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2014 CAnAdiAn ARChiTECT AwARds Of ExCEllEnCE

20 MacLennan Jaunkalns

22 gh3

24 5468796 Architecture inc.

Miller Architects + Acton ostry Architects

28 Manon Asselin + Jodoin

Architects

30 Chevalier Morales

Lamarre Pratte architectes in consortium

36 MacLennan Jaunkalns Miller

Architectes

38 evelyne st-Jacques,

Architects and Fowler bauld & Mitchell

11 AwARds Of ExCEllEnCE

université de Montréal

Many of this year’s selected projects grapple with complex environments, and their modest simplicity and elegance appear to be driven by the reality of tight budgets and timelines.

14 ThE winnERs

Profiles of the 2014 award recipients.

42 lisT Of EnTRAnTs

26 Williamson Chong

32 The Marc boutin Architec-

tural Collaborative inc. with the Portico group

34 Chevalier Morales

Architectes + DMA architectes in consortium

39 Matthew griffin-Allwood,

Dalhousie university

COVER Rendering of the House on Fox Lake by Williamson Chong Architects.

v.59 N.12 THe NATioNAL RevieW oF DesigN AND PRACTiCe/THe JouRNAL oF ReCoRD oF ARCHiTeCTuRe CANADA | RAiC

canadian architect

DeCeMbeR 2014

The nearly completed student Learning Centre, by snøhetta and Zeidler Partnership Architects, exemplifies Ryerson university’s progressive contributions to city-building.

lEfT

ZEIDLER PARTNERSHIP AND SNØHETTA

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vieWPoiNT

“Who Builds the City?” asked a recent symposium led by Ryerson University. Organizers Colin Ripley of Ryerson and Brendan Cormier of the Victoria and Albert Museum set out to highlight the institutions that put quality architecture in the public eye—and on city streets. The question is especially pertinent for the Greater Toronto Area, projected to grow to 8.9 million by 2036, and for Ryerson, an institution in the midst of densifying its downtown campus. A first answer: governments build the city. The reference case for many is the Netherlands, who in the early 1990s set out to improve the quality of the built environment. The government strategically commissioned young firms to design embassies and municipal buildings, and created travel, exhibition and publishing opportunities to nurture innovation. As Robert Kloosterman, Professor of Economic Geography and Planning at the University of Amsterdam explains, this resulted in the advent of the socalled Superdutch firms, and the emergence of design as a valuable export commodity. Brussels is similarly attempting to put architecture at the forefront of city-building. Chief Government Architect Peter Swinnen heads two programs to that end. A biannual Open Call invites local and foreign architects to submit their portfolios for a roster of public projects; 10 firms are shortlisted and each client is invited to choose five of them for a paid design competition. The newer Pilot Program initiative works one-to-one with public-sector clients looking to push the envelope of a site. Swinnen’s program pays for the cost of a master plan by a strategic design team. “The goal is to enlarge the scope of policy using architecture,” he explains. In one instance, he is working with a client to develop a land bank; other partnerships focus on exploring new possibilities in the housing and health-care sectors. Schools are another player in city-building. Richard Sommer, Dean of the Daniels Faculty of Architecture, Landscape and Design at the University of Toronto, sees schools as a “test kitchen” where research can be developed in preparation for dissemination. He points to his faculty’s involvement in the Global Cities Insti-

EDITOR ELSA LAM, MRAIC ASSOCIATE EDITOR LESLIE JEN, MRAIC EDITORIAL ADVISOR IAN CHODIKOFF, OAA, FRAIC CONTRIBUTING EDITORS ANNMARIE ADAMS, MRAIC DOUGLAS MACLEOD, NCARB, MRAIC

tute, which is currently collecting standardized data from 255 cities across 82 countries. This will serve as a rich databank for analytics, visualization, and planning and design exercises. Schools such as Columbia University are also venturing abroad for new insights: its Studio-X program is a global network of research labs that exposes students to the complexities affecting built environments worldwide. Architecture museums also play a role by raising public awareness of architecture. It can be intimidating for non-architects to cross the threshold into an architecture exhibit. Pedro Gadanho, Curator of Contemporary Architecture at the Museum of Modern Art in New York, has an advantage: MoMA’s visitors pay for admission, and want to see everything on offer, architecture shows included. “We are rethinking the medium of display,” says Gadanho, who is exploring the use of video and interviews. Gadanho is also steward of the institution’s Young Architects Program, an annual competition for emerging designers that results in a built installation. Finally, publications have the potential to guide city-building in positive directions. Some magazines, such as Arch+ from Berlin, have taken a deliberately political role. In reaction to developer-driven urban policies in the city, the editorial board initiated public discourse on the topic. “We supported urban change-makers who called for policy reform. One demand was that municipal property should not be sold for the highest bid, but rather to concept-driven bids,” says editor Anh-Linh Ngo. This was positively received, and the resulting projects are now coming to fruition. Magazines such as Canadian Architect play Member an of equally important, if more subtle role. By selecting the most innovative buildings across the nation for review, we act as a platform for Canadian architects to exchange ideas and push each other to higher levels. We hope to continue doing our part in building the city—and country—one issue at a time.

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The 47Th Canadian arChiTeCT awards OF eXCeLLenCe reCOgnize 11 prOjeCTs ThaT OFFer eLeganT and inTeLLigenT respOnses TO COmpLeX envirOnmenTs. Each December, the winners of the annual Canadian Architect Awards of Excellence are recognized by a special issue of this magazine dedicated exclusively to a handful of selected projects from across the country. This is the 47th year of our awards program, and an emergent theme was the recognition of work that responds to the realities of ever-decreasing budgets and challenging procurement methods. We were honoured to host an especially distinguished jury this year: Éric Gauthier, Michael Green and Tyler Sharp each received a Governor General’s Medal in Architecture this past spring. Overall, the jurors were impressed with the skill level of the entrants. Green opened the conversation by commenting on the high quality of submissions from coast to coast. “I’ve been on a few international and American juries, and I think it’s refreshing how our projects and our architects stand with the best in any other country.” He adds, “There is a more consistent level of modern investigation than I have seen in many other juries I’ve participated in.” Sharp agrees that the level of quality was high overall. “I imagine that the budgets for many of these projects are likely quite modest in comparison to what you might see elsewhere in the world. It is quite nice to see that architects are continuing to attempt ambitious projects within the constraints of tight budgets and tight timelines.” All three jurors speculated on whether those constraints to some extent drove the simplicity and elegance of the solutions that they saw. “Canadian architects have often been described as modest or quiet,” says Gauthier. “I think we selected a number of projects that show this Canadian way of doing things. I would encourage this approach. I think this is still something valid, because operating with public funding obliges

Jurors Michael Green, Tyler sharp and Éric Gauthier met in Toronto this fall to evaluate the submissions to the 2014 awards of excellence program.

aBOve

you to work with a certain responsibility. Architecture should not necessarily be extravagant with elements that are structurally superficial or unnecessary. I think some of the selected projects prove the point that it’s possible to operate in this more modest manner.” Another consideration that was important to the jury was selecting projects that tackled larger-scale and more complex environments. They debated at length to select the best among several strong submissions that exemplified what Canadians are trying to do with bigger projects. Several examples came close to making the final cut, and are worthy of mention. Says Sharp, “The River City project [by Saucier + Perrotte architectes] in Toronto is an example of a large-scale condominium project that is attempting to be very ambitious while working within the typical boundaries and constraints of the condominium market. I think that this is a strong project, representative of a very progressive approach.” Gauthier continues, “As a multi-unit residence, we were impressed by the strength and audacity of the 62M proposal [by 5468796 Architecture] in Winnipeg. But we were not convinced in the end by some of the basic issues that this concept was trying to resolve: what’s happening with the space underneath it or how the views are allowed from this point. So we had those reservations, even though we had a lot of respect for and interest in the project.” Green also highlights two additional entries that were deft in handling different typologies. “It was interesting and surprising to see a submission of a project located in Italy by a Canadian architect [Giannone Petricone Associates]. It’s a nicely put-together project, and it speaks to a typology of destination hotel and resort, executed in a sensitive way,”

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2014 awards of excellence

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TOp TO BOTTOm river city Phase 3 is a residential development at the mouth of Toronto’s don river by saucier + Perrotte architectes; the ambitious 62M residences in winnipeg by 5468796 architecture; Montreal’s lemaylaB led a proposal to revitalize westmount square, a mixed-use project originally designed by Mies van der rohe.

