Canadian Architect

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12 integral house designed by shiM-sutcliffe architects, this Most unusual hoMe for a Most privileged client functions as Much as a public concert hall as it does a private residence. teXt John bentley Mays

20 royal conservatory of Music telus centre for perforMance and learning

Maki and associates

JaMes dow

toM arban

contents

9 news

33 calendar

a harMonious new addition to and renovation of this cultural institution by kuwabara payne Mckenna bluMberg architects was alMost 20 years in the Making. teXt elsa laM

27 delegation of the isMaili iMaMat

High Performance: Evolution and Innovation in Canadian Design at the Charles H. Scott Gallery, Emily Carr University of Art + Design in Vancouver; PLAY Conference at the Dalhousie University School of Architecture in Halifax.

34 Backpage

Leslie Jen describes Olivier Bourgeois’s Trop de Bleu, a highly evocative but temporary installation in Quebec’s Îles-de-laMadeleine.

olivier bourgeois/serge boudreau

patkau architects inc. and kearns Mancini architects inc.

his highness the aga khan coMMissions a proJect of cultural iMportance in the nation’s capital, resulting in a superbly crafted building by fuMihiko Maki and MoriyaMa & teshiMa architects. teXt ian chodikoff

Acton Ostry Architects Inc. complete first phase of the Sauder School of Business renewal and expansion at the University of British Columbia; 2010 AIBC Architectural Awards call for submissions.

february 2010, v.55 n.02

integral house by shiM-sutcliffe architects. photo by JaMes dow.

cover The NaTioNal Review of DesigN aND PRacTice/ The JouRNal of RecoRD of The Raic

02/10 canadian architect

5

PaI/stIP

viewpoint

editor Ian ChodIkoff, OAA, MRAIC associate editor LesLIe Jen, MRAIC editorial advisors John MCMInn, AADIpl. MarCo PoLo, OAA, MRAIC

above the new Green roof on the PodIuM of toronto CIty haLL wILL be oPen to the PubLIC In the sPrInG. to PurIsts, Its addItIon Marks an aberratIon of ModernIst PrInCIPLes. to others, Its PresenCe ushers In a new era of eCoLoGICaL awareness In the CIty.

Modernism is difficult to define. There are buildings that are quintessentially “Modern” with respect to their materiality, massing, and ornamentation (or lack thereof), but as for defin­ ing the philosophy of Modernism, considerable debate is sure to ensue.

When observing the renovations to Toronto City Hall and its concomitant Nathan Phillips Square, judging the correct approach to altering the ori­ ginal architectural intentions contained within one of the city’s most cherished Modernist build­ ings and its public spaces becomes difficult.

Therefore, it is not surprising that some of Toron­ to’s most esteemed Modernists are uneasy with the precinct’s $40­odd­million renovation, especially the design of the 3,400­square­metre green roof on the podium level of Toronto City Hall, an area that was always meant to be public space. It is doubtful that any Modernist would object to the herbs, grasses, flowers and sedums being planted on the podium’s roof, as adding a 21st­century green roof to a mid­20th­century Modernist icon is what we might call progress in our continued efforts to further ecological aware­ ness in the city. However, what has sparked some debate is the introduction of three Kentucky coffee trees on the green roof. Native to southwestern Ontario, these trees grow to a height of around 20 metres, and there are some who feel that the trees compromise the clarity and expressiveness of Fin­ nish architect Viljo Revell’s original design.

But does the addition of these trees really con­ travene the rules of Modernism? To quote from Nurturing Dreams, a collection of essays by archi­ tect Fumihiko Maki, “The Mexican poet Octavio Paz once described modernity as an expression by each individual of how he intends to live his own ‘present.’ If that is so, then there are a thou­ sand modernisms for every thousand persons, and in this century, modernism will no doubt continue to be the mode by which we express the present in which we live.” If we accept Maki’s comments, then perhaps we can accept the addi­ tion of trees on top of Revell’s icon—the trees could be as poignant a statement in today’s soci­ 6 canadian architect 02/10

ety as was the plasticity of Revell’s concrete when the building first opened in 1965.

Reinforcing the ineffability of Modernism while respecting the importance of architectural history and the evolution of our cities, Maki states: “The development of modernism is not dependent on a unilateral elimination of the past.

In this, it resembles waves on the sea. Different waves collide and interfere with one another.

Some waves disappear and others become even larger than before.” Here, Maki notes that even the most strident of Modernists can neither de­ stroy the past for their own purposes, nor hypo­ critically hold onto their ideals as sacrosanct. For better and for worse, change will happen.

Deserving a separate discussion but worthy of mention is the recently launched book on the brash and unbelievably prolific architect Peter Dickinson. Simply titled Peter Dickinson, this extraordinary and lavishly illustrated 300­page volume was written by John Martins­Manteiga.

UK­born Dickinson arrived in Toronto at the age of 24 and by the time of his premature death a few days before his 36th birthday, he had irrevocably altered the course of Modernism in Canada. The chain­smoking, hard­drinking Dickinson de­ veloped his own brand of Modernism through the designs of hotels, office buildings, and residential towers. When looking at the photos taken of him and of his architecture, one sees a world very dif­ ferent from that in which we live today. Similar to Maki’s comments on Modernism, the legacy of Dickinson’s work represents a wave upon the shore, and one that helps navigate us toward fu­ ture architectural debate, rather than leave us stranded on the monuments of Modernism past.

2010 marks the 100th anniversary of Revell’s birth, and Martins­Manteiga’s book celebrates the life of Dickinson while mourning his untimely passing. We might look at the lives of Dickinson and Revell as two of the thousands of mid­20th­ century architects who inspire us to appreciate the vastness of Modernism while providing a founda­ tion for future architectural directions.

Ian ChodIkoff

ichodikoff@canadianarchitect.coM

contributing editors GavIn affLeCk, OAQ, MRAIC herbert enns, MAA, MRAIC douGLas MaCLeod, nCARb regional correspondents halifax ChrIstIne MaCy, OAA regina bernard fLaMan, SAA montreal davId theodore calgary davId a. down, AAA Winnipeg herbert enns, MAA vancouver adeLe weder publisher toM arkeLL 416-510-6806 associate publisher GreG PaLIouras 416-510-6808 circulation Manager beata oLeChnowICz 416-442-5600 ext. 3543 custoMer service MaLkIt Chana 416-442-5600 ext. 3539 production JessICa Jubb graphic design sue wILLIaMson vice president of canadian publishing aLex PaPanou president of business inforMation group bruCe CreIGhton head office 12 ConCorde PLaCe, suIte 800, toronto, on M3C 4J2 telephone 416-510-6845 facsimile 416-510-5140 e-mail edItors@CanadIanarChIteCt.CoM Web site www.CanadIanarChIteCt.CoM Canadian architect is published monthly by business Information Group, a division of bIG Magazines LP, a leading Canadian information company with interests in daily and community newspapers and business-to-business information services. the editors have made every reasonable effort to provide accurate and authoritative information, but they assume no liability for the accuracy or completeness of the text, or its fitness for any particular purpose. subscription rates Canada: $52.95 plus applicable taxes for one year; $83.95 plus applicable taxes for two years (Gst – #809751274rt0001).

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paTkau archiTecTs inc. and kearns Mancini archiTecTs inc.

news

acton Ostry architects inc. complete sauder school of Business renewal and expansion at the University of British columbia.

