over the way buildings are designed and built. But the rate at which tools such as virtual design and construction, 3-D printing, artificial intelligence and so on will revolutionize the design professions is less determined by their inherent power and capabilities, and 26
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more to do with the extent to which building owners are willing and/or able to accommodate them. For these new systems (many of which are still quite expensive) to take root and be effective, there first needs to be an overhaul of the construction procurement process. In a “lowest-bid” world of adversarial
relationships and short-term thinking, opportunities for innovation quickly evaporate. And where risks are routinely deflected as opposed to managed, there is little appetite for new ideas and experimentation. Procurement is an integral part of any construction project. It includes sourcing, purchasing, and all activities related
to providing knowledge, manpower, construction equipment, materials, supplies, supervision and management services necessary to accomplish the project objectives. Increasingly, it includes the ongoing management of the asset, to the extent that building operation and maintenance procedures are affected by the original work.
technology
Effective procurement identifies a project’s target market and packages up the opportunity to appeal to that market. It also focuses on securing an achievable and affordable solution that best meets the owner’s needs and providing a firm contractual basis against which delivery and performance can be assessed. However, construction procurement can be a highly complex procedure and present some significant challenges for procurers — not least due to the scale of the works being procured and the variety of professional services typically required for project delivery. Recognizing that keeping abreast of new technologies and processes are key to delivering high performance buildings and vital to the future prosperity of B.C.’s construction industry, the B.C. Construction Association (BCCA) recently published a report that explores the role of procurement in fostering a culture of innovation. Co-funded by Forestry Innovation Investment Ltd., Procuring innovation: a review of models processes and practices looks at how public and private owners can become “innovation friendly” in their construction procurement — to enable them to access the potential environmental, economic and social benefits that innovative construction solutions can bring. It is also intended to assist architecture, engineering and construction (AEC) firms set up their competitive response processes so they can bring their best to projects that push technical and logistical boundaries.
...keeping abreast of new technologies and processes are key to delivering high performance buildings...
The timing of this report is fitting because times are challenging for building owners. Private developers are challenged with the rising cost of land and the public sector is under sustained pressure to maximize value for money, in order that limited funds can deliver as much as possible. At the same time, margins are getting tighter for design and construction firms and they have to do more with less in order to operate profitably. Too often, the lack of investment in productivity enhancing tools and business processes has a direct effect on the quality of documents that are being put out for bid — in the end everyone loses in this “race to the bottom.” Investing in new tools and technologies to boost design and construction productivity and building performance, in conjunction with adopting long-term “life-cycle” based thinking, are critical to boosting value all round.
Investing in innovation may have immediate short-term benefits in terms of the speed and cost of the project; it can also have much greater long-term economic and other impacts over the life of the building. With firm long-term commitment, it can enhance AEC companies’ bottom lines. The report found that in many construction projects, the initial capital cost may only account for around 20 per cent of the total costs that the building owner will incur during the period of ownership — particularly when energy bills and maintenance costs are taken into account. If the costs of staff using buildings are included then this is reduced to just 0.5 per cent. Accepting that “value” can be described as the relationship between what you get (or want) and what you pay, then value can be increased by improved function or reduced whole life cost. So,
for teams undertaking innovative construction projects it is essential that value is managed, measured and quantified so that the benefits of the new technologies and processes can be evaluated. In the end, the success of an innovative project relies on leadership from the owner who not only needs to lead by example, but also establish the structure and tone of key relationships, as well as the values and objectives of the project. DQ Helen Goodland, RIBA MBA, is principal of Brantwood Consulting and co-founder of Building Technology Innovations. She recently completed the 2017 Procuring Innovation report for BCCA. Co-authors include Jim Taggart FRAIC, Kevin Hanvey MAIBC AAA MRAIC, Omicron and Tyler Galbraith, Jenkins Marzban Logan LLP. Summer 2017 | DESIGN QUARTERLY
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technology
Audiovisual Managed Services Driving Better Workplace Collaboration
By Colby Harder