he says. “Another project that had a lot of promise was the project to revitalize Mies’s Westmount Square [by lemayLAB] in Montreal. It’s a statement on preserving Canada’s heritage building stock and celebrating some really great mid-century buildings.” The quality of presentation was also worth noting, says Gauthier. “We saw some exquisite and very skilled high-level presentations. But we had to go forward and then try to understand if the projects were up to this promise. In a sense, the renderings act as a filter that you have to go through to understand the project.” “It underlines the importance of representation in general,” says Sharp. “A well-represented project can elevate, and at times distinguish even the most prosaic projects. Alternatively, poor representation can seriously prevent skilled projects from being recognized. A strong concept needs an equally strong and carefully put-together presentation.” Putting together an entry with the optimal level of detail can be a delicate balancing act. According to Green, “Some of the projects that tried to be highly representational in the graphics also opened themselves up to questioning of details and technical resolution. So showing too much early in the process exposed the project’s weaknesses—and not showing enough definitely revealed a project’s weaknesses.” “In general, many of the projects are vague about how they’re going to be technically resolved,” he adds. “As a jury, that leaves us hoping the team follows through. Some of the more quiet solutions require a sophistication in detailing that we really hope to see when the projects are built—arguably, the success of the projects depends on it.” The jury was particularly intrigued by the strong entries emerging from the Quebec competition system. “The Quebec competition process nurtures the existence of younger firms, and there are a number of new practices benefiting from these competitions,” explains Gauthier. “There’s movement, which is one of the unwritten objectives of a competition system—to open up the possibility for new firms and new ideas to emerge.” “The downside of it is the danger that we see in other competition systems where images become more important,” he continues. “There may be a tendency to put too many things together to seduce and win the competition—more things than are necessary. As architects, we have to look through this smokescreen, and it is dangerous that architecture becomes more and more reliant on these kinds of visual effects.” Gauthier adds that Quebec competition juries may also tend towards selecting buildings of a certain style. “There’s a discussion between architects and non-architects that is quite frequent in these juries. These two worlds collide, and the danger is that the selected project might be more palatable and acceptable to the general public, but we might overlook more adventurous architectural projects.” The influence of procurement methods on design is apparent in other projects as well, says Green. “There’s an interesting overlap between some aspects of the competition system and the design-build or P3 system, where teams are putting out a design in advance of sitting down with the client and spending time to understand the subtleties of the issue, program or site. Really having the time to understand a project before you design it is to me so important, and I think both those systems create challenges for that.” Emerging through these challenges of budget, scale, presentation and procurement, the jury selected the projects that follow as worthy of recognition. We’ll be keeping our eye on these projects as they come to fruition in the coming years, and look forward to sharing the results with you.

Éric gauthier Éric Gauthier joined FABG in Montreal in 1986 and became a principal in 1992. The firm’s architectural production under his guidance has been celebrated by numerous awards including two Governor General’s Medals, 15 Prix d’Excellence from the OAQ , the Innovation in Architecture Prize from the RAIC, and the Architecture Merit Award from the United States Institute of Theatre Technology. As lead designer, he collaborated with multidisciplinary teams in the development of several major institutional and cultural projects, including the Caisse de Dépôt et de Placement du Québec headquarters, the Cirque du Soleil headquarters and the Montreal Science Centre. He has also led many successful rehabilitation projects such as Buckminster Fuller’s Biosphere and Mies van der Rohe’s gas station in Montreal. His work was recently featured in a retrospective exhibition at the Maison de l’Architecture du Québec as well as at the Centre d’exposition de l’Université de Montréal and the current Architecture Biennale in Venice. A graduate of Laval University in Quebec City, he has been the Sheff Visiting Professor at McGill University and has led design studios at the Université de Montréal.

michael green A graduate of Cornell University’s architecture program, Michael Green founded Vancouverbased MGA in 2012 to focus on progressive architecture, research, education and innovation. The firm’s work is diverse in scale, type and location, finding common ground in meaningful and sustainable change through innovation in building sciences and design—in particular, advanced wood products. With projects around the world and a team of 24 designers and architects, they are vested in helping to build healthier communities through architecture, interiors, landscape and urban design. Their award-winning work includes private residences, retail and restaurants, academic, cultural, commercial and institutional buildings. Projects like Ronald McDonald House in Vancouver, an Inuit Cultural Centre, the Vancouver Food Bank, North Vancouver City Hall, Rocky Mountain Soap Company headquarters, and several restaurant projects high on Whistler mountain highlight the firm’s interests in and commitment to community. Michael also teaches at various universities, lectures extensively, and recently opened a not-for-profit school called the Design Build Research Institute.

Tyler sharp Tyler Sharp is a principal and design director of RDH Architects in Toronto. After graduating from Dalhousie University’s School of Architecture, he worked on a number of significant award-winning projects at Kuwabara Payne McKenna Blumberg Architects. Tyler joined RDHA in 2005 to help initiate a transformative process to elevate the firm’s status within the country and abroad. Projects he has led include the Bloor Gladstone Library, the Hamilton Central Library and Farmers’ Market, the First Leaside Financial Headquarters, the Guelph Civic Centre Skating Pavilion, the Waterdown Library and Civic Centre, and the Brampton Springdale Library. Tyler’s work has been published extensively, and has received over 20 major design awards in the last seven years, including three Canadian Architect Awards of Excellence, two Design Exchange Medals for Architecture, the 2010 and 2014 Chicago Athenaeum International Architecture Award, two Canadian Interiors Best of Canada Awards, two OAA Awards of Excellence, and the 2012 and 2014 Governor General’s Medals in Architecture. Tyler is also the 2014 recipient of the Royal Architectural Institute of Canada’s Young Architect Award.

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winners Since their inception in 1992, Acton Ostry Architects has demonstrated a commitment to the making of architecture that thoughtfully reflects local topography, climate, culture, and lessons learned from buildings inherited from the past. Principals Russell Acton and Mark Ostry lead the practice with three associates and 27 architectural staff. Through innovation, their design approach incorporates new technologies and materials in a considered, Modernist idiom to realize buildings that offer sustenance to those who inhabit and experience them. Through a process of continual refinement, Acton Ostry creates timeless environments that have a sense of place and community with a design sensibility that is eloquent, engaging and inspiring. Acton Ostry has received over 70 civic, provincial and national design awards, including three previous Canadian Architect awards. In addition to the new Aquatic Centre, current and recently completed projects at the University of British Columbia include the National Soccer Development Centre (in collaboration with BBB Architects), the expansion and renewal of the Sauder School of Business, the renewal of the Biological Sciences Complex, and the Hillel Student Centre.

MacLennan Jaunkalns Miller Architects is one of Canada’s leading designers of community, civic, academic and recreational architecture. A Torontobased practice with projects across the country, MJMA is a group of over 50 architects and designers invested in the ideals of civic placemaking that amplify the quality of life, giving value to social and cultural aspirations. MJMA has evolved from a 25-year legacy of making community buildings, to building communities—in towns, cities and campuses—developing hybrid civic projects that combine overlapping public programs, supporting both personal and civic wellness. The firm’s focus on design excellence in wellness and recreation has resulted in more than 75 national awards. In addition to the UBC Aquatic Centre and Dalhousie University Fitness Centre, MJMA have recently completed the Ashtonbee Campus Renewal at Centennial College and the University of Toronto Goldring Centre for HighPerformance Sport, and are currently working on the University of Guelph WF Mitchell Athletic Centre, Conestoga College Student Recreation Centre, Niagara College’s New Athletic Facilities and the new Aerospace Department Facility at Centennial College’s Downsview Campus.

gh3 designs in the increasingly complex realm where architecture, urbanism and landscape overlap. The studio designs landscapes with a Modernist’s eye to order, beauty and social possibility, and an environmentalist’s awareness of sustainability and long-term thinking. Applying global learning to local problems, team members bring specialized expertise in architecture, landscape architecture and urban design to each project. Thinking is grounded in knowledge, and design in creative excellence. Partners Pat Hanson and Diana Gerrard bring learning from three decades of collaboration to the design of all projects, blur-

Based in Halifax, Fowler Bauld & Mitchell Ltd. was founded in 1917 and in nearly 100 years of practice has become one of Atlantic Canada’s most recognized firms. FBM’s portfolio of work includes educational, residential, commercial, industrial, cultural and health-care projects in both private and public sectors across Canada. They approach their work without preconceived ideas, responding to the particular context of each project to create buildings that enliven and enrich the environment while respecting clients’ input, project schedules and budgets. This comprehensive engagement with project specificity is essential to truly sustainable design. Working closely with each client, FBM considers in their design process the natural world and the human community, biodiversity and democracy, human scale and energy efficiency, financial responsibility and reduced carbon footprints. Not only has this approach to sustainability yielded the largest portfolio of LEED-certified buildings in Atlantic Canada, it has also ensured that their buildings have become embedded in the consciousness of the communities they serve, making them “places” instead of just “capital assets.” Left to right, top to bottom: Ted Watson, Viktors Jaunkalns, Andrew Filarski, Robert Allen, David Miller, Tarisha Dolyniuk, Darlene Montgomery, Timothy Belanger, Troy Wright, Ricardo Duque, Aida Vatany, Kristin Ross, Danielle Lam-Kulczak, Janice Lee, Luis Arredondo, Razmig Titizian, Marc Downing, Cathy McMahon, Jay Martin, Jason Wah, Russell Acton, Mark Ostry, Adam James, George Cotaras, Wayne Duncan. Missing: Farhan Durrani.

ring the edge between buildings and the outdoors. In approaching every design with a site- and context-specific approach, and combining the tools of landscape and architecture, the studio develops projects that are inspiring, beautiful and fundamentally modern in outlook. gh3’s integrated approach to the ground plane means that landscape, which can add so much to the quality of experience and the sustainability of building, is a fundamental and inseparable part of design. Left to right: Pat Hanson, Diana Gerrard, Bernard Jin, Raymond Chow, John McKenna, DaeHee Kim, Louise Clavin, Byron White, Joel Di Giacomo.