The Sauder School of Business is located at the geographical centre of the University of British Columbia campus, to which a new five-level 5,430-square-metre expansion designed by Acton Ostry Architects Inc. was added. The dramatic soaring space of a skylit atrium links the addition to the existing building by creating a focal circulation spine at the heart of the School.

The new floor-to-ceiling glazed addition houses a variety of high-tech lecture theatres, breakout rooms, classrooms, an undergraduate centre, and student social spaces. The lobed-roof form of the upper level Leadership Centre expresses the twinned, tiered lecture theatres contained within. The refurbished and revitalized main level incorporates new graduate and business career centres linked with lounge areas, informal study spaces, a café and store. To achieve a new and bold identity for the Sauder School of Business, the old impassive concrete building was wrapped with a new glazed façade that references the rhythm and pattern language associated with the universal transfer of digital commerce and business information—the barcode. Images of international stock exchanges, forest scenes, and large-scale portraits of local business magnates have been embedded on large glass walls throughout the building. Phase Two of the $85-million project is scheduled to commence later this year, at which time 20,000 square metres of existing classrooms will be upgraded and a new 600square-metre conference centre penthouse will

be added to the top of the School’s existing administrative tower. www1.sauder.ubc.ca teeple architects inc. in joint venture with Proscenium architecture + interiors inc. to design next phase of Langara college.

Langara College in Vancouver has selected Teeple Architects Inc. in joint venture with Proscenium Architecture + Interiors Inc. to design the next phase in the development of its campus. The campus is planning for the addition of a new creative arts centre and theatre building, a gymnasium, a wellness centre and a daycare, completing a master plan originally conceived in 2004 by Teeple Architects Inc. with IBI/HB Architects. Three notable buildings have already been completed as part of the master plan, including the Library and Classroom Building, the Langara Student Union, and Academic Building C.

establishing the original sense of a defensive site.

The Visitor Centre will be the hub connecting visitors to the experience and content of the entire site as well as to the surrounding neighbourhoods and the city. The federal government, through the Canada Cultural Spaces Fund, has approved a grant of up to $4 million for the construction of the Visitor Centre, and the City has committed $5.3 million. The Fort York Foundation will be launching its fundraising campaign soon; those wishing to make donations or to receive more in-

design chosen for the new visitor centre at Fort York national historic site.

A jury has unanimously recommended the conceptual design submitted by Patkau Architects Inc. of Vancouver, with Kearns Mancini Architects Inc. of Toronto, for the new Visitor Centre at Fort York National Historic Site. Fort York is the birthplace of urban Toronto and the site of Canada’s largest collection of 1812-era military structures. The Visitor Centre is key to the planned revitalization of the entire 17-hectare (43-acre) site, and is scheduled for completion in 2012 for the Bicentennial Commemoration of the War of 1812.

In the recommended design, the Visitor Centre forms a new escarpment of weathering steel, re-

acTon osTrY archiTecTs

PrOjects

The winning design for The new visiTor cenTre aT ToronTo’s forT York naTional hisToric siTe. aBOVe acTon osTrY archiTecTs’ renovaTion of and expansion To The sauder school of Business aT uBc will help reBrand The school’s idenTiTY. tOP

02/10 canadian architect

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MNBAQ will mount an exhibition in September 2010 of the presentations of all 15 firms selected to participate in Stage 1 of the competition. www.mnba.qc.ca

awards

20th-century architectural heritage.

2010 annual aiBc architectural awards.

The Architectural Institute of British Columbia invites submissions for the 2010 Annual AIBC Architectural Awards, which celebrate excellence across the following distinct award categories: Lieutenant-Governor of British Columbia Award in Architecture (Medal and Merit); AIBC Innovation Award; AIBC Special Jury Award; and the AIBC Emerging Firm Award. The submission deadline is March 15, 2010 at 12:00 noon. www.aibc.ca/conference2010/awards/index.html

cOmPetitiOns canadian navy monument design selected.

The National Capital Commission (NCC) and the Canadian Navy congratulate Al McWilliams, Joost Bakker and Bruce Haden from British Columbia for their design of a new naval monument at Richmond Landing in the core of Canada’s capital. The winning entry was selected in a design competition by an internationally renowned jury in October 2009 and reflects many facets of the Canadian Navy in its use of the naval black, white and gold colours to create a distinctively sculpted open space charged with meaning. The monument will be unveiled in the spring of 2011, completing a year of naval centennial celebrations. www.navy.forces.gc.ca/centennial Finalists selected for the expansion of the musée national des beaux-arts du Québec.

The international architecture competition of the Musée national des beaux-arts du Québec (MNBAQ) has entered a new stage with the selection of five finalists from among the 15 architectural firms who were selected and invited to take part in Stage 1 of the competition last September.

The five finalist teams are: Barkow Leibinger architekten/Imrey Culbert architects, Berlin and New York; Brière, Gilbert et associés/Nieto Sobejano, Montreal; Fichten Soiferman et Associés Architectes/Allied Works Architecture, Montreal; Groupe ARCOP/David Chipperfield architects, London, England; and OMA, Rem Koolhaas, Rotterdam, Holland. The goal of the next stage of the competition will be to develop the project’s functional solution while meeting the program and the needs and technical constraints of the site.

Development of the concept will also make it possible to demonstrate the sustainable aspect of the project. Stage 2 of the competition will begin in late February 2010 with the selection of the winning team from the five finalists. The

This international competition invites architecture students from around the world to create image models of examples of significant architecture created during the 20th century.

This competition is an opportunity for the architects of tomorrow to enrich the web index at www.archi.fr/UIA with their own expression of a building project from the last century, using today’s design tools. The image models to be designed for this competition need to be based on digital photographs created using Autodesk ImageModeler and Autodesk Stitcher Unlimited software. This software will be made available by Autodesk to the competitors for use free of charge for the duration of the competition.

Competitors should register online through the competition website until March 26, 2010.

Submissions may be transmitted online from April 5-April 26, 2010. www.archi.fr/3D_20th art alliance austin launches international architecture competition.

Art Alliance Austin recently launched their third annual Temporary Outdoor Gallery Space (TOGS 3) ideas competition. Past TOGS competitions were open exclusively to architects and interior designers; this year, TOGS 3 will be open to national and international professionals and students in the fields of architecture, urban design, interior design and landscape architecture. A grand prize of $1,000 will be awarded to the winning design. A second- and third-place winner will be chosen and awarded $500 and $250, respectively. All three winners will be announced and exhibited at Art City Austin, the city’s largest and longest-running outdoor art fair, from April 24-25, 2010. Following a feasibility study, the first-place winner will be invited to collaborate with a professional team to realize a TOGS 3 prototype. The prototype and jury’s selection will be exhibited at Art City Austin and will be available for exhibitions internationally. The online registration deadline is March 26, 2010, and the submission deadline is April 5, 2010. Each individual/team (maximum 2 people) must register via the Art Alliance Austin website, where full competition details are also available. www.artallianceaustin.org

what’s new Hylozoic Ground selected to represent canada at Venice Biennale in architecture.

