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12 Val notre-dame aBBey QueBec architect Pierre thiBauLt eMPLoyS hiS tradeMark artiStic SuBtLety in the deSign of a new aBBey in St-Jean-de-Matha. two articLeS offer architecturaL and hiStoricaL PerSPectiveS on the reSuLting coMPLex of BuiLdingS deSigned for the ciStercian MonaStic coMMunity. teXt ricardo L. caStro and JaSon ZuideMa
20 cBc/radio-canada VancouVer redeVelopment hotSon Bakker Boniface haden architectS refreSh the cBc headQuarterS in downtown vancouver, refLecting the inStitution’S eMPhaSiS on the oPen and tranSParent ProceSS of BroadcaSt JournaLiSM. teXt adeLe weder
Steve Li/Provoke StudioS
BoB MatheSon
aLain LaforeSt
contents
9
news
eorge Baird announced as recipient of G the 2010 RAIC Gold Medal; Zeidler Partnership Architects in association with Snøhetta to design Ryerson’s Student Learning Centre.
29 report
33 technical
andrew doran
A number of temporary pavilion structures designed for the Vancouver Winter Olympics are critiqued by Tony Grant.
Gabriel Fain discusses computational innovations and new design methodologies unveiled at the Autodesk University Conference in Las Vegas.
37 Books
Two recent additions to the Canadian Guidebook to Contemporary Architecture series are reviewed by Leslie Jen and Ian Chodikoff.
40 calendar
Take Note exhibition at the CCA in Montreal; Marion Weiss of New York’s Weiss/ Manfredi lectures in Ottawa.
42 Backpage
Ian Chodikoff describes an architect’s initiative to improve Winnipeggers’ appreciation of their winter landscape.
March 2010, v.55 n.03
vaL notre-daMe aBBey in St-Jean-deMatha By Pierre thiBauLt architecte. Photo By aLain LaforeSt.
coVer
The NaTioNal Review of DesigN aND PRacTice/ The JouRNal of RecoRD of The Raic
03/10 canadian architect
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PwL PartnershIP LandsCaPe arChIteCts
viewpoint
editor Ian ChodIkoff, OAA, MRAIC associate editor LesLIe Jen, MRAIC editorial advisors John MCMInn, AADIpl. MarCo PoLo, OAA, MRAIC 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
as a reCIPIent of a CsLa award thIs year, the Green roof on toP of the vanCouver ConventIon Centre west Is an IMPortant exaMPLe of LandsCaPe arChIteCture’s roLe In defInInG our CItIes throuGh soPhIstICated systeMs-based desIGn. above
In mid-February, I had the honour of serving as one of the jury members for the 2010 Canadian Society of Landscape Architects (CSLA) Awards of Excellence. Entries addressed a wide variety of issues such as the preservation of cultural landscapes, procedures designed to improve the vitality of community gardens, and large-scale waterfront interventions. The judging criteria for this awards program involve a broad system of categories including leadership, breadth of work, innovation in design and implementation, client involvement, social awareness and relevancy within the public realm. These criteria are often marginalized in more traditional architectural awards programs that tend to favour formal design above all else. I was particularly inspired by the impressively diverse skill set of the landscape architect, evidenced by the amount of substantive research, documentation, and the complex collaborations with a diverse range of consultants and specialists. The comparative competitive strengths and weaknesses of both landscape architects and architects also became apparent. While landscape architects are resolutely focused on thoughtful collaboration and research, architects are generally more adept at promoting the “big idea” or vision behind their work. At their best, architects deliver projects that synthesize an eclectic range of investigations encompassing technical, social, economic and aesthetic considerations. At their worst, they promote shameless rhetoric with aggressive marketing tactics. Many of the projects reviewed contained details not immediately discernible upon first impression. Because the methodology behind a landscape architecture project is typically systemsand broad-based with respect to its impact on the built environment, the “one-line” design solution is relatively rare as compared to the design approach of some architects. Since it is a difficult 6 canadian architect 03/10
challenge to make storm-water management look sexy, it is only through the careful study of sophisticated solutions like the implementation of underground cisterns, the replacement of invasive plant species, and the reconstruction of riverbeds that one can fully appreciate the merits of award-winning landscape architecture. The contrasting design methodologies of architects and landscape architects can be seen in Vancouver, a city that carefully respects its waterfront and views of the mountains beyond. While local (and vocal) architecture pundits speak of Vancouver’s identity in terms of point towers and podiums, it is difficult to reduce the city to a handful of icons and building types. Here, as elsewhere, a landscape architect typically reads the city in a completely different way than most architects. Despite the abundant self-congratulatory discussions pertaining to the evolution of Vancouver over the past 20-plus years, more attention needs to be paid to the recent achievements of the landscape architects’ role in improving the ecological systems that contribute to the definition of Vancouver’s character: the reforestation of Stanley Park, the remediation of Coal Harbour, the management of the False Creek basin, and even efforts to bring salmon and herring back to the waters encircling the city. Two award-winning projects— the Southeast False Creek Olympic Plaza and the green roof on top of the Vancouver Convention Centre West—are prime examples of landscape architects strengthening Vancouver’s urban ecology through water-resource management, technical innovation, and even the integration of public art. The architectural community owes much to the discourse and profession of landscape architecture in Canada. We should work to help support their visions as they continue to improve the effectiveness of our own. Ian ChodIkoff