5468796 Architecture is a Winnipeg-based design studio established in 2007. Working around a single table, their office unites the diverse knowledge and experience of 12 young professionals. Together, they believe that every client, user and civic environment—regardless of budget—deserves an outcome that advances architecture. Recent firm recognitions include the Rice Design Alliance Spotlight Award, the RAIC Emerging Architectural Practice Award, and the WAN 21 for 21 Award, an international prize whose aim is to highlight 21 architects who could be the leading lights of architecture in the 21st century. The office makes design advocacy an ongoing pursuit through university professorships and various public engagements. In 2012, 5468796 co-curated Migrating Landscapes, Canada’s official submission to the Venice Biennale in Architecture. In 2013, the

Canada Council for the Arts awarded 5468796 the Professional Prix de Rome in Architecture for their project, Table for 12, which allowed them to visit and research cities around the world with a thriving design culture. Their work has received a number of awards and honours, including Governor General’s Medals in Architecture and RAIC Awards of Excellence for OMS Stage and Bloc_10, Progressive Architecture Awards for Bond Tower and BGBX, and the 2014 WAF Future Project of the Year Award for their shortlisted competition design for the Art Gallery of Greater Victoria. Clockwise from top left: Eva Kiss, Jordy Craddock, Jeff Kachkan, Ken Borton, Dazhong Yi, Sean Radford, Pablo Batista, Brandon Bergem, Shannon Wiebe, Colin Neufeld, Johanna Hurme, Sasa Radulovic.

Williamson Chong is a Toronto architecture and design office led by Betsy Williamson, Shane Williamson and Donald Chong, experienced architects and academics committed to using built work as a vehicle to explore diverse agendas associated with research and practice. Their design approach privileges specificities of context, materials research, economies of construction, building performance, and client-based collaboration. Williamson Chong’s work ranges from furniture and installations to master plans and buildings, with a particular emphasis on employing advanced digital tools as a means to engage architectural craft as expressed through the synthesis of emerging technologies with traditional methods of construction. Building upon the office’s interest in sustainable building strategies and its established expertise in the area of digital fabrication, Williamson Chong was awarded the 2012 Professional Prix de Rome from the Canada Council of the Arts. Over the

last two years, the partners have visited Austria, Scandinavia and Japan to engage international architects, researchers and industry leaders in advanced wood construction and emerging manufacturing technologies. The end goal is to situate digital fabrication and wood construction in a broader cultural context, and to link theories of design and technology with ecological aspects of building and construction. Most recently, Williamson Chong was selected for the 2014 Emerging Architectural Practice Award by the Royal Architectural Institute of Canada and the 2014 Emerging Voices Award by the Architectural League of New York. Additionally, the firm was honoured to have three projects selected from nearly 700 entries for the 2014 Residential Architect Design Awards. Left to right: Eric Tse, Paul Harrison, Betsy Williamson, Shane Williamson, Dimitra Papantonis, Chris Routley, Donald Chong.

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16 Based in Montreal, Atelier TAG is a small practice founded in 1997 by Manon Asselin and Katsuhiro Yamazaki. Since its inception, the studio has worked to reinterpret the civic function of architecture through the careful study of sociocultural contexts within which a given program operates, in order to create meaningful spaces. TAG’s growing body of work has allowed it to develop a design methodology focused on building technique and materiality. The work of the studio is a quest for simplicity, where built space, through the calculated play of light and materiality, embodies the physical, cultural and poetic function of architecture. In recent years, TAG has been awarded three Governor General’s medals and the prestigious Prix de Rome in Architecture by the Canada Council for the Arts. In parallel to her practice, Manon Asselin is also a professor of architecture at the Université de Montréal. Established in 1958, Jodoin Lamarre Pratte architectes has acquired a reputation for excellence in all aspects of construction and design, pursuing the approach to quality initiated by its founding partners. The firm has been involved in the realization of numerous award-winning projects including the Pavillon pour la Paix du Musée des Beaux-Arts de Montréal, the Bibliothèque Raymond-Lévesque in Saint-Hubert, the Longueuil campus of the Université de Sherbrooke, the Salle de spectacle DolbeauMistassini and the Théâtre du Vieux-Terrebonne. Left to right, top to bottom: Manon Asselin, Katsuhiro Yamazaki, Pawel Karwowski, Cédric Langevin, Jason Treherne, Simon Robichaud, Catherine Gagnon, Nicolas Ranger.

Chevalier Morales Architects is a young Montreal-based architectural firm founded in 2014 by Stephan Chevalier and Sergio Morales. After having worked several years for some of the most renowned firms in the country, the two principals decided to join their efforts to promote their personal approach to architecture. Based on multiple, thorough and creative readings of the physical, historical and cultural contexts of the project itself, their investigations are mainly dedicated to extracting the full creative potential of each architectural opportunity. Literature, cinema, and Calvino’s values for the new millennium—lightness, quickness, exactitude, visibility and multiplicity—can also be seen as recurrent sources of inspiration at the heart of the creative collaboration. The agency has now more than 10 full-time employees and numerous collaborators. With several cultural projects at the design stage or currently under construction throughout Quebec, Chevalier Morales Architects has distinguished itself in numerous architectural design competitions sponsored by the Ordre des Architectes du Québec and by the City of Montreal’s Design Office, winning the Bibliothèque Saul-Bellow, Maison de la Littérature de l’Institut Canadien de Québec, and the new Bibliothèque de Pierrefonds.

Established in 1957, the architectural firm of DMA has developed expertise and proficiency in pre-project planning analyses. The firm is respected for its extensive knowledge of building envelope science and technology, and experience in developing program solutions to institutional functions, building codes and regulations, compliance analyses, construction standards, and contractual documentation and framework support for the parties involved in the construction process. The size of the firm allows it to meet tight project schedules and accommodate project implementation phasing strategies, applying its unique set of skills to interventions made in existing historic structures to efficiently conserve and reveal our architectural heritage. Left to right: Sergio Morales, Colin J. Hanley, François Lemoine, Geneviève Riopel, Catherine St-Marseille, Stephan Chevalier, Simon Barrette, Julie Rondeau, Alexandre Massé, Christine Giguère.

A Barrier to Fire. Not Inspiration.

Fire-Rated Aluminum Window And Door Systems

Founded by Marc Boutin in 1997, the Marc Boutin Architectural Collaborative is a researchbased critical practice. The work in the studio is focused on the design opportunities that lie at the confluence of different disciplines, seeking a density of meaning that can only be achieved through the synthesis of art, architecture, urban design and landscape architecture. The concepts of negotiable space and imprintable architecture have been central contributors to the value of the design projects pursued. Equally important is the firm’s capacity to dynamically and responsively engage clients in order to develop project accountability. MBAC’s resultant design portfolio has received numerous international and national awards for architecture and public-space design and has been internationally published and exhibited. Founded in 1984 in Seattle, the Portico Group specializes in spaces for community, interpretation and informal education. The firm is comprised of architects, landscape architects and interpretive planners, allowing them to explore and illuminate the relationship between built and natural environments.

For beauty, the best in safety and design flexibility look to Aluflam. Built to blend effortlessly with non-rated storefront and curtain wall systems, our virtually limitless portfolio includes true extruded aluminum vision doors, windows and glazed walls fire-rated for up to 120 minutes. You’ll see why we’ve become the favorite of architects and installers alike. Aluflam gives you a barrier to fire, not inspiration.

Clockwise from top left: Marc Boutin, Richard Cotter, Mike deBoer, Nate Dekens, Jerry Hacker, Jodi James, Kristin St. Arnault, Katie Pearce, Kurtis Nishiyama, Lindsay Andreas, Tony Leong, Sean Knight. Missing: Holly Simon, Andrew Dejneka, Rob Gairns, Dennis Meyer, Jim McDonough, Bronwen Carpenter, Paul Sorensen, Laura Bassett. With a background in architectural technology, Evelyne StJacques completed her Bachelor of Architecture at the Université Laval and graduated with a Master of Architecture from the Université de Montréal. In 2012, she spent one year in France, studying architecture at L’École Nationale Supérieure d’Architecture de Montpellier, taking advantage of her European base to travel throughout the continent. With a particular focus on detail, Evelyne eagerly works on a range of variably sized projects. She is very interested in the exploration of architecture and expanding creative boundaries through materials, narrative and the environment to enhance user experience. Matthew Griffin-Allwood graduated from Dalhousie University with a Bachelor of Environmental Design Studies in 2011, followed by a Master of Architecture degree earlier this year. Born and raised in Nova Scotia, Matthew’s academic career has taken him to different countries and climates to investigate relationships between design and place. He has participated in studios and practices in Canada, Botswana, Scotland, Norway and Japan, and his recent thesis work on Sable Island brought Matthew home to apply what he had learned to a familiar and dynamic site. He has since relocated to Oslo, Norway and is currently practicing with Hille Melbye Architects.