The Canada Council for the Arts announced that

TeaM williaMs/Bakker/haden

formation should contact fofy@sympatico.ca. The final cost of the Visitor Centre is estimated at $18 million. http://www.toronto.ca/visitorcentre

concepTuallY inspired BY TradiTional naval colours of Black, gold and whiTe, The canadian navY MonuMenT in oTTawa will Be coMpleTed in The spring of 2011.

aBOVe

Hylozoic Ground, a project by PBAI (Philip Beesley Architect Inc.) in collaboration with the University of Waterloo School of Architecture, has been selected through a national juried competition to represent Canada at the 2010 Venice Biennale in Architecture. The installation in Venice will be designed by architect Philip Beesley working with collaborators Andrew Hunter (independent curator) and Rob Gorbet (engineering director). Together, they bring many years of experience in innovative architecture, art and design. The Canada Council for the Arts and the Royal Architectural Institute of Canada are working together to provide financial support and assist with project oversight for Canada’s architectural representation in Venice. This collaboration is part of a larger project to investigate developing support for the advancement of the presentation and appreciation of contemporary Canadian architectural excellence in Canada and abroad. www.canadacouncil.ca/news/imagegallery shore tilbe irwin & Partners merges with Perkins+will.

Shore Tilbe Irwin & Partners has announced a strategic merger with the global architecture and design practice Perkins+Will. Perkins+Will currently operate studios throughout North America, Asia, Africa, Europe and the Middle East. Shore Tilbe Irwin & Partners is the latest addition to this dynamic federation of design practices, becoming the second Canadian office and the first in Eastern Canada. The firm’s new name is Shore Tilbe Perkins+Will. With the organizational and technical support of the larger organization, Shore Tilbe Perkins+Will will continue to operate out of its studio in downtown Toronto. Their practice will continue to flourish based on the individual relationships that they have forged with their clients, consultants, suppliers and builders. www.shoretilbeperkinswill.ca 02/10 canadian architect

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high notes

12 canadian architect 02/10

a philanthropic client commissions a house that functions as both a recital hall and his own personal residence.

Integral House, toronto, ontarIo sHIm-sutclIffe arcHItects teXt JoHn Bentley mays photos James Dow, BoB gunDu, eDwarD Burtynsky proJect

architect

BoB gunDu

The 10-year evolution of Integral House, the recently completed Toronto home of mathematician and violinist James Stewart, began with a brief that could hardly have been shorter or simpler. Stewart wanted curves. He wanted a lot of glazing, both on the exterior and interior (the latter to showcase his collection of glass art). And, more unusually, Stewart wanted a performance space for an audience of 150, all wrapped up in what he called an “architecturally significant” package.

During his long quest for a designer to grow a house from this brief, Stewart sought out some of the world’s most prominent architects, including Frank Gehry (who agreed to provide a scheme), Rem Koolhaas and Steven Holl, before choosing, in 2000, the hometown team of Brigitte Shim and Howard Sutcliffe, principals in Shim-Sutcliffe Architects. The reply of this pair of talented designers to the brief is a highly figurative 15,000square-foot home for a celebrated author of mathematics textbooks who likes to organize musical evenings along classical lines—“I wanted to be an impresario,” Stewart told me—and a minutely detailed, ambitious building that mates a recital hall with a private home in a romantically expressive envelope. The client never considered going the more usual philanthropic route and endowing a freestanding concert venue: the decision to have it in the house “is because I would have more control over the concerts.”

The full drama of this consummately aesthetic project is not immediately evident from the street, nor was it supposed to be. The context of large, traditional family homes, close by on both sides of Shim-Sutcliffe’s façade, precluded grand statements at the level of the shady Rosedale sidewalk. In the sturdy two-storey composition of its front, a green etched-glass attic, which glows like a lantern at night (and contains Stewart’s bedroom suite, media room and other ameDespIte tHe resIDence’s consIDeraBle sIze, tHe front entrance to Integral House Is InvItIng anD approprIately scaleD.

left

02/10 canadian architect

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BoB gunDu

nities), rests lightly on a broad wooden and concrete base that spreads to the narrow limits of the property. This marked modesty at street level enables the house to slip unobtrusively into the neighbouring fabric, and it creates a subdued prelude to the more robust architectural ensemble beyond.

Integral House shows this more formally energetic side at the rear, as it boldly moves away from the city and steps down the steep slope of a wooded ravine to a swimming pool and terrace. Each of the house’s levels is different from every other, registering changes in program and in the building’s relation to the sky and the forest on the slope. The entry level, for example, is a high overlook, offering clear views into the descending house and its alternating rhythms of grid and organic form. One level down, in the area designated for Stewart’s musical evenings, the space majestically expands to double height, up to a clerestory, and outward to frame views of the forest.

Descending still deeper, the visitor discovers Stewart’s ample study in a bay of glass opening toward the bottom of the ravine.

As Stewart had specified, the geometry of the design is dominated by curves, which are expressed eloquently in the undulating curtain wall that encloses the middle levels of the house. The curves are purely artistic. Stewart said that although the curvature could be described mathematically, he did not supply equations to make it. This wall features vertical oak-clad fins—each one different—canted outward between panes of glass and running in a clear, undulating sweep along the façade’s curvature. A sharp, decisive meeting of the glass wall and the interior flooring—a light French limestone—has been avoided. Instead, the floor stops short of the wall in a low curb, giving the impression that the wall continues downward past the floor plane in a cascade of wood and glass.

While this complex façade treatment lends Integral House muscular sculptural presence, formal elegance is only part of its artistic agenda. Its more important task is to establish ever-changing relationships between the interior and nature beyond. Standing in one position before the canted fins in the performance space, the visitor finds the wall almost opaque. Step sideways, and views open up. The inward billowing of the screen forms small semi-enclosed harbours of nature, or, bulging outward, it creates interior bays that hover over the landscape. There is no living room as such in Integral House; intimacy is afforded by small seating areas spun out of the downward and outward flow of interior space.

The impulse behind the fabrication of the house’s unusual perimeter wall—to produce endless events, surprises, small and ever-unfolding aesthetic episodes of light and view—drives the whole design of the project, down to such details as the custom-crafted door handles and the precise enjambments of wood and stone. Digital imaging and automated manufacture—“the computer as an aid to the soul,” Howard Sutcliffe said—saved years of time in the design process, and empowered a kind of Arts-andCrafts refinement in the planning and outfitting of the house.

As one moves up and down, alongside and around the chimney, elevator shaft and stairwell that comprise the strong vertical roots of the house, the experience of surrounding nature changes accordingly, from treetop brightness above, to the loamy shadows of the forest floor. Yet walking around within the building itself, one finds the spatial properties of the architecture also continually changing, as scales vary from monumental to small, and as one area dissolves into another in the fluid plan. The result is an architecture of event, more cinematic than static, with different stories—of compact urban life, of relaxed country retreats, musical recital halls fondly remembered—emerging from the structure’s imposing matrix of stone, glass, concrete and wood. pHotograpHs taken from tHe lIvIng room lookIng out towarD tHe ravIne DurIng tHe sprIng, summer, fall anD wInter seasons Illustrate How cHanges In lIgHt anD colour affect tHe InterIor spaces.

left, top to bottom

14 canadian architect 02/10

BoB gunDu

BoB gunDu

a DetaIl of tHe Brass anD wooD HanDraIl. tHe Deep leDge Is useful for guests to rest tHeIr Beverages upon DurIng tHe many events HosteD By tHe clIent. aboVe right tHe precIsIon of tHe mIlleD floorIng, wooD sHelvIng anD oak fIns Is In evIDence tHrougHout tHe Home. right a vIew of tHe lIvIng room, upper lIvIng room anD DInIng room.