ichodikoff@canadianarchitect.coM
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 bIG Magazines LP, a div. of Glacier bIG holdings Company Ltd., a leading Canadian information company with interests in daily and community newspapers and business-tobusiness 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). Price per single copy: $6.95. students (prepaid with student Id, includes taxes): $32.50 for one year. usa: $101.95 us for one year. all other foreign: $120.00 us per year. us office of publication: 2424 niagara falls blvd, niagara falls, ny 143045709. Periodicals Postage Paid at niagara falls, ny. usPs #009-192. us postmaster: send address changes to Canadian architect, Po box 1118, niagara falls, ny 14304. return undeliverable Canadian addresses to: Circulation dept., Canadian architect, 12 Concorde Place, suite 800, toronto, on Canada M3C 4J2. Postmaster: please forward forms 29b and 67b to 12 Concorde Place, suite 800, toronto, on Canada M3C 4J2. Printed in Canada. all rights reserved. the contents of this publication may not be reproduced either in part or in full without the consent of the copyright owner. from time to time we make our subscription list available to select companies and organizations whose product or service may interest you. If you do not wish your contact information to be made available, please contact us via one of the following methods: telephone 1-800-668-2374 facsimile 416-442-2191 e-mail privacyofficer@businessinformationgroup.ca mail Privacy officer, business Information Group, 12 Concorde Place, suite 800, toronto, on Canada M3C 4J2 member of the canadian business press member of the audit bureau of circulations publications mail agreement #40069240 issn 0008-2872
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news
PrOjects Montreal team to design new saint-Laurent library and museum.
The winner of a Quebec-wide architectural competition for a new cultural facility in the Montreal borough of Saint-Laurent was recently announced—a team composed of Cardinal Hardy/ Labonté Marcil/Éric Pelletier Architectes en consortium/SDK et associés inc./Leroux Beaudoin Hurens et associés inc. A true cultural gathering place, the new building will include a library, an exhibition space, and the Musée des maîtres et artisans du Québec’s collection conservation centre. The building will consolidate the role of the Boulevard Thimens civic axis and also help enhance the value of the Parc Marcel-Laurin woodland by providing it with a new point of entry. The winning team stated: “The new SaintLaurent library is a place where users will feel a sense of ownership—of knowledge, of culture, of the site itself—as well as discovery. This isn’t a project about architecture alone: it’s also about landscape.” Located between Boulevard Thimens and Parc Marcel-Laurin, the new library integrates into the site by drawing on the major elements of the park. The jury and technical committee studied three other proposals submitted by the following teams: ACDF* architecture/SNC Lavalin/CLA ingénieurs; Chevalier Morales Architectes/Les Architectes FABG/TecsultAECOM inc.; and Provencher Roy + associés/ Anne Carrier Architectes en consortium/Les consultants S.M. inc./Bouthillette Parizeau et associés inc. Drawings of the winning project as well as those of the three other finalists can be viewed on the website dedicated to the new library. According to the established schedule, the winning firm will develop the plans and specifications for the new building throughout 2010. Construction will begin in 2011 and continue
A province-wide design competition for A new culturAl centre in sAint-lAurent yielded this bold proposAl. designed by A joint venture of five Architecture firms, this new municipAl librAry, exhibition And museum fAcility will tAke full AdvAntAge of the surrounding lAndscApe And urbAn feAtures of this montreAl borough.
aBOVe
into 2012. The building is slated to open at the end of 2012. The project is receiving financial support from the Ministère de la Culture, des Communications et de la Condition féminine and the Ville de Montréal under the Entente sur le développement culturel de Montréal 2008-2011. http://bibliotheque.saintlaurent.ville.montreal.qc. ca/home.html
above grade level. It will be linked to Ryerson’s existing Library building, and discussions are underway with the TTC to link the new facility to Dundas Station through an on-site subway entrance. The SLC was made possible by $45 million in funding from the Government of Ontario and is expected to be completed in 2013.
awards
Zeidler Partnership architects in association with snøhetta to design ryerson’s student Learning centre.
George Baird announced as recipient of the 2010 raic Gold Medal.