IT (INFORMATION TECHNOLOGY) SERIVCES HAVE BECOME the norm for many businesses. For offices of all sizes IT service providers offer cost effective, efficient and highly specialized IT support. There are many distinct benefits of managed IT services, allowing companies to reduce labour costs, control IT costs and increase expertise within their organizations and increase operational efficiency. There is now a growing trend towards audiovisual managed services. Design and construction professionals can simplify projects and provide greater value for clients by helping them consider an AV managed service approach for their meeting space technology. An easy integration, especially for those already utilizing managed IT services. Rather than a traditional buy and own model, AV managed services create a service to be consumed by the client. The AV managed service provider provides a combination of systems and services for a simple monthly service fee. All maintenance, support and upgrade management and support services are managed by the AV managed service provider as part of their managed services agreement. It is a “systems as a service.” The client receives all the 28
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technology
services and staffing to ensure optimal performance of their workplace technology. It provides for easy decision making during the project process and better results for the client over the long run. Typical Challenges Many collaborative meeting spaces are less productive than they could be, normally for one of the following reasons: Lack of Strategy. This strategy helps them define and set expectations on what the systems should and should not do, what functionality is critical to operations, and how the systems will be supported and upgraded. Complexity. Without a strategy, systems become complex as the client is trying to account for all eventualities. This approach rarely works and it’s expensive to the organization. Insufficient Support. Many organizations assign support responsibilities to their IT department. Many IT teams are not trained, experienced, or equipped to properly support these systems. The result is meeting rooms that are not ready for business. Inconsistency. Inconsistency contributes to wasted time by not providing users with a simple and familiar method of using the systems. This also negatively affects the speed of support. Lack of Management. Most companies are not employing the management tools available to them to optimize usage and operability of these collaboration systems. Using a remote management system allows an organization to monitor system operability, identify issues and optimize business outcomes. Change Management. There is always a draw towards the “latest
and greatest.” Haphazard upgrades can wreak chaos on an organization’s systems and efficiency. Working to manage change, upgrades and modification in a controlled manner will drive operational efficiency. An AV managed services program will address these challenges. Because the client’s interests are aligned with their AV services provider — to ensure optimal functionality and up-time performance — services are planned well, executed efficiently and supported fully. The result to their business is better business outcomes and savings of 20-25 per cent. The result to your business is more efficient project implementation. Studies have reviewed the value of managed services to an organization and have highlighted the following: 1. Control Costs Converts fixed AV costs into variable costs and allows effective budgeting. 2. Reduce Labour Costs Hiring and training an IT staff to support AV systems can be very expensive. Outsourcing lets businesses focus their human resources where they need them most. 3. Trained, Experienced, Qualified, Certified. Industry certifications are important, but so is broad experience. A managed services provider will also bring depth, with a team that provides expertise in different critical practices (IP conferencing, audio and microphones, video distribution). 4. Qualified doesn’t Equal Experienced Few problems are new for AV service companies, which see related problems multiple times. An in-house IT employee leads an isolated existence no matter how much they train. 5. Increase Efficiency and Competitiveness Organizations that try to do all IT and AV services in-house
An AV managed services model will deliver more value for your client, speed client decision making and simplify your project implementation.
themselves can have much higher research, development and implementation time, all of which increase costs. 6. Quickly Implement New Technology A quality outsourced AV service organization will have the resources to start new projects right away. The AV managed service provider will typically prioritize work over other clients. 7. Stay Focused on Your Core Business Outsourcing can help your client’s business stay focused on your core business and not get distracted by complex AV management and support decisions. 8. Reduce risk Every business investment carries a certain amount of risk. AV managed services providers assume and manage much of this risk, with specific industry knowledge and established relationships with manufacturer vendors and software service providers. They generally are much better at deciding how to avoid risk in their areas of expertise. 9. Level the Playing Field Most small businesses can’t afford to match the in-house support services that larger companies maintain. Outsourcing can help small companies act “big” by giving them access to the similar technology and expertise that
large companies enjoy. An independent third party managed cost structure and economy of scale can give a company a competitive advantage. 10. Compliance and Security Is the firmware up to date? Is a remote software management tool installed? Does the company audit meeting spaces and boardrooms to ensure optimal operability? Do they have backup systems on standby? Getting Started When working on a client project with meeting spaces or other technology requirements, consider suggesting an AV managed services model. An AV managed services model will deliver more value for your client, speed client decision making and simplify your project implementation. In the end, the client will thank you. DQ Colby Harder is president of CONTI Evolution, a Vancouverbased provider of managed audiovisual and technology solutions to workspaces across North America. For more information on AV managed services, email ColbyH@ conti.ca or visit www.conti.ca Summer 2017 | DESIGN QUARTERLY
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