The marriage of concert room and private home, however, has its problems. Perhaps inevitably, the project falls into two distinct parts, one very spacious and the other more intimate, that are reached by two very different itineraries. As inspiration for this bifurcated scheme, Stewart cites Ron Thom’s Massey College at the University of Toronto, where he lived as a graduate student, and where small live-in digs and large common areas are nested comfortably close to each other under a common roof.

The recital hall below the street-level entrance of Integral House is approached by a graceful stair, descending through switchbacks and stages, and is wide enough to accommodate the vertical circulation of large groups of invited guests.

The sense of this part of the house, despite the presence off the main route of a kitchen and dining area, is public, official and important. The human self assumed in this space is social, part of a collectivity—the community of music lovers, for example, or a lot of people gathered by some common concern. In the house’s first year, Stewart reports, requests to hold fundraisers in the recital hall have been pouring in.

On the other hand, the master bedroom complex, which occupies the top level of the house, has about it the atmosphere of a deluxe pent-

eDwarD Burtynsky

aboVe

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3

open to below

1 7 5

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site plan

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entry reflectIng pool upper lIvIng room DInIng room

5 6 7 8

kItcHen pantry garage elevator

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10M 10m

02/10 canadian architect

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James Dow

BoB gunDu

BoB gunDu James Dow

clocKwise from top left tHe Blue glassencloseD prIvate staIr By nova scotIa glass artIst mImI gellman; ascenDIng tHe same staIr to James stewart’s prIvate quarters; It Is only DurIng tHe wInter montHs wHen tHe rear of tHe House Is revealeD tHrougH tHe trees; tHe clIent’s lap pool—tHe glass wall Is completely retractaBle Into tHe floor Below.

client James stewart architect team BrIgItte sHIm anD HowarD sutclIffe (prIncIpals), Betsy wIllIamson (proJect arcHItect), anDrew Hart, DenIse HaraDem, mIke goorevIcH, kyra clarkson, saraH Iwata, elena cHernysHov, tHeo kelaDItIs anD aprIl wong (moDel-makers) structural Blackwell BowIck engIneerIng (DavID BowIck) mechanical toews engIneerIng (frank toews) electrical DynamIc DesIgns anD engIneerIng (tony monopolI) landscape nak DesIgn group (roBert ng) contractor eIsner-murray Developments Inc. (steve eIsner anD steve murray) code HIne reIcHarD tomlIn Inc. (Dave HIne) fountain waterarcHItecture Inc. (Dan euser) area 18,000 ft2 budget wItHHelD completion fall 2008

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house apartment or sumptuous eyrie for one individual, much like what we might expect in a guest suite for performers installed high in a concert hall. It is reached from the entry level by a straight flight of steps in a dramatic stairwell lined with deep blue glass panels crafted by artist Mimi Gellman, which are held to the wall with custom-designed, custom-cast metal brackets.

The stair creates a direct, businesslike route up that is unlike the grander pulse of the staircase dropping to the recital hall. The result is a division of space that notably, but not fatally, breaks up the unity of the interior composition.

Another problem with Integral House—for me, I should say, not for the client—is its deliberate situation within the discourse of the “architecturally significant” house. In every prosperous time and place, of course, successful people are occasionally struck with the Xanadu fantasy—the longing to go beyond merely providing for themselves comfortable places to live, to contribute something substantial to the history and culture of architecture. And to be sure, Integral House does embody a formidable amount of advanced research, both formal and technical, on the part of the architects. There are no half-measures here; every cranny, angle and fixture has been thought out with rigorous care.

But such dreams of building a great and exquisite dwelling that expresses the best thinking of the age can be treacherous. The outcome might be Frank Lloyd Wright’s memorable paradigmshifting Fallingwater—but it could easily turn out to be something merely grandiose, along the lines of E.J. Lennox’s Casa Loma, the pseudomedieval Edwardian pile that glowers over downtown Toronto from its high perch on the St. Clair escarpment. Because history has been invoked by the client, history alone can be the final judge of whether Integral House will be regarded by the future as a masterpiece of 21st-century architectural design, or as merely another piece of evidence for the excesses of Toronto’s most recent Gilded Age. My hunch, however, is that the impact of this deeply interesting, fastidiously researched and designed building will endure long past the era of its construction—even if it can’t quite decide whether it’s a cultural institution or a private residence. In common with its venerable precedents— Le Corbusier’s Villa Savoye, Mies van der Rohe’s Tugendhat House, and especially Aalto’s Villa Mairea come to mind—Integral House represents an effective experimental think-through of the problem of the luxury dwelling in modern times, and as well, a remarkable contribution to the architecture of exuberant aesthetic gesture. ca John Bentley Mays is an architecture critic and writes regularly for The Globe and Mail.

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THE BEST WAY TO PREDICT THE FUTURE IS TO INVENT IT. NOBLE 速 ARCHITECTURAL SERIES MODERN + VERSATILE + DURABLE + LEED COMPLIANT OVER SIXTY YEARS OF EXPERTISE IN CONCRETE PRODUCTS FOR MASONRY.

permaconpro.ca CirCle reply Card 17

1968 Social environmental movements take hold.

WHO SHAPES THE FUTURE OF GREEN DESIGN? You do.

1978 Earth Day brings awareness to Earth’s need for continual care.

What was once a quiet evolution has become a revolutionary force. Your desire for sustainable design has helped redefine the meaning of green. Since we began making nora® rubber flooring over 50 years ago, we’ve evolved with you.

1988 1,000 communities in America initiate curbside recycling.

Your concern for the environment continues to create new standards for designing in harmony with nature. It is why we continually explore ways to blend the best of technology with greener thinking.

1998 EPA launches voluntary programs for energy, water, indoor air quality, waste and smart growth.

It starts with you.

You and your challenges.

You and your world.

You and nora.

2008 U.S. Green Building Council member organizations grow to 15,000.

CirCle reply Card 18

800-332-NORA www.nora.com/us/green17

a masterfully executed addition to and renovation of an important national cultural facility sings with success.

Royal ConseRvatoRy of MusiC telus CentRe foR PeRfoRManCe and leaRning, toRonto, ontaRio architect KuwabaRa Payne MCKenna bluMbeRg aRChiteCts text elsa laM photos eduaRd huebeR, toM aRban proJect

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Fully opened last fall, the Telus Centre for Performance and Learning buzzes with activity. International performers grace Koerner Hall, music students of all ages fill the studios, and the smartly dressed mingle at receptions in lobbies overlooking the city.

The new addition, with its world-class performance venues, academic studios, and vibrant public spaces, has been almost 20 years in the making. In 1991, the Royal Conservatory of Music commissioned plans for a major extension to its century-old Romanesque Revival headquarters on Bloor Street, in the heart of downtown Toronto.

Led by designer Marianne McKenna, Kuwabara Payne McKenna Blumberg’s original scheme proposed a central courtyard flanked by

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eduard hueber

a 550-seat concert hall on one side and an academic wing on the other (see CA, December 1991). When funding was finally secured in 2003, it came with a mandate to double the capacity of the concert space. Strategies for building on the tight urban site changed radically. “Maintaining and defending the vision, riding the waves of construction challenges, detours in financing, and client requests over [the following] six-year period,” says McKenna, was “no small feat.”