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CANADIAN ARCHITECT 12/14

UNiVERSiTY OF BRiTiSH COLUMBiA AQUATiC CENTRE

MacLennan Jaunkalns Miller Architects + Acton Ostry Architects—Architects in Association Vancouver, British Columbia

ARCHiTECTS LOCATiON

Located 10 kilometres west of downtown Vancouver, the four-squarekilometre University of British Columbia campus is nestled within the impressive University Endowment Lands. The new Aquatic Centre will replace the indoor and outdoor pools at the centre of the UBC campus, now undergoing dramatic redevelopment. A new transit plaza will form a large open space to the south and a student centre will be built to the west. The siting of the project creates a new pedestrian precinct, connecting existing athletic venues and a new outdoor field. A unique hybrid program for the Aquatic Centre organizes the plan, allowing for Olympic-level training while simultaneously providing for continuous community and UBC student use. The 85,000-square-foot program includes a 51-metre FINA basin, a 25-metre diving well with moveable floor, and a warm-water leisure basin. The plan is divided

north-south into four “program bars” of change rooms, community aquatics, competition aquatics and bleachers. The requirement to co-program elite-level training and competitions with daily community use led to a two-sided pool hall divided by Y-shaped columns and a continuous skylight bisecting the building. In section, a translucent screen creates a luminous barrier between the two spaces, ref lecting abundant sunlight into the “leisure” side, while providing the required controlled and balanced light into the “competitive” side. A steel truss structure supports a tessellated standing-seam roof hovering over a ribbon of ceramic-fritted SSG glazing. The height of the roof responds to the functional requirements of the four bands of programming below. The roof form is manipulated to provide weather pro-

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tection and solar control. The project is designed to LEED Gold standards and will pursue regenerative neighbourhood goals by integrating with new campus infrastructure developments. The project focuses on daylighting, innovative water reuse and air-quality strategies that are precedent-setting for North American aquatic facilities. A three-compartment cistern will store water from the roof and adjacent transit plaza. The water will top up evaporative loss in the basins, provide for grey-water flushing, and supply a site irrigation system. Chloramine-contaminated air will be scoured from the water’s surface by air flow delivered from a central bench structure, and returned within the upper edge of the perimeter pool gutter. Developed in coordination with on-campus research, this system is intended to provide exceptional natatorium air quality and mitigate the problems of “swimmer’s asthma.” The sectional split brings light deep into the centre of the natatorium plan, where it is reflected or diffused to provide the required natural lighting condition. A continuous ceramic-fritted glazing band on three elevations and sensors for zoned lighting control respond to the level of natural light. EG: The architects have succeeded in articulating the relationship of this building to its surroundings. I appreciate the work in section, especially the structure of the building—which is surprising—and which gives an order to the interior that is unexpected.

OppOSiTE A sweeping roof unites the aquatic centre, while generous south-facing windows provide glimpses of the different program areas within. ABOVE The facility’s western façade boasts a handsome wood canopy. Ample glazing permits the illumination of a concourse that leads to the change rooms. BOTTOM A view of the competition pool, with the leisure and lap poolsGROUND beyond. FLOOR PLAN

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MG: This project has an ambitious formal organization that responds in part to the campus quadrangle. From a user point of view, it will be a really interesting space to swim in, with nice relationships both inside and outside. This is a project that comes down to material quality; the roof will need to be rigorous and of a good quality. TS: The project illustrates a creative resolution of a simple program, likely with a modest budget. The architecture is clearly organized in plan and significantly enhanced by the complex wave-like form of the roof structure; a clear abstraction floating above the water below. I am sure that the built form will result in a variety of beautiful interior spaces.

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CLiENT University of British ColUmBia + UBC ProPerties trUst ARCHiTECT TEAM mJma—ted

Watson, viktors JaUnkalns, andreW filarksi, roBert allen, david miller, troy Wright, riCardo dUqUe, tarisha dolyniUk, aida vatany, kristin ross, danielle lam-kUlCzak, darlene montgomery, timothy Belanger, JaniCe lee, lUis arredondo, razmig titizian. aoa—rUssell aCton, mark ostry, adam James. | STRUCTURAL eqUiliBriUm ConsUlting inC. | MECHANiCAL ame ConsUlting groUP | ELECTRiCAL aPPlied engineering solUtions | CiViL kamPs engineering ltd. | LANDSCApE mJma + Pfs stUdio | iNTERiORS mJma + aoa | CONTRACTOR heatherBrae BUilders Co ltd. | LEED/SUSTAiNABiLiTY reColleCtive ConsUlting | AQUATiC CONSULTANT Water teChnology inC. (Wti) | AREA 83,850 ft2 | BUDGET $33 m | COMpLETiON Winter 2016

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CANADIAN ARCHITECT 12/14

AWARD OF EXCELLENCE

BORDEN PARK NATURAL SWIMMING EXPERIENCE gh3 Edmonton, Alberta

ARCHITECT LOCATION

A Natural Swimming Experience (NSE) is being proposed at Borden Park to replace the existing public pool. It shall provide chemical-free swimming for 400 swimmers and will be used as a skating surface in winter. The 820-square-metre building and site program includes washrooms, change-room facilities, first-aid room, staff areas, concession, children’s pool, deep pool, outdoor showers, beaches, picnic areas, and various regeneration zones related to the pool. Two existing mid-century pool build-

ings will be incorporated into the overall site design. The proposal builds upon elements of the existing 1950s buildings and is inspired by Modernist style, including a horizontal emphasis and clear integration of building and site that recognizes the cultural heritage of the park. The early 1900s was the golden age of Borden Park. A destination for family events, it was home to many attractions including fairground activities, a zoo and an outdoor pool. For over 80 years, Edmontonians B A

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The new pool reuses two existing 1950s structures, creating a harmonious Modernist composition. AbOve, clOckwise frOm tOp left Outdoor showers ring the swimming area; a planted pond naturally filters the chemical-free pool water; the circular buildings and pools allude to Borden Park’s round gardens and curved paths; a raised white concrete plinth welcomes swimmers to the outdoor facility.

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and visitors have used the Borden Park Pool as a recreational, leisure and gathering space. As part of the larger park landscape, the pool is a key civic space within north Edmonton, and the uninterrupted history of swimming on site from 1924 to 2012 demonstrates the strong social value of the Borden Park Pool complex to Edmonton and the surrounding community. It is a signature element, a project of landmark proportions and leadership, and the first of its kind in Canada. Edmonton will be the first city in North America to build a public recreational natural swim experience. The pool sits within a raised rectilinear white concrete plinth which also holds two large beaches and the three pool buildings—connecting indoors and out. Sustainable strategies begin by siting the building with the aim of modifying the micro-climate of the pool site. This is particularly important in Edmonton as the swimming season is very short in this northern city. The outdoor/indoor components of the building are oriented to the west to capture the mid- to late-afternoon warmth of the western sun, and the north and northwest boundary of the site is heavily planted to mitigate against cold northwest winds. The entire pool area opens to the south with the pool deck warmed through a structural glass wall by the southern sun. A Natural Swimming Experience (NSE) is a system consisting of a constructed body of water contained by isolating membranes; no chemicals or devices that disinfect or sterilize the water are used. In an NSE, all clarifying and cleaning of the water is achieved by passing the water through gravel filters and regeneration ponds. The regeneration ponds consist of biological filters and plants rooted hydroponically into the system. Biological principles work to break down undesirable components in the water and transform them into nutrients for the plants. Because there is no soil, plants and microbes must get all of their nutrients from the water, competing for and consuming the nutrients that would otherwise feed algae

growth. Filtration in the NSE is therefore achieved in two ways: biological-mechanical (through a constructed wetland and gravel filter) and in-situ (with zooplankton). In this way, the NSE is a balanced ecosystem where the plants, micro-organisms and introduced nutrients work together to create true “living water.” eG: A refreshing essay on the theme of the public pool, without the facile associations that you can sometimes have with pools. This project is very serious, calm and restrained, but also beautiful. mG: A seductive project: it’s sensuous and looks like it will be beautifully executed with a clean palette of materials and a lovely water-droplet planning concept. A challenge for the design team is ensuring that it serves the diversity of people who will use the space while also addressing some of the program creep that could alter the final resolution. Ultimately, pools are highly animated spaces, and it will be fun to see how that works itself through. ts: This is a very pure and austere project but not unrelentingly so. It is well-controlled and interesting. I am personally drawn to clear, rational and simple projects such as this. The architecture carries on a great tradition of mid-century infrastructure building in Canada and attempts to contemporize and accentuate the existing condition. |

clieNt City of Edmonton ArcHitect teAm Pat Hanson, diana GErrard, BErnard Jin,

canadian architect 12/14

CANADIAN ARCHITECT 12/14

AWARD OF EXCELLENCE

ARTHUR RESIDENCE 5468796 Architecture Inc. Regina, Saskatchewan

ARCHITECT LOCATION

The Arthur Residence is a two-storey home for a finish carpenter and an emergency physician situated in the Cathedral neighbourhood of Regina. Originally from South Africa, the owners longed for a private sanctuary that would offer respite from an often mundane prairie city, provide ample space for gardening, and infuse layered and inspiring views into a modest 40-foot infill site on an unassuming residential street. Where required side-yard setbacks typically result in unconsidered or leftover space, the Arthur Residence is designed to encompass the entire

ABOVE The residence extends the full width of its suburban lot, with courtyards at its edges. BOTTOM, LEFT TO RIGHT A view of the living room; the second-floor master bedroom includes a sitting nook; a second bedroom doubles as an office; the dining room adjoins the main courtyard.

width of the lot. Interior and exterior rooms are carved out of, rather than placed onto, the site. Conceived as a secret garden, the ground floor is surrounded by a concrete fence at the property edge. The fence becomes an extension of the house itself, transitioning from outside to inside across minimal glass thresholds that frame views into narrow side yards and larger gardens filled with lush, overgrown vegetation. From the sidewalk, a plain gravel path leads to a single break in the fence. Beyond the wall, four courtyardsâ&#x20AC;&#x201D;an entry court, a sunken patio,

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a main garden and a carport—define three interior spaces: the foyer, the combined living and dining room, and the linear kitchen/utility wing. The house is then divided vertically into living and sleeping quarters, with two unique bedroom retreats—one for guests above the foyer and one for the master bedroom above the kitchen—accessed by separate private staircases. While the main floor is a protective shell punctured by internal garden views, the second floor is an airy refuge providing secretive, more discrete lookouts over the neighbourhood and existing tree canopy. White plaster walls curve inward like curtains drawn in by the breeze, resulting in triangular voids that allow daylight to softly wash the interior, creating a subtle and luminous atmosphere intended for reading, unwinding and sleeping after long hours spent in pressure-filled environments. These two distinct territories—of solidity and lightness, of activity and repose—intersect in the double-height living and dining room. Smooth contoured plaster rests on raw cast-in-place concrete, reinforcing the tactile and sensory qualities of material, space and light that form the essence of the house, one which is simple but not strictly minimal. EG: I appreciate the tension between the taut skin of the upper f loor