Zeidler Partnership Architects of Toronto in association with Snøhetta of Oslo, Norway and New York City have been selected as the co-architects for Ryerson’s new Student Learning Centre (SLC). The facility will provide Ryerson students with an outstanding environment in which to study and collaborate, and to spark interaction and discovery. It will be a true 21st-century library: welcoming, accessible, comfortable, digitally connected and ready to adapt to new technologies, developments and services. The state-of-the-art Student Learning Centre will provide the latest technology and will be designed to accommodate different learning styles and teaching practices. Featuring bright, open, technologically rich, barrier-free spaces for individual and collaborative study, a variety of learning environments, digital support and academic services, the SLC will promote student learning success and help foster a culture of collaboration and creativity. The Ryerson community—including students—has been and will continue to be involved in defining how best to use the space. The SLC will be approximately 160,000 square feet and is estimated at 10 floors
The Royal Architectural Institute of Canada (RAIC) has named George Baird, FRAIC, as the recipient of the 2010 RAIC Gold Medal. Baird is the former Dean of the Faculty of Architecture, Landscape and Design and Professor of Architecture at the University of Toronto, and partner in the Toronto-based architecture and urban design firm Baird Sampson Neuert Architects (BSN). BSN is the winner of numerous design awards, including several Canadian Architect Awards of Excellence, and two Governor General’s Awards for Cloud Gardens Park (1994) and Erindale Hall on the University of Toronto’s Mississauga campus (2006). Baird is a member of the Royal Canadian Academy of Arts, and is a recipient of the Toronto Arts Foundation’s Architecture and Design Award (1992) and the da Vinci Medal of the Ontario Association of Architects (2000). Prior to becoming Dean at the University of Toronto in 2004, Baird was the G. Ware Travelstead Professor of Architecture at the Graduate School of Design, Harvard University. He has published and lectured widely throughout most parts of the world. He is co-editor (with Charles Jencks) of 03/10 canadian architect
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Meaning in Architecture (1969), and (with Mark Lewis) of Queues Rendezvous Riots: Questioning the Public in Art and Architecture (1995). He is also the author of Alvar Aalto (1969) as well as The Space of Appearance (1995). Most recently, his research into architectural theory has focused on the question of the political and social status of urban public space, and on debates revolving around the subject of “critical architecture.� In this regard, his essay “Criticality and Its Discontents� was published in the Harvard Design Magazine in Fall 2004, and his subsequent text, “The Criticality Debate: Some Further Thoughts� appeared in the September 2006 issue of T/A Magazine. The jury commented on their selection of Baird as this year’s Gold Medal recipient: “His scholarship as the author of the critically acclaimed The Space of Appearance, in which he argued for a politically engaged architecture deeply aligned to the public sphere. For decades he has provided significant mentorship for Canada’s most acclaimed architects and thinkers. As a theoretician, competition advisor and master planner, Baird’s work has been critical to the deepening complexity of the Canadian city.� http://raic.org/honours_and_awards/honours_gold_ medal/medalist_e.htm
cOMPetitiOns canada’s Kelly doran part of winning eUrOPan 10 team.
Langdon Reis Architects (LRA) with Kelly Doran and Louis Hall have won EUROPAN 10 with a scheme for Vardø, Norway. The theme of the competition was “Inventing Urbanity: Regeneration, Revitalization, Colonisationâ€? and entrants were asked to produce a plan for sustainable development. Repositioning the Remote by the LRA team offers to rethink Vardø’s harbour in order to inform the future of the Barents Sea. In the short term, a set of cultural buildings and spaces inserted into the harbourfront serve to regenerate the civic life of the area and attract new users to the community. With the next phase of Norwegian energy production set to exploit reserves proximate to Vardø, the harbour will act to service the industry while protecting the fragile ecology of the region. This year, 2,429 teams entered the competition, from some 50 different countries. Winnipeg-born Kelly Doran is a graduate of the University of Toronto and last year won the Canada Council for the Arts’ Prix de Rome in Architecture for Emerging Practitioners. Langdon Reis Architects is a collaborative
architecture, design and research studio based in London. www.europan-europe.com Five finalists for st. Lawrence Market north building in toronto.
The redevelopment of the St. Lawrence Market North property in the heart of downtown Toronto is to replace the existing one-storey North Market building with a new four-storey, multipurpose facility that is more environmentally sustainable, energy-efficient and mindful of the character and heritage of the neighbourhood. The five shortlisted design teams that have been selected from a field of 30 to compete in Stage 2 of the competition are: Adamson Associates Architects and Rogers Stirk Harbour + Partners; Cohos Evamy + Hotson Bakker Boniface Haden Architects; Kuwabara Payne McKenna Blumberg Architects; NORR Limited, Architects Engineers Planners; and Taylor Hazell Architects and Montgomery Sisam. The seven jury members are: Christine Couvelier, President of Culinary Concierge; Dr. Ron Dembo, Founder and CEO of Zerofootprint; William N. Greer, B.Arch., FRAIC, CAHP, Professional Heritage Consultant; Andrea P. Leers, FAIA, Principal at Leers Wein-
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zapfel Associates; David Mirvish, Toronto-based theatrical producer; Peter Ortved, B.Arch., OAA, FRAIC, Principal of CS&P Architects; and Claire Weisz, Founding Partner of WXY Architecture. The competition results will be announced to the public in June 2010, and the new building in the St. Lawrence Market complex is expected to be completed and operating in 2014. www.toronto.ca/stlawrence_market/design Museum of the second world war international architectural competition.