In the resulting plan, developed by McKenna with project architect Bob Sims, the 1,135-seat Koerner Hall dominates in area. It’s wrapped by a series of new light-filled lobbies that look east to the Royal Ontario Museum and south over the treed canopy of the University of Toronto’s Philosopher’s Walk. On the west side, a five-storey wing houses practice and instructional studios, and a box office opens onto Bloor Street.

Despite its size—more than double the footprint of the 1881 historic edifice (originally called McMaster Hall, now called Ihnatowycz Hall)—the recent addition is a surprisingly discreet presence in the city. The bulk of its mass is tucked out of view, and its carefully calibrated heights defer to the heritage structure, whose turrets are still visible from down the block.

Complementing the adjacent red-brick façade and dark-grey roof of the original building, a Spanish-slate-clad volume hovers over the transparent glass box office entrance on Bloor Street. The understated presence gives the facility a quietly contemporary public face. Facing Philosopher’s Walk,

The undulaTing ribbon-like virTual ceiling of koerner hall enhances The sound qualiTy of an inTimaTe concerT space. aBove siTuaTed adjacenT To The daniel libeskind-designed royal onTario museum, The resTored and updaTed royal conservaTory of music brings civic grace To a secTion of ToronTo’s busy bloor sTreeT.

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an important path linking Bloor Street to the University of Toronto’s St. George Campus, the new facility dissolves into an airy glass curtain wall and offers a second entrance to students approaching the building from the much-loved landscaped promenade.

The Royal Conservatory’s hybrid mandate supports both musical performance and instruction. Therefore, the design strives to create physical connections between those spheres. The key site where this occurs is a four-storey atrium at the former basement grade, connecting the main entrances and spanning between old and new structures.

Open to the public, the skylit pedestrian court does triple duty as circulation core, study space, and gallery for the Koerner family’s collection of antique instruments. On the ground floor, an independent café presents a convivial spot for music students to compare class notes and concert-goers to pause over an espresso. In the distance, glass partitions face into the studio block, affording glimpses of students heading to their lessons.

Above, walkways lead from the box office to the concert hall and bridge into 02/10 canadian architect

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Tom arban Tom arban

Ihnatowycz Hall. A series of small balconies extend from the historic stairwell, acting as ministages overlooking the atrium space/circulation spine during gala events. Remaining respectful, all new connections were built out from window openings in the heritage building, and even the skylight spacing matches the quirky rhythm of the century-old structural bays. The concert hall’s slightly canted position in plan opens up the atrium, inviting light to pour in from Philosopher’s Walk to create an inviting court for the broader community.

The gap between Koerner Hall and Ihnatowycz Hall serves a key technical function: providing the acoustic decoupling necessary to create a topcalibre performance venue. In terms of construction, Koerner Hall is effectively a separate building. The N1 acoustic-rated structure floats on thick rubber pads that isolate it from the rumbling subway which operates almost directly below the site, and from noisy chillers for the hockey arena next door. It’s also protected from teaching and practice studios that could interfere with performances.

Inside Koerner Hall, sound design is tightly integrated into every detail. The project budget was tight, recalls McKenna, but the client refused to cut corners on acoustics. “They said: ‘If you need it for acoustic reasons, you have to do it.’ ” So, she reasoned, “we made everything acoustic.”

Working in tight collaboration with Bob Essert of Sound Space Design and theatre consultant Anne Minors, McKenna and Sims developed a scheme that merges architecture and acoustics into every aspect of the concert hall, from its overall configuration to the treatment of each surface. For instance, softly undulating plaster sidewalls stemmed from a need to provide textured, shaped surfaces for acoustic reasons. Sims crafted the first prototypes at home, casting plaster on stretched fabric to create pillow-like forms. To create the finished walls, burlap-lined silicone moulds were used, giving the sidewalls a warm, variegated look. “The panels needed to be extremely hard and dense for acoustics, but we wanted to give them the appearance of lightness and softness,” says Sims. Double-layered oak balcony fronts arose from a similar process: they’re slightly curved and finely scraped to disperse both light and sound waves, giving both the panels and the balcony fronts a warm glow.

A soaring canopy above Koerner Hall represents the most stunning fruit of this collaborative process. The veil of twisting oak “strings” ascends from the stage, forming a backdrop for the defined by a glass roof, an eleganTly proporTioned aTrium disTinguishes The original building from The new koerner hall. left a view from The sTage inside koerner hall.

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chorus at the first balcony, then rising to hover over the audience. Conceived early in the design

by McKenna, the veil creates a virtual ceiling floating within the larger volume of the hall.

Seven metres above this, the true ceiling provides the necessary height to optimize acoustics. The ribbon-like forms allow low- and mid-frequency sound waves to pass unobstructed through to the higher ceiling, while scattering the highest frequency harmonics throughout the concert hall.

The canopy conceals such technical devices as a sound-reflecting ceiling suspended over the stage area (which helps musicians to hear each other), lighting, and rigging systems. During acoustic orchestral performances, the room maintains a clean appearance, while devices such as a central speaker cluster and a speech reinforcement speaker can be lowered into view when needed for amplified performances.

Together with the hall’s base acoustics, the myriad setups housed above the canopy allow the location to accommodate a wide range of sounds and performances. The opening season celebrates those possibilities by hosting events ranging from Royal Conservatory Orchestra concerts to appearances by legendary sitarist Ravi Shankar and former Barenaked Ladies frontman Steven Page.

As a 1,135-seat venue, Koerner Hall fills a unique niche in Toronto: it’s large enough to host top-level performers, yet small enough to offer the intimacy of a private venue. This effect is carefully nurtured by a multitude of decisions in the layout. Starting with a shoebox configuration, the designers chose a mid-sized (rather than full orchestra) stage and ensconced it firmly within

The glass-enclosed lobby space ouTside of koerner hall enlivens The universiTy of ToronTo’s philosopher’s walk; The mulTi-level lobby space exudes boTh a sense of grandeur and inTimacy wiTh an appropriaTe scale and level of deTail.

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the space. Seats are arrayed on all sides, including behind the stage—a move typical of classical theatre layouts, including Toronto’s Roy Thomson Hall. On the upper balconies, single and double rows of seats pack in additional views.

“There’s lots of front rows in this room,” says Minors, noting how direct sightlines of the stage make audiences feel more involved with the performance. Curved lines—from balcony fronts to side aisles—also contribute to a feeling of enclosure that wouldn’t be present with a more rectilinear concert hall configuration.

Links between the audience and performers are additionally encouraged at more subtle levels.

The slightly “fishtailed” parterre layout, along with a raked floor that becomes imperceptibly steeper at the top, contribute to visual cues that shorten the apparent distance between audience and stage. This sensation is echoed in the acoustics of the space, which Essert describes as a “fast” sound. “The performer doesn’t wait for the sound, it comes back so quickly it becomes part of their performance,” he explains. For spectators, he fashioned a corresponding condition where “the audience is immersed in the sound without being drowned in it.”

The enthusiasm of performers and audiences alike testifies to the successful achievement of these effects. “[Audiences] are saying, ‘this hall sounds so good,’” reports Mervon Mehta, artistic director for the Conservatory. “I think really what they’re reacting to is the visceral energy that

comes off the stage and hits them; they haven’t been hit like that before.” The intimacy of the space and the sound force listeners to be actively engaged with the performance; conversely, musicians welcome the chance to forge connections with an attentive audience through eye contact.