1 COPPER ROOF WOOD FRAMING RIGID INSULATION BATT INSULATION WOOD BLOCKING ACRYLIC STUCCO TOP COAT TRIANGULAR WINDOW PLYWOOD SHEATHING INTERIOR PLASTER FINISH SPRAY FOAM INSULATION LOAD-BEARING CONCRETE FINISHED CONCRETE VENEER 1-½” CONCRETE FLOOR TOPPING SLOPED RIGID INSULATION ⅛” ALUMINUM PARAPET FLASHING RESIN FROM TIE

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and the concrete base on which it rests. The presence of natural light inside these volumes that are shielded by the façade allows for an interface between interior and exterior which is quite fascinating. I love this house. MG: This project deals with this beautiful challenge of daylighting a home in a suburban neighbourhood while still providing privacy. The plan geometry is really interesting, and the seasons will be lovely to experience in the courtyard spaces. TS: This is a sophisticated project that achieves a nice balance between playfulness and rigorous design resolution. The way in which slivers of wall plane recede to create openings is quite elegant. It will be interesting to see how some of the technical details are resolved in such an extreme climate. |

CLIENT DAVID AND JANE ARTHUR ARCHITECT TEAM PABLO BATISTA, BRANDON BERGEM, KEN

BORTON, JORDY CRADDOCK, JOHANNA HURME, JEFF KACHKAN, EVA KISS, COLIN NEUFELD, SEAN RADFORD, SASA RADULOVIC, SHANNON WIEBE, DAZHONG YI | STRUCTURAL LAVERGNE DRAWARD AND ASSOCIATES INC. | AREA 2,500 FT 2 PLUS GARAGE AND BASEMENT | BUDGET $750,000 | COMPLETION FALL 2015

CANADIAN ARCHITECT 12/14

canadian architect 12/14

AWArd OF exCeLLenCe

House on Fox Lake Williamson Chong Architects Huntsville, Ontario

aRCHITeCT LoCaTIon

By using natural materials and reinterpreting the traditional forms of the Hanok, the architects created a four-season home that evokes the client’s cultural history while contributing to the evolution of Canada’s regional modern architectural language. Hanok is a traditional Korean house type hundreds of years old. Customarily located with a mountain in back, facing north towards the water, each Hanok is built according to regional environments such as distance and direction of wind, water, land and mountains. The raw materials used in Hanok construction, such as soil, timber and rock, are all natural and recyclable. The formal planning and structural elements are also environmentally sound. Hanoks have an evolved post-and-beam framework that sits on a stylobate at the bottom, with stereotomic stone-block construction and a specific type of a curved tiled roof called Giwa—the edges of which can be adjusted to control the amount of sunlight that enters the house. A unique feature of traditional houses was their special design for cooling the interior in summer and heating in winter. Since Korea has hot summers and cold winters, the Ondol—underfloor heating using the

sITe seCTIon

aBoVe Inspired by a traditional Korean house type, this residence takes advantage of its sloping site, providing expansive views of Fox Lake. opposITe In an earlier iteration of the scheme, wood louvres screen the upper portion of the glazed walls enclosing the main living area.

direct heat transfer from wood smoke to thick masonry or stone, and Daecheong—a cool shaded hall with a wooden floor, were devised to help Koreans survive the frigid winters and to block sunlight during summer. These primitive types of heating and air-conditioning were so effective that they are still in use in many homes today. These elements are the raw materials of the House on Fox Lake. Fox Lake is one of Muskoka’s many small lakes. The lands around it saw their first development as homesteads, but the hills around the lake were not particularly suited to farming and by the early 1900s, many of the homesteads were abandoned. Timber became the primary interest in the area, with the Buck-Fox-Vernon corridor being a transportation route for logs and bark. Slowly, through the 1930s, ’40s and ’50s, Fox Lake became a recreational site, with a number of small summer cottages developing on the east and west sides. The ideal site for this modern Hanok is on a ridge formed by granite outcroppings that will make a natural ledge to approach from above, which will then descend down one storey to the lakeside dropoff. It creates a modest upper-level approach and a nestled-in lower level, recreat-

ing the Hanok section of open upper levels rooted by a stone base. The development of the roof line enhances the illumination of the central room while catching lakeside breezes and views. The massing concept for the house is a stacked double courtyard, in which an upper-level wood-clad “light court” is nested atop a lower-level living room that is open to the lake yet enclosed by the hovering wood screen above. The upper-level approach is toward a one-storey volume, which then drops into a lower-level space which has a widened vista to the lake below. The roof is based on the Hanok’s roof, which traditionally sloped to the interior for drainage to an internal courtyard. The realities of heavy snow and site drainage forced the reconsideration and inverted flipping of the roof volume in this contemporary iteration. Typically, the roof of the Hanok was highly figural, formed a deep eave for shade, and was materially quite varied depending on the class of the owner—with materials ranging from clay tile to wood shingles. The development of the roof form in this house focused on capturing daylight at optimum angles and controlling runoff while developing a prismatic aperture for the skylight and buildable angles for the prefabricated roof trusses.

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eG: A surprising and refreshing house that takes as a starting point a foreign cultural reference, then adapts it to the Canadian landscape and context with a little abstraction. I appreciate the in-between spaces that this house provides. MG: The clarity from concept to execution was just outstanding. We hope to see more projects that bring a unique cultural perspective that’s important to Canadian identity and diversity, and that build on those traditions in really provocative ways. Ts: This is an elegant project that is very well resolved formally and intellectually. The resulting design illustrates a clear abstraction and translation of the cultural and historic characteristics of its client.

LoweR FLooR 1 maSter Bedroom Bedroom Courtyard Covered BalCony Study entry hall Covered entry Sitting room living room kitChen laundry/meChaniCal Storage

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CLIenT withheld aRCHITeCT TeaM donald Chong, Shane williamSon, BetSy williamSon, ChriS routley,

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CANADIAN ARCHITECT 12/14

AWARD OF EXCELLENCE

SAINT-JÉRÔME PERFORMANCE HALL

Atelier TAG + Jodoin Lamarre Pratte architectes in consortium Saint-Jérôme, Quebec

ARCHITECTS LOCATION

The implementation of a new performance hall in downtown SaintJérôme meets a critical need that has been expressed repeatedly by regional actors. The site is bounded by De La Gare, Latour and Godmer Streets as well as a bike path to the east. It is adjacent to the Place de la Gare Saint-Jérôme and the public market. The new 3,385-squaremetre, 875-seat theatre will feature cutting-edge equipment and innovative ecological strategies. Construction will begin during the spring of 2015 and the performance hall is scheduled to open in September 2016. Responsive to the potential created by the city through the implementation of the new “Place des festivities,” the performance hall consolidates a portfolio of existing civic and cultural buildings that orbit the site. The resulting new iconic performance hall is simultaneously a so-

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cial catalyst for the immediate community and an important cultural and economic driver for the region—expressing the growing cultural landscape of Saint-Jérôme and promoting the local wood industry. The orthogonal volume of the given theoretical model from the competition brief is first split open in order to welcome the public square. The foyer, open and transparent, embraces the roundabout and unfolds to entice passersby. The exterior public space bends up to become a grandstand, merging the transparency of the main façade with the animation within. Visible from the adjacent commercial street, the illuminated wood canopy glows at night, announcing a new festive meeting place for the community and defining a new gateway to the snowy Laurentians. The proposed concept multiplies the theatre experience beyond the pre-

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A large wood canopy extends over the plaza of the future performance hall. ABOVE A grand staircase connects the upper and lower foyers. A view from the east, showing the perforated aluminum veil that wraps the building; the auditorium walls are clad in wood strips.

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cinct of the auditorium. The architecture engages the visitors within a sequence of interconnected interior and exterior spaces that are circumscribed by a 10,000-square-foot wood canopy. The folded surface of the canopy forms an architectural device that operates on several levels. With its spectacular scale, the canopy is the dominant component of the project. Its planar surface, contemporary language, and the enveloping presence of the wood are intended as a counterpoint to the Neoclassical metal spire of the cathedral. From the bar above, visitors rediscover the vastness of the Laurentians while the ethereal aluminum surface of the performance hall multiplies the perspective of the cityscape. The shear walls that cut this foggy surface express the depth of the mass of wood from which the performance hall is carved, reaffirming the notion of a permeable threshold. Carefully placed openings guide the experience of the visitors and contribute to the collective organization of the architectural space, in which different interior and exterior domains merge. In the same spirit of dissolution of the boundaries between architecture and landscape, the theatre is wrapped in a perforated aluminum veil that, through an optical play of layers, blurs the imposing volume of the fly tower. Its luminous and atmospheric quality is a vivid reference to the majestic presence of the cathedral’s traditional tin roof.

MG: It’s a great building, and we encourage the community to raise the funds to make a project like this happen. On the flip side, we’re cautious about what would be lost in the project if it goes through significant value engineering. It would be nice to make sure some of the big ideas are realized, including the spatial as well as the structural resolutions. TS: A very nice project, particularly in terms of creating a series of layered spaces which will result in an animated public realm. It is strong and ambitious, representative of the type of larger-scale work that we were hoping to see resolved with a high level of design rigour.