This competition invites designs for a new building to house the Museum of the Second World War in Gdansk, ´ Poland, which will become a new landmark in the city. The design should include an appropriate landscape design component that recognizes the importance of site and context. The total value awarded will be X200,000, with first prize claiming X80,000, and the remaining X120,000 allocated to other awards and citations. Registration must be sent by March 26, 2010, and the submission deadline is August 13, 2010. www.muzeum1939.pl/?str=12&id=49 international architectural research competition.
MAG LAB (Syria-Spain) in collaboration with Ebdaat Magazine, ALFA 301 (Spain) and Stardust* (Spain-Italy-Brazil-USA) is organizing this competition for an international architectural research centre for 200 students that promotes the exchange of knowledge and experience in carrying theoretical/virtual concepts right through to production and fabrication in a laboratory setting. Although the choice of site is open, the submissions should take into consideration historical and social context, existing urban fabric, issues of scale, and the environment. There is no restriction to the height and form of the building, and the program is also open. Deadline for registration is May 1, 2010, and the submission deadline is May 20, 2010. The first-place winner will be awarded X2,000 in addition to a one-year subscription to Ebdaat Magazine and a plane ticket to Damascus, Syria to take part in the final event of ARC. www.arcompetition.org
what’s new raic college of Fellows announces 2010 honourary Fellows.
The RAIC College of Fellows has announced that the following recently named Honourary Fellows will be recognized during the RAIC–SAA Festival of Architecture to be held from June 23-26, 2010 in Saskatoon. Manfredi Nicoletti, Hon. FRAIC and architect, is a full professor of Architectural
Composition at the Sapienza University of Rome, Vice President of the International Academy of Architecture, member of the Academy of Architecture of Russia, member of the International Academy of Architecture of Moscow, and member of the Academy of Architecture of France. Nicoletti will speak as College of Fellows Convocation Keynote Speaker on June 24, 2010. Sunand Prasad, Hon. FRAIC and architect, is a founding partner of the highly regarded architectural practice Penoyre & Prasad in London and was President of the Royal Institute of British Architects (RIBA) from 2007-2009. He led the RIBA to engage strongly with climate change across all its activities and was named as one of the most influential environmentalists in the UK. A founder commissioner of the Commission for the Built Environment (CABE) from 1999-2006, he launched its highly regarded Enabling Program. He is currently one of the London Mayor’s Design Advisors. Prasad will address delegates as Foundation Luncheon Speaker on June 25, 2010. Christian Ouellet, Hon. FIRAC and architect, sits as a Bloc Québécois Member of Parliament for Brome-Missisquoi in Quebec. A pioneer in solar bioclimatic techniques and green architecture since 1973, he has taken on the very public role of ardent promoter of healthy buildings, instituting several new energy-efficiency policies and sustainable buildings. He served as the Chair of the Solar Energy Society of Canada and co-founded Québec Solaire, and has sat as Chair of the National Committee on the Environment and Sustainable Development. stantec named among north america’s top 10 architecture firms.
Design firm Stantec has ranked in the top 10 in Building Design magazine’s annual World Architecture 100 survey. The BD World Architecture 100 list is compiled each year based on the number of registered architects at each firm. Stantec ranked within the top 10 in five categories, as number 10 in North America, and as number 22 in the global top 100 list. Over the last five years, Stantec’s architecture practice has grown significantly through acquisition. Recent additions of Murphy Hilgers in Toronto, Vollmer Associates in New York City, Chong Partners Architecture in San Francisco, and Granary Associates in Philadelphia have added a depth of resources and experience to Stantec’s architecture presence. The rankings, which study hundreds of global architecture firms, placed Stantec in the top 10 in the following global market sectors: health care, retail, infrastructure, leisure, and criminal justice. Stantec also ranked in the top 10 for earnings in facilities management, surveying, landscape architecture, planning, and urban design.
Vancouver Biennale announces jaume Plensa’s new work entitled We.
The Vancouver Biennale is warming up the wet and chilly nights of the city with We by Jaume Plensa. This work of art celebrates the linguistic diversity and multiculturalism of Vancouver by putting multiple alphabets together to create a larger-than-life sculpture in human form. Sitting proud and peaceful