A similar merging of acoustics and architecture informs Conservatory Hall, a secondary performance and instructional space with flexible seating capacity for 150 patrons. Perched over the box office, the room offers a spectacular panorama down busy Bloor Street, while being completely insulated from the roar of traffic. The room looks deceptively simple, but as Sims explains, “it’s more complicated in its structure than Koerner Hall.” To protect against external vibrations, the team constructed Conservatory Hall as a box within a box, with a heavy outer shell to isolate against exterior sound, and with a light, reverberant inner layer to shape the sound within.

Inside the space, technical issues were solved with relatively economical means. Soundproof windows are formed by pairing two standard curtain-wall systems around a generous air space; mahogany surrounds give the assembly a polished finish. A wooden lattice that wraps the upper half of the room conceals inexpensive acoustic panels and curtain tracks, and playfully incorporates glowing glass blocks. Steel rods stretched over heavy timber beams support the ceiling. Recalling taut violin strings, they give a muscular presence to the volume. As with its sib02/10 canadian architect

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ling space, the ceiling suggested by this structure is deceptively low: a black scrim hides the true acoustic ceiling, 1.5 metres above.

Other areas are similarly detailed with a quiet elegance that sets the tone for the larger project.

The 1996-renovated Mazzoleni Hall, the facility’s third performance space, boasts a wooden screen that echoes textures in the newer spaces, and a

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a modesT forecourT in fronT of The Telus cenTre for performance and learning provides an appropriaTe buffer beTween The new faciliTy and busy Traffic along bloor sTreeT.

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raked floor that holds the room together as a single, clean-lined volume. The acoustics of 43 new practice studios are precision-engineered so that sound doesn’t travel between adjacent rooms, but is allowed to leak out into the hallway, filling this interstitial space with faint melodies. A section of heritage roof thrusts into a fourth-floor elevator vestibule in the new studio wing, giving an un-

expected close-up of grey slate shingles, a woodframed dormer window, and the red brick cornice. Even fire hose cabinets have custom covers in either steel or painted wood, blending into adjacent walls.

The project’s most successful spaces—including the multi-layered atrium and compact Koerner Hall—emerged from the challenges

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koerner hall library lobby vip room sTudio philosopher’s walk back of house classroom mechanical

client royal conservaTory of music architect team marianne mckenna (parTner), roberT sims (associaTe in charge), dave smyThe (projecT archiTecT), meika mccunn (projecT archiTecT), carolyn lee, frances lago, john mesTiTo, gary yen, dan benson, krisTa clark, bill colaco, george friedman, erik jensen, david jesson, robin ramcharan, riTa kiriakis, lexi kolT-wagner, scoTT pomeroy, mark simpson, deborah wang, chris wegner, norm li, clare radford, nick lim acoustician sound space design wiTh aercousTics engineering lTd theatre consultant anne minors performance consulTanTs structural halcrow yolles mechanical merber corporaTion consulTing engineers electrical crossey engineering landscape janeT rosenberg & associaTes interiors kpmb archiTecTs contractor pcl consTrucTors canada costing curran mccabe ravindran ross audiovisual engineering harmonics architectural lighting marTin conboy lighTing design heritage goldsmiTh borgal & company limiTed archiTecTs area 190,000 fT2 Budget $110 m completion sepTember 2009

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posed by a tight site. Such was also the case with a VIP room, located within the third-floor theatre lobby when no space could be found elsewhere on the floorplates. The room—like the lobby floor it sits on—is suspended from the roof structure, allowing for floor-to-ceiling glass walls with an uninterrupted view of the Toronto skyline (appropriate to its support system, the room is dedicated to a Dr. Hun Shiu Hung). An exclusive venue for private dinners and mid-performance receptions at night, it’s often rented for special

lobbies, acoustically magnificent concert halls, and expanded teaching studios currently welcome as many as 10,000 people each week. “It’s just an extraordinary building. And it’s something that will last for another 100 years.” ca

events during the day such as a recent Sotheby’s board meeting.

By encompassing a wide span of programmatic possibilities within generous open spaces, the Telus Centre has transformed the Conservatory from a stuffy, no-image institution in a 19thcentury shell to a leading and visible 21st-century hub for the arts. “It’s completely elevated our profile not only in Canada, but in the world,” affirms Conservatory president Dr. Peter Simon, who estimates that the light-filled atrium and

Elsa Lam is a PhD candidate in the Architectural History and Theory program at Columbia University.

She currently holds a Junior Fellowship at Dumbarton Oaks in Washington DC, where she is pursuing research on the Canadian Pacific Railway’s role in shaping Western Canadian landscapes at the turn of the 20th century.

a sTudenT pracTices his crafT in one of The music sTudios; The new faciliTy, as seen from The enTrance To philosopher’s walk; a deTail of The wooden fins inside koerner hall; The spanish slaTe cladding of The new addiTion conTrasTs againsT The original red brick; inside mazzoleni hall.

Tom arban

eduard hueber

eduard hueber

eduard hueber

Tom arban

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CirCle reply Card 19

crystal clear Fumihiko maki’s First building in canada is a deceivingly complex cultural building oF a quality rarely seen in this country. proJect­Delegation­oF­tHe­iSMaili­iMaMat,­ ottawa,­ontario architects­MaKi­anD­aSSoCiateS­in­CollaBoration­witH­MoriYaMa­&­teSHiMa­arCHiteCtS text­ian­CHoDiKoFF photos­toM­arBan,­unleSS­otHerwiSe­noteD

It is a rare occurrence when the complex engineering strategies and design details comprising a building merge into a sublime architectural experience. Such is the case with the Delegation of the Ismaili Imamat building in Ottawa. Designed

by Fumihiko Maki, the building is the veteran Japanese architect’s first commission in Canada.

Working with Moriyama & Teshima Architects— the architects of record—Maki and his team have achieved an extraordinary level of resolution and refinement throughout the building. No detail was overlooked or overdesigned. Equally remarkable is the commitment of His Highness the Aga Khan, an enlightened client who understands how architecture can become a significant testament to his efforts in global pluralism, cultural heritage, and social and economic development— efforts that focus on both the Islamic world and the Ismaili diaspora.

The building’s program is relatively simple.

What is decidedly complex is the precision contained within the architecture. Every joint, corner and seam is perfectly aligned—wall panels, reveals, mullions and ventilation grilles were designed with extremely low tolerances. From the lowly floor drains in the parking garage to the concealed hinge detail on the exterior emergency exit doors, the building’s architectural language is tightly edited. When discussing the construction process with Maki and Associates Design Director Gary Kamemoto and with architects from the Toronto and Ottawa offices of Moriyama & Teshima Architects, it became clear that the coordination of all aspects of the building had to be diligently and diplomatically resolved with the contractor and numerous tradespeople. Each had his or her own working culture that needed to be meshed with the culture of design in Maki’s Tokyo office.

The site of the Delegation building was originally owned by the National Capital Commission (NCC), a Crown corporation entrusted with the management of federal lands and buildings.

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When the Aga Khan was looking for a site, he wanted his building to be on a section of Sussex Drive that is part of Confederation Boulevard, a 7.5-kilometre ceremonial route containing some of Canada’s most important institutions which, according to the NCC, helps “people to discover important aspects of Canada’s government, culture, heritage, landscape and relations with other nations of the world.” The site eventually chosen was a tight one-hectare leftover parcel of land adjacent to the Saudi Arabian embassy. The

site lies four metres below street level and is difficult to access, given that it is marooned to the north by a busy highway and off-ramps of the MacDonald-Cartier Bridge and King Edward Avenue. Moreover, the building was restricted to an 11-metre height with specific setbacks on either side.