CLIENT DIFFUSION EN SCÈNE RIVIÈRE-DU-NORD INC. (GAÉTANE LÉVEILLÉ, JEAN BEAUSÉJOUR)

| ARCHI-

TECT TEAM ATELIER TAG—MANON ASSELIN, KATSUHIRO YAMAZAKI, PAWEL KARWOWSKI, CÉDRIC LAN-

GEVIN, JASON TREHERNE, SIMON ROBICHAUD, CATHERINE GAGNON LEBLANC. JODOIN LAMARRE PRATTE ARCHITECTES—NICHOLAS RANGER, ARIANE LATENDRESSE. | STRUCTURAL SDK ET ASSOCIÉS (HÉLÈNE BRISEBOIS, STÉPHANE BLAIS, MARC-ANDRÉ NADIN) | CIVIL MARCHAND HOULE ET ASSOCIÉS (DANIEL HOULE) | MECHANICAL SMI ENERPRO (PIERRE LÉVESQUE, FABIEN CHOISEZ) | ELECTRICAL SMI ENERPRO (THIERRY GAGNON) | LIGHTING DESIGN CS DESIGN (CONOR SAMPSON) | LANDSCAPE ATELIER TAG | JODOIN LAMARRE PRATTE, ARCHITECTES IN CONSORTIUM | INTERIORS ATELIER TAG | JODOIN LAMARRE PRATTE, ARCHITECTES IN CONSORTIUM | PROJECT MANAGEMENT AVISON YOUNG (CLAUDE ROY, CHRISTIAN DORR) | ACOUSTICIAN JEAN-PIERRE LEGAULT | CODE TECHNORM (GAÉTAN FRENETTE) | SCENOGRAPHY GO MULTIMEDIA (GUY DESMARTEAUX, JULIE QUENNEVILLE) | RENDERING DOUG & WOLF | AREA 3,385 M2 | BUDGET $14 M | COMPLETION SEPTEMBER 2016

CANADIAN ARCHITECT 12/14

canadian architect 12/14

award of excellence

Maison de la littérature de l’institut Canadien de QuébeC chevalier Morales architectes Quebec city, Quebec

a luminous addition is a boldly elegant contrast to the Gothic revival wesley Temple. Interior spaces are reconceived for new uses in the existing historic structure. oPPosite Model views show the intricate connection between the two structures.

arCHiteCt

aboVe

loCation

bottoM, leFt to riGHt

The Maison de la Littérature is part of the rich history of the Old City of Quebec, sitting on what has been designated a UNESCO World Heritage site. Integrating new construction in this environment presented several challenges. An example of a Gothic Revival church in Quebec City, the Wesley Temple has changed in use many times since it was completed in 1845 by architect Edward Staveley. Beginning as a Protestant church, it endured two consecutive generations as an auditorium space, then a public library that operated on the lower floor only while the main floor remained closed for several years. Reconstructing the memory of the temple’s many lives was a complex architectural task. The siting of the new addition—a contemporary glass box—was carefully conceived in order to preserve the temple’s integrity and presence as a civic centre, and it enhances the site as a timeless piece of architecture, a sparkling glass jewel that revives this historic urban landscape.

The main gesture was to move the creative program into the new building, freeing up extra space in the temple. Given the rather small footprint of the new building and limited space in the existing temple, fitting all the program into the new structure was a daunting task. Exhibition spaces are located on the first floor, with a direct link to surrounding streets. The lower floor houses permanent and temporary exhibition spaces, a multipurpose room, a library and a bistro. The permanent exhibition space is expansive, encouraging the blending of this immersive exhibition promenade with a variety of other programmatic uses on the same floor. Generally, the whole building engenders a holistic exhibition experience on a large scale. Offices and workspaces occupy the top floor, which will also host a writer in residence. Stacking the more public functions inside the old temple and shifting the creative spaces to the new addition permitted a clear distinction between the

artistic endeavours of visiting writers, and the exhibition and preservation of historic cultural work as a social catalyst for Quebec City. The outer shell of the façade is made of glass panels applied over a layer of perforated brass sheets, forming a double skin and allowing the building envelope to shine like a gold box sheathed by a protective glass layer. The project also includes the masonry restoration of the original temple stones, adding an extra level of complexity. Additional skilled technical expertise is required to achieve the seamless junction between old and new, and to implement a system of bridges that link the two entities together.

SECOND fLOOR 1 reSidence exhibition rooM MultipurpoSe rooM perManent exhibition circulation Screening rooM collectionS

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EG: The designers were quite imaginative and rather courageous to deviate from the competition brief (which was limited to renovating the existing church), proposing instead a transformative addition. This pavilion bears the responsibility of being an exquisite object; it hinges on the physical expression and the built reality of the thing to make it magical and poetic.

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MG: The images suggest that this could be a really lovely project that balances the glass box beside the historic structure. Again, it’s contingent on the quality of the material and detail. TS: This project represents a sophisticated and contemporary renovation and addition to an existing heritage property. The notion of a luminous reflective jewel box beside a historic church seems an appropriate response to the existing condition. A quiet, elegant and beautiful project. | ARCHITECT TEAM Stephan cheValier, Sergio MoraleS, alexandre MaSSé, Julie rondeau, SiMon barrette, chriStine giguère | STRUCTURAL eMS | MECHANICAL/ ELECTRICAL deSSau | INTERIORS cheValier MoraleS architecteS | CONTRACTOR l’intendant | SCENOGRAPHY luc plaMondon and trizart | ACOUSTIC octaVe area 1,919 M2 | BUDGET $11.8 M | COMPLETION Spring 2015 CLIENT Ville de Québec

SECTION

10M

canadian architect 12/14

award of merit

Edmonton VallEy Zoo CHIldREn’S PRECInCt

the marc Boutin architectural Collaborative inc. with the Portico Group edmonton, alberta

aRCHItECtS loCatIon

The Edmonton Valley Zoo is in the midst of a massive capital improvement effort aimed at establishing it as a leader in the realms of conservation, environmental stewardship and education. The renewal of the Zoo’s children’s precinct presented the opportunity to help realize these aspirations through the reconceptualization of the spatial and experiential elements that make up the precinct’s many habitat, exhibit, holding and visitor amenity spaces. Whereas zoo design has historically opted for a distinct division between human visitors and animal inhabitants, more recent approaches have foregrounded the importance of immersion as a means of enriching the educational value of exhibits, while simultaneously improving the living conditions of the resident animals. Immersive landscapes are those in which animals and humans alike are enveloped by a common habitat. This approach serves to erase the boundaries and hierarchical divisions between animals and visitors found at conventional zoos. By engaging animals on their own terms

SItE SECtIon

and in their own habitats, visitors are better able to understand the high degree of interconnectivity between themselves, the animals they are viewing, and the world around them. Children and adults perceive and engage the world in very different ways. At an elemental level, children operate at a very different scale than their adult counterparts. Unlike adults, children also tend to learn about the world and their place in it with a high degree of physicality: through play. Using immersive landscapes and a “child’s-eye view” as points of departure, the project pursues four primary gestures of spatial engagement as a means of defining a new conceptual framework for the Zoo: Under, Between, On and Above. These abstract experiential types speak to a wide range of possible means of bodily relation to a given landscape and simultaneously sponsor play as a primary mechanism for engaging that landscape. These engagement archetypes are propagated architecturally through

OPPOSITE Models demonstrate the concept of infrastructure to encounter animals under, between, on and above ground. ABOVE Within the tree canopy, platforms and walkways allow visitors to view primates.

the creation of type-forms that begin to order the site physically and experientially. Animals within the Zoo’s collection are categorized through affinities with the aforementioned formal types, creating a scenario wherein a single species can be engaged through a series of experiential fields, rather than from a single vantage point. This approach helps to facilitate a comprehensive understanding of both the “part” (animal) and the “whole” (habitat). Unlike conventional means of curating animal collections, this approach emphasizes the connections between humans and animals as bodies in space, rather than grouping species according to their geographic origins, thus fostering an interspecies connection that is rooted in empathy built through shared experience.

SITE PLAN 1 rEd fox, giBBon + tamarin ViEwing/day room 2 trEE CanoPy ZonE 3 lEmur holding (Existing) 4 urBan farm ZonE 5 Barn 6 Café 7 yard 8 riParian ZonE 9 undEr ZonE 10 EduCation lodgE (Existing)

3 4 5 6

EG: An imaginatively choreographed project full of invention and surprise. We were concerned about the materiality and the actual physical resolution, but were ultimately seduced by the project’s promise. MG: The sectional diagram, the models and the clarity of the story of where animals live—below, on and above ground—is just a beautiful diagram of what the project can be, incredibly suggestive of its potential. TS: An interesting and playful response to a zoo program. If the approach taken in the conceptual models is followed through at each different component level, this could be a very strong project.