Because of the height restrictions, Maki and his team adopted a horizontal approach to the building’s massing and sought to frame views of several significant elements nearby, such as the 02/10­­canadian architect

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Ottawa River to the west, and both Old City Hall and the Gatineau Hills to the north.

From the outset of the project’s announcement in 2002, His Highness the Aga Khan stipulated that the building must contain a material palette that would range from clear to translucent—an architectural language that would serve to describe his organization’s work in the public realm. Moreover, the architecture had to capture the Islamic spirit, but not in a slavish manner.

The Delegation building is intended to represent the Aga Khan’s institutional network comprising a range of non-denominational, philanthropic and development agencies that constitute the Aga Khan Development Network (AKDN). Open to the public every Saturday, not only does the 28­canadian architect­02/10

­tHe­qualitY­oF­ligHt­in­tHe­atriuM­iS­MoDulateD­BY­woven­ glaSS-FiBre­MeSH,­aluMinuM­SCreenS­anD­winDowS­along­tHe­ gallerY.­ above, leFt to right­tHe­Front­elevation­FaCing­SuSSex­Drive;­ tHe­two­Separate­wingS­oF­tHe­BuilDing­are­ClearlY­viSiBle­ wHen­vieweD­FroM­a­nearBY­reSiDential­tower.

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building serve in a quasi-diplomatic capacity for the Aga Khan, but it allows the public to learn from and engage in the AKDN’s activities, which are broadly divided into three areas: economic development, social development, and culture.

While the symbolic entrance to the building is on Sussex Drive, the main

entrance is off Boteler Street. Two rectangularshaped wings encase an exterior and interior courtyard. The exterior courtyard was designed around the concept of the chahar-bagh, a traditional Islamic garden. The interior courtyard or atrium space is contained beneath a structural steel and glazed roof that the Aga Khan mandated to serve as the metaphorical equivalent of a rock crystal “because of its translucency, its multiple planes, and the fascination with its colours.”

Wrapping the two courtyards with administrative, educational and residential program serves to create an inner sanctuary protected from the outside world. To lift the Delegation building to a level that is more in line with Sussex Drive, its brilliantly white base sits atop a large granite plinth.

When His Highness the Aga Khan opened the building in December 2008, he stated that his intention for the building was “to share, within a western setting, the best of Islamic life and heritage.” Similar to the Ismaili Centre (designed by Charles Correa) and the Aga Khan Museum (also designed by Fumihiko Maki) to be built in Toronto, the Delegation building is supposed to reflect the Aga Khan’s conviction that “buildings can do more than simply house people and programs. They can also reflect our deepest values, as great architecture captures esoteric thought in physical form.”

To achieve the immaculately white exterior of the building, Maki’s office selected 26-mm thick panels of white Neopariés—a versatile material comprised of crystallized glass beads that, when compressed into slabs, resembles marble. Unlike its stone counterpart, Neopariés has the ability to maintain its colour and appearance over time—an important quality given the building’s proximity to the heavily salted wintry roads adjacent to the site. Furthermore, the extremely smooth glassbased panels don’t absorb water and are highly reflective. When visiting the building late last summer, the sunlight reflecting off the building’s exterior panels was blinding at close range.

Nevertheless, the building contains significant amounts of natural material: blue lapis lazuli from Namibia graces the outside terrace, Croatian limestone is used throughout the exterior courtyard, and volcanic basaltina can be found upon entry. Much of the material used for the panelling, flooring, millwork and furniture is a light-coloured maple. An interesting feature contained within the atrium’s maple floor is the incorporation of the number 49, symbolizing the Aga Khan himself, who is the 49th Ismaili Imam.

Although the building is 11 metres in height, there was one variance required, and that was for the rock crystal-inspired glass roof which reaches an apex of 17 metres. Engineered largely by John Kooymans of the firm Halcrow Yolles, the complex roof structure is comprised of a woven

­SuSpenDeD­woven­glaSS-FiBre­SCreenS­are­inStalleD­on­a­Diagonal­axiS­relative­to­ tHe­glaSS­rooF­aBove­to­Create­a­DYnaMiC­arraY­oF­SHaDowS­on­tHe­Maple­Floor.­ above­tHe­exterior­anD­interior­CourtYarDS­CoMpriSe­two­inner­SanCtuarieS­witHin­tHe­ aDMiniStrative­anD­eDuCational­wingS­oF­tHe­Delegation­BuilDing. top

glass-fibre fabric pulled tight and suspended beneath the roof on a diagonal axis, thereby providing an asymmetrical composition for the atrium.

The roof spans 25 metres and had to be strong enough to support over 40 tonnes of glass, plus the heavy wind and snow loads typical of a city like Ottawa. The structural solution achieved a grid of thin-profile solid steel bars braced with tension rods and assembled with friction bolts.

The entire glass roof is suspended by a ring beam running the entire perimeter of the interior courtyard, resulting in a structure that appears to

float in position. Eliminating the clumsiness of an aluminum frame system, the glass skin is completely integrated with the steel structure.

The panels are constructed using three layers of low-iron glass and include a ceramic frit to filter sunlight. Even though the architects were given a lot of time to design and build the project, the only glazing manufacturers capable of fabricating the glass roof—Gartner Steel and Glass GmbH of Germany—initially required over two years to build the 657 components. Since the roof needed to be assembled in less than a year, Kamemoto 02/10­­canadian architect

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visited the glazing manufacturer to convince them of the design concept and to facilitate their intrinsic involvement with the project, all the while helping them to develop a streamlined approach to expedite the construction process.

Beneath the glass roof, Islamic-inspired lattice screens constructed of lightweight sand-casted aluminum add another dimension to the visual clarity and translucency contained in the design brief. They are meant to evoke carved marble and wood screens found in traditional Islamic architecture. Custom Aluminum Foundry, a company that normally makes castings for machine parts, fabricated the 180 panels that comprise these lattice screens.

It took seven to eight years to complete the Delegation building. Kamemoto, who has spent his 25 years as an architect working solely at Maki and Associates, led the project and flew to Ottawa nearly 40 times to see the building through to its completion. Members of Moriyama & Teshima’s design team were on site almost every day, with Norman Jennings managing the coordination process within the office, Po Ma working through the details, and Louis Lortie coordinating the overall project’s construction.

Maki’s design for the Delegation of the Ismaili Imamat demonstrates an astute interpretation of the client’s requirement for a building that symbolizes the activities of the Aga Khan and the AKDN. We can only hope that such dedication to architecture continues to exist in more clients, and that the efforts of the architects, engineers, and trades involved in this project continue to inspire more buildings of similar quality. ca

client­iMara­(SuSSex­Drive)­liMiteD architect team­MaKi­anD­aSSoCiateS:­FuMiHiKo­MaKi,­garY­KaMeMoto,­Kota­KawaSaKi,­tatSutoMo­ HaSegawa,­iSao­iKeDa,­MaKoto­otaKe.­MoriYaMa­&­teSHiMa­arCHiteCtS:­teD­teSHiMa,­DiarMuiD­naSH,­ norMan­JenningS,­po­Ma,­louiS­lortie,­eMManuelle­van­rutten,­aManDa­gilBert,­ronen­Bauer,­JoHn­ BlaKeY,­SHawn­geDDeS,­roY­gill,­Joni­inouYe,­aJon­MoriYaMa,­FarHaD­raHBarY,­HanY­riZKalla,­SuSana­ SaiZ,­eliaS­SaouD,­CHriS­Yen. planning team­MoriYaMa­&­teSHiMa­plannerS­(Drew­wenSleY,­tara­MCCartHY,­eriC­Klaver) structural­HalCrow­YolleS mechanical­tHe­MitCHell­partnerSHip electrical­MulveY­&­Banani landscape­MoriYaMa­&­teSHiMa­plannerS interiors­MaKi­anD­aSSoCiateS­in­CollaBoration­witH­MoriYaMa­&­teSHiMa­arCHiteCtS contractor­pCl­ConStruCtorS­CanaDa­inC. lighting­SuZanne­powaDiuK­DeSign­inC.­ acoustical­aerCouStiCS­engineering­ltD.­ Food service­DeSign.net­ code­leBer­ruBeS­ costing­Curran­MCCaBe­ravinDran­roSS­inC. architectural speciFications­DgS­ConSulting­ServiCeS­ planning­lloYD­pHillipS­&­aSSoCiateS­ltD. traFFic and civil­DelCan­Corporation­ microclimate, Wind and snoW­rowan­williaMS­DaviS­anD­irwin­inC.­(rwDi)­ environmental and geotechnical­golDer­aSSoCiateS­ltD. audio/visual­engineering­HarMoniCS area­8,916­M2­ budget­witHHelD completion­DeCeMBer­2008

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Kingspan insulated Standing Seam roof System KingZip Insulated Standing Seam Roof System, from Kingspan Insulated Panels, is a pre-engineered, zip-up roofing system created for enhanced performance, design flexibility, aesthetic appeal and fast-track construction.

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nora systems, Inc., recolourized its noraplan® eco line with 16 new colours that reflect current design trends. The new range offers grey, brown, blue, green, cream and orange tones that expand the nora palette to include more than 300 colours. Each of the colours coordinates with other floor coverings in the noraplan product offering. noraplan eco does not contain PVC, is GREENGUARD Children & Schools Certified™ and contributes to healthier indoor air. For more information visit: www.nora.com/us/flooring1.

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Contact CPCI at info@cpci.ca or call (877) 937 2724.

calendar High Performance: Evolution and Innovation in Canadian Design

formal environments, and health and wellness in relation to play.

January 20-March 7, 2010 This exhi­ bition at the Charles H. Scott Gallery at the Emily Carr University of Art + Design in Vancouver features a se­ lection of design products from the field of sports and recreation.

Fundamentals of Biocontainment lab design & Project Management

Peter Buchanan lecture

March 1, 2010 Vancouver architect Peter Buchanan delivers a Carleton University Forum lecture at 6:00pm at the National Gallery in Ottawa.

Projects, competitions and Methods

March 24, 2010 Participants will come away with a basic understand­ ing of the vocabulary, concepts, processes, standards, numbers, types of equipment, and furniture (as applicable) involved in bio­ containment laboratory design and project management. www.tradelineinc.com/conferences/ Vincent James lecture

March 11, 2010 Luis Callejas of Paisajes Emergentes in Medellín, Colombia delivers this lecture at 6:30pm at the Waterloo School of Architecture in Cambridge.

March 25, 2010 This lecture at Dal­ housie University’s Faculty of Architecture and Planning will be delivered at 7:00pm by Vincent James of Vincent James Associates Architects in Minneapolis.

communicating Vessels

Fantastic norway lecture

March 18, 2010 Neil Spiller, architect and professor at the Bartlett School of Architecture, University College London, delivers this lecture at 6:30pm at the Waterloo School of Architecture in Cambridge.

March 25, 2010 Architects from Oslo­based firm Fantastic Norway circle rePlY card 20 Arkitekter will lecture at 6:30pm in Room ARC202 of the Ryerson Architecture Building in Toronto. Canadian Architect.indd CPI DAYLIGHTING FOR 1

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March 18-19, 2010 Taking place at Dalhousie University’s Faculty of Ar­ chitecture and Planning, this year’s annual School of Planning confer­ ence raises awareness of how Halifax lends itself to play, and how play can be incorporated into the design of the city. Sessions and events focus on design, accessibility, informal and

SCHOOLS 27/1/10 12:03:43 PM

March 25, 2010 Alistair Bath of Mem­ orial University in Saint John’s de­ livers a lecture at 7:00pm at The Up­ town Stage and Screen in Calgary.

For more inFormation about these, and additional listings oF Canadian and international events, please visit www.canadianarchitect.com

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BackPage

troP de Bleu A young Quebec Architect mAkes A temporAry but definitive mArk on the striking lAndscApe of the Îles-de-lA-mAdeleine. teXt

leslie Jen olivier bourgeois And serge boudreAu

PhotoS

In existence for only two brief months from August to October of 2009, Trop de Bleu was a highly evocative installation that paid homage to the landscape and community of Îles-de-la-Madeleine in Quebec’s Gulf of St. Lawrence. Inspired by the poetry of the landscape, architect Olivier Bourgeois created five separate structures reflecting the seemingly endless horizon and the water surrounding this archipelago. And apart from the obvious self-referencing of the installation’s colour, the title Trop de Bleu refers to the vast expanse of the intensely blue water that surrounds the islands.

Stretching alongside a bicycle and pedestrian path along the water’s edge, the horizontal angular forms were constructed of recycled wood studs sheathed in fibreglass and painted cerulean blue. Large photographic images were applied to the surfaces, as were brief bits of inspirational text. While Bourgeois can take credit for the originating concept, the finished work was the result of a highly collaborative process that included vi-

34 canadian architect 02/10

sual artist Annie Landry and photographer Serge Boudreau. A great deal of consultation was also undertaken with local fishermen, whose fibreglass boat-building techniques were employed in the fabrication of the structures. This young architect is especially proud of Trop de Bleu, as it marks the very first project that he independently led from concept through to construction.

Part of the inspiration for this work was Bourgeois’s postgraduate experience in Scandinavia.

Upon graduation from Université Laval’s architecture program in 2006, a prize from the Ordre des Architectes du Québec enabled him to spend two months working and researching in Sweden, after which he spent six months at the office of ex-pat Canadian architect Todd Saunders (see CA, February 2006) in Bergen, Norway. From this experience, Bourgeois learned invaluable lessons about the power of landscape in the design process in a Nordic context, lessons which he has deployed in his native country.

The end of this project’s short, sweet life was

Trop de Bleu’s team members revel in the breathtaking island landscape.

BottoM, leFt to right inspirational quotes such as this one by nietzsche form an integral part of the work; five horizontally oriented structures line the path; the surface texture of Trop de Bleu reveals the incorporation of local fibreglass boat-building techniques. aBoVe

precipitated by a raging autumn storm. With winds gusting up to 120 kilometres per hour, the largest of the five structures came crashing down.

The design team took this as a cue to dismantle the remainder of Trop de Bleu, returning the landscape to its original condition; a metaphor for the fleeting quality of life. ca Olivier Bourgeois is currently working for architect Éric Pelletier, but is actively engaged in a number of inde­ pendent projects. House 2G—also located on the Îles­ de­la­Madeleine—is nearing completion, and two other residences are under construction in Quebec City.

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