10M

CLIENT City of Edmonton/Edmonton VallEy Zoo | ARCHITECT TEAM mBaC—marC Boutin, riChard CottEr, tony lEong, JErry haCkEr, mikE dEBoEr, kristin st.arnault, sEan knight, Jodi JamEs, natE dEkEns, kurtis nishiyama, katiE PEarCE, lindsay horan, holly simon, roB gairns, andrEw dEJnEka. PortiCo grouP—dEnnis mEyEr, Jim mCdonough, BronwEn CarPEntEr, Paul sorEnsEn, laura BassEtt. | STRUCTURAL rEad JonEs ChristoffErsEn ltd. | MECHANICAL/ELECTRICAL williams EnginEEring | CIVIL Cima + | LANDSCAPE thE PortiCo grouP and Pfs studio | COST aCumEn Cost Consulting | CODE sPitula and assoCiatEs | AREA 30,000 ft2 (Buildings); 2.0 hECtarEs (sitE) | BUDGET withhEld | COMPLETION 2018

canadian architect 12/14

award of merit

Pierrefonds Public library Chevalier morales architectes + dma architectes in consortium montreal, Quebec

arcHiTecTs locaTion

Where a library was once a silent reservoir of books, it has now morphed into a communal hub, a public space that engenders exchange. With rapid developments in technology, the institution of the library has evolved to a point where it has become a place where ideas mingle, collide and veer off in new directions; a place where content is created almost instantly by users through various interfaces. The building is a direct response to these concerns. Its shape has been designed to combine programmatic areas that extend beyond the typical spaces to include two interior gardens, rest and amusement areas. With its generous glazing, the building offers a unique perspective on the Boisé du Millénaire, blurring the boundaries between interior and exterior, thus providing the citizens of the Montreal borough of Pierrefonds with access to the green spaces they love. The project’s scheme is directly inspired by the shopping mall, with wings merging into a central meeting place, a criss-crossing network of stairways that encourages circulatory engagement with the space, multiple skylights, and openings in the floor to facilitate visual connection. The building’s perimeter, previously defined by parking lots and opaque walls, is now replaced by green spaces and transparency. The building manifests its urban presence on Boulevard Pierrefonds, and reveals and highlights the existing greenery on the site. Ultimately, the project can be seen as the combination of a shopping mall and an idyllic park, each inspired by the organization and spatial structures of the other. This winning competition proposal is flexible in nature, and is based

Two views of the library show maximum engagement with the landscape; the interior is awash in natural daylight from skylighting. ABOVE The model emphasizes the building’s transparency.

OPPOSITE, TOP TO BOTTOM

on certain principles and spatial development strategies that address the site’s urban challenges. An integrated design process was employed to incorporate sustainable development principles adapted to this particular project. Control of indoor environmental quality is crucial; consequently, quality of view and provision of natural light, thermal comfort, control of glare, and low-emitting materials are all important aspects that were considered. Technical challenges with respect to glazing details permeate the project, as the building features a curved curtain-wall system. Each custom-made glass panel—some screen-printed and engraved—will accommodate the sinuous shape of the building plan. The project also features several small skylights, providing ample daylighting to the reading spaces below. Also, because most of the upper floor slab is cantilevered over the entire perimeter of the building, the team faces a structural challenge in conveying the impression of structural lightness through components that appear as thin and weightless as possible. And finally, junctions between the new building envelope and the existing façade pose additional technical challenges. EG: A strong intervention is required in terms of the landscaped surroundings to allow this beautiful object to interact with the context. The drawings are full of this intention, which bodes promisingly for the activation of this discreet transparent object.

UPPER FLOOR

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CLIENT City of Montreal | ARCHITECT TEAM Stephan Chevalier, Sergio MoraleS, françoiS leMoine, SiMon Barrette, alexandre MaSSé, geneviève riopel, Julie rondeau, Colin J. hanley, ChriStine giguère, Catherine St-MarSeille | STRUCTURAL SdK et aSSoCiéS | MECHANICAL/ELECTRICAL Bouthillette parizeau | LANDSCAPE verSion paySageS | INTERIORS Chevalier MoraleS arChiteCteS + dMa arChiteCteS in ConSortiuM | AREA 4,550 M2 | BUDGET $13.85 M | COMPLETION Spring 2016

14 1 Main entranCe youth zone young Children training gardenS Creative zone SoCial zone agora periodiCalS adMiniStration Storage terraCe adult ColleCtion gaMeS teen ColleCtion puBliC plaza

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

10M

GROUND FLOOR

MG: At a humanist level, it’s a nice project that suits its site, the landscape and the user. TS: I appreciate the undulating perimeter condition of this structure. It has an organic sensibility that relates to its surroundings in a compelling way. The use of two undulating forms sitting one on top of the other, with subtle rotation, creates a dynamic three-dimensional interplay between interior and exterior environments.

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canadian architect 12/14

CANADIAN ARCHITECT 12/14

AWARD OF MERIT

DALHOUSIE UNIVERSITY FITNESS CENTRE MacLennan Jaunkalns Miller Architects (Design Architect) and Fowler Bauld & Mitchell (Architect and Prime Consultant) Halifax, Nova Scotia

ARCHITECTS LOCATION

12 SECOND FLOOR

SOUTH STREET

SITE PLAN AND GROUND FLOOR

Dalhousie University is reimagining its campus wellness program. The University’s goals include a new master plan geared towards state-of-the art facilities, open to all students, and an inclusive, versatile and transparent fitness precinct. Through student financing, the Dalhousie University Fitness Centre is the first step towards this goal. The Fitness Centre is conceived as an inviting linear pavilion that creates a public link between the existing Dalplex Field House, the adjacent campus, and the broader community. The project will be accessible at all points and at all levels. Sustainability is a key priority for the University and for the design team; the project is targeting LEED Gold. On the upper floor of the two-level 61,670-square-foot building, fitness programs and multipurpose studios dominate, while primary circulation, entrance, administrative support, showers, change rooms and service spaces can be found on the lower level. The public space connects to the existing Dalplex at its main entry point, clarifying and expanding public access to the entire fitness and wellness campus. The site slopes dramatically from east to west, and from north to south. Dalplex, the University’s principal athletic facility, occupies the 1 STAIRS FROM SOUTH STREET TIERED SEATING ACTIVE COURT SPACE ENTRY PLAZA EXISTING DALPLEX ENTRANCE EXISTING DALPLEX FIELD HOUSE LOUNGE FEMALE CHANGE ROOM MALE CHANGE ROOM UNIVERSAL CHANGE ROOM HIGH-PERFORMANCE GYM MULTIPURPOSE ROOM CARDIO AREA RESISTANCE TRAINING FREE WEIGHTS

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25M

OPPOSITE The strongly linear fitness centre connects to an existing fieldhouse. ABOVE A generous entry plaza includes covered space for outdoor sports and gatherings, flanked by stair-like bleachers. RIGHT Slots in the floorplate channel light to circulation and activity areas on the first level.

southeast corner of the site. The Fitness Centre mediates the grade change between South Street and the level of the existing fieldhouse. The sidewalk area on South Street is widened, incorporating low retaining walls, informal seating, and a generous landscaped topography to ameliorate the slope between the new building and the street. A landscape of native species serves as stormwater retention and provides a lush foreground for the facility. A luminous open volume, the upper pavilion level is nonetheless respectful of the modest scale of the adjacent residential neighbourhood. The pavilion bridges across an entrance court, its span creating 7,500 square feet of sheltered exterior space. This active entrance plaza provides the campus with much-needed exterior covered assembly space for student gatherings, outdoor events and games. This space is formed by sculpted concrete retaining walls, providing informal spectator seating, bike parking and storage for active programming. The plaza opens onto a landscaped forecourt located between the new facility and the existing fieldhouse. The lower level, situated in a substantial excavation of native bedrock, negotiates between its position as subterranean space at the north and an open transparent connection to the existing Dalplex to the south. Its walls are board-formed concrete, rising from the excavation to meet the luminous upper level. The principal street elevation of the facility presents a long, low façade that varies in height above the sidewalk elevation, in keeping with the residential scale of the street. Laminated Douglas fir columns, set against a finer-grained backdrop of a wood-slat ceiling system, form the profile and rhythm of the elevation. The interplay between structure and finish is visible through floor-to-parapet glazing. A hybrid of structure and envelope, the perimeter wood columns support the roof structure, the glazing system and a bladed solar-shading system on the north and south elevations. The overall effect is of a ribbed wood vessel that both reveals and screens interior activity. EG: The relationship between the sloping street and the horizontal bar opens up an interesting possibility to expand the public realm beneath the building at its extremity and link it with the playing fields.

MG: I really admire the façade and the highly repetitive, very clear diagram of the building; it will be really lovely to be inside. Given its simplicity and enormous scale, this building will need to be extremely refined in its technical resolution. TS: There is a monumentality achieved by the simplicity of this form, set within a strong linear bar scheme. As the architect further develops a concept that is this simple, the project’s success will be reliant upon a fine resolution of each and every detail.

CLIENT Dalhousie university | ARCHITECT TEAM MJMa—DaviD Miller, viktors Jaunkalns, anDrew Filarksi, robert allen, teD watson, Marc Downing, cathy McMahon, Jay Martin, Farhan Durrani, tiMothy belanger, Darlene MontgoMery, tarisha Dolyniuk, Jason wah. FbM—george cotaras, wayne Duncan. | STRUCTURAL/MECHANICAL/ELECTRICAL/CIVIL cbcl liMiteD | LANDSCAPE Maclennan Jaunkalns Miller architects anD cbcl liMiteD | INTERIORS Maclennan Jaunkalns Miller architects anD Fowler baulD & Mitchell | SUSTAINABILITY/LEED solterre Design | ACOUSTICS swallow acoustic consultants ltD. | CODE rJ bartlett engineering ltD. | NEEDS ASSESSMENT AND FUNCTIONAL PLANNING eDucational consulting services (ecs) | BUSINESS AND OPERATIONAL PLANNING JF group | AREA 61,500 Ft 2 | BUDGET withhelD | COMPLETION Fall 2016

canadian architect 12/14

StUdEnt award of ExcEllEncE

SiTE plan

MonT SainT-HilairE Quarry STuDEnT

Evelyne St-Jacques, Université de Montréal

The Poudrette quarry in Mont Saint-Hilaire has been in operation for more than 40 years, extracting minerals used in the manufacture of concrete. The mountain has been carved away, giving way to a 100-metrehigh cliff. Its straight cut exposes the rocky composition of the mountains, providing stark visual contrast between the industrial nature of the mining site and the wooded, vegetated state of the rest of the mountain. The rocky landscape conveys the crude roughess and solid mass of the mountain, while vegetation thrives in an everchanging seasonal dynamic. This landscape, scarred by the Quebec mining industry, presents a distinct architectural challenge through its sheer monumentality and arid nature. But, at the same time, it is a very inspiring place. The constraints and appearance of the site demand a sensitive and poetic exploration that engages reflection on the paradoxical beauty of the industrial landscape. The aim is to instill a certain human presence to the site, acknowledging traces of its industrial past. The quarry in Mont Saint-Hilaire is an ideal site for the construction of a centre for rehabilitation, respite and relaxation. A therapy centre comprised of fragmented human-scaled buildings forms part of an architectural journey, amplifying its relationship with the landscape. The therapeutic frame avoids isolation and exclusion by offering a place

of rest and rejuvenation on a site that is open, mixed and multifunctional. The proposed central pavilion is a visitor information centre focused on the history of the quarry, while the surrounding pavilions are intended as places of respite for visitors. The materiality of the structures will emphasize tactility, stimulating the senses and encouraging an awareness and perception of the surrounding environment. Ultimately, the project’s goal is the rehabilitation of a site ravaged by industry to promote sustainable development through the poetic vehicle of architecture. EG: A sensitive proposal that sits firmly on the ground of this desolate landscape in a timeless way. MG: One of the most seductive of all the projects we saw. It has a Canadian spirit about it that’s just lovely. It would be amazing to see something like this built. TS: The representation of this student project is very strong. It articulates conceptual clarity and an understanding of how this idea could be resolved as a real piece of architecture.

composed of a string of buildings, a proposed rehabilitation and retreat centre slices through the harsh landscape of a decommissioned quarry site. BEloW Indoor pools provide therapeutic spa opportunities. Swimming is also possible in two basins left by the mining operations.

Top

SaBlE iSlanD naTional park STuDEnT

Matthew Griffin-allwood, dalhousie University

Sable Island’s remote position, unique ecosystem and intricate balance make it an engaging, dynamic landscape that has captivated human attention for centuries. It is located on the edge of the continental shelf, between the Gulf Stream and Labrador Current, 175 kilometres from the nearest point of land in Nova Scotia. Its delicate ecosystem, formed on the emergent tip of a sand bar, is characterized by hundreds of plant, bird and marine species and is most famous for its iconic wild horses. The dilapidated existing infrastructure on Sable Island is comprised of building typologies conventional to mainland Nova Scotia. They are illadapted to the island’s shifting sand and they quickly become buried or undermined, requiring constant maintenance as frequent high winds tear cladding materials away. Generators continually burn fossil fuels. Careful analyses of climate, geology, topography, hydrology, vegetation, wildlife and existing human infrastructure provided a base understanding of how Sable Island’s ecosystem functions, and informed the selection of four different sites for infrastructure development in the changing dunescape. All of the interventions employ robust connections and materials, like structural aluminum façades and simple technologies that reduce reliance on fossil fuels and maintenance requirements. Inspired and informed by their place, the architectural interventions

of east light and west light shelters, visitor/research centre, and main station are interpretations of their habitats. Their formal expression, spatial sequences and necessary adaptations are derived from the natural processes around them; they become part of their dynamic ecosystem. Ultimately, the proposed National Park infrastructure remodels human interaction with Sable Island by replacing and remediating existing settlements, and the systems, spaces and experiences serve to deepen understanding of human interdependence with the environment. EG: This project illustrates a renewed interest in the relationship between architecture and landscape, and reinforces our capacity as architects to respond to any given landscape. MG: A fantastic, playful and intriguing project; the forms and images are just beautiful. TS: A series of pure pavilion-like volumes sit elegantly within the landscape. Another very well-represented scheme that illustrates a clear and appropriate understanding of how architecture can be built and how it should respond to its environment.

a research centre is shaped to reduce wind load; a main station is raised for protection from sand accumulation. BEloW, lEfT To riGHT Small shelters can be moved to avoid erosion; the structures sit on ski foundations with a flexible base to conform to the sandy terrain.

Top, lEfT To riGHT

canadian architect 12/14

StUdEnt award of ExcEllEncE

CANADIAN ARCHITECT 12/14

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Acknowledgements

LIST OF ENTRANTS Boyadjiev, ARCHITEM Wolff Shapiro Kuskowski Architectes, Atelier Ville Architecture Paysage, Catalyse Urbaine architecture et paysages, GKC Architects, Lapointe Magne/ Ædifica, Maxime Brault Architecte Structural Latéral Conseil, Saucier + Perrotte Architectes, Services intégrés lemay et associés inc., STGM Architectes, STOA Architecture, Studio MMA Atelier d’Architecture. NOVA SCOTIA RHAD Architects, TEAL Architects. NEWFOUNDLAND Woodford Sheppard Architecture. CHICAGO Skidmore, Owings & Merrill LLP. NEW YORK BIG | Bjarke Ingels Group.

ALBERTA DIALOG Alberta Architecture Engineering Interior Design Planning Inc., GEC Architecture, Manasc Isaac Architects, MODA, SPECTACLE Bureau for Architecture and Urbanism Inc., Stantec Architecture Ltd., Sturgess Architecture, SZTUK Architecture Inc., The House Company Ltd./Siebenga Interior Design Consultants Inc., The Marc Boutin Architectural Collaborative Inc. with Scatliff + Miller + Murray, Zeidler BKDI Architects.

ONTARIO architects Tillman Ruth Robinson inc., Architecture49, Atelier 3AM, Baird Sampson Neuert Architects, Bogdan Newman Caranci Inc. Architects, BORTOLOTTO, Brook McIlroy, Bruce Studio Architects, Cannon Design, Daniel Karpinski Architect, David J. Agro Architect, DIALOG, Diamond Schmitt Architects, Dubbeldam Architecture + Design, George Friedman Architect, Giannone Petricone Associates Inc. Architects, HDR Architecture Associates Inc., Ian MacDonald Architect Inc., IBI Group, Kasian Architecture Ontario Incorporated, Ken Fukushima Architecture, Kleinfeldt Mychajlowycz Architects Inc., KPMB Architects, Luc Bouliane Architect Inc., MJ Architecture, Montgomery Sisam Architects Inc., Moriyama & Teshima Architects, Moriyama & Teshima with Montgomery Sisam Architects Inc., National Capital Commission, NORR Limited, Page + Steele/IBI Group Architects, Paradigm Architecture + Design, Partisan Projects, Paul Raff Studio Architects Inc., Perkins+Will, regionalArchitects, Richard Librach Architect Inc., R.V. Anderson Associates Limited, Services intégrés lemay et associés inc., Teeple Architects Inc. and Architecture | Arndt Tkalcic Bengert, Teeple Architects Inc., | Proscenium Architecture + Interiors Inc., Weiss Architecture and Urbanism Ltd., ZAS Architects, Zeidler Partnership Architects.

MANITOBA Alan Coppinger Architect, Verne Reimer Architecture Incorporated.

QUEBEC ACDF Architecture, AKA (Andrew King Architecture) in partnership with Nicolay

2014 AWARDS OF EXCELLENCE In addition to this year’s winners, the editors thank the following individuals and firms for participating in the 2014 Canadian Architect Awards of Excellence.

BRITISH COLUMBIA Arno Matis Architecture, B+H Architects, Campos Leckie Studio, CEI Architecture, David Nairne + Associates Ltd., DIALOG and B+H Architects, Lubor Trubka Associates Architects, Matthew Soules Architecture Inc., Measured Architecture Inc., Miller Hull Partnership/space2place design/Local Practice Architecture/Michel Labrie Architect, Patkau Architects, PUBLIC: Architecture + Communication, RATIO Architecture Interior Design + Planning Inc., Robert Ciccozzi Architecture Inc., Urban Arts Architecture.

STUDENT AWARDS OF EXCELLENCE In addition to this year’s winners, the following architecture students were chosen by their schools to enter their thesis projects in the 2014 Student Awards of Excellence program: Yoanna Anastassova (Université de Montréal), Shawn Bailey (University of Manitoba), Anthony Bouchard (Université Laval), Kasey Camiré (Carleton University), Tings Chak (University of Toronto), Émélie DesrochersTurgeon (McGill University), Émilie GagnéLoranger (Université Laval), Michelle Jana Greyling (University of Waterloo), Lee Halwa (University of Manitoba), Sean Kimak (University of Calgary), Meaghan Julie Dawn Kusyk (University of Manitoba), Rheal Labelle (Carleton University), Carl LatulippeHébert (Université Laval), Kyrylo Lobach (Ryerson University), Reza Moghaddamnik (Dalhousie University), Brian Muthaliff (McGill University), Stephanie Neufeld (University of Waterloo), Nicki Reckziegel (McGill University), Dorian Resener (Ryerson University), Virginia Fernandez Rincon (University of Waterloo), Duncan Sabiston (University of Toronto), Emily Sims (University of British Columbia), Joanne Smith (Ryerson University), Jose Trinidad (University of Calgary), Sonja Vangjeli (University of Waterloo), Dazhong Yi (University of Manitoba), Michael Zabinski (Dalhousie University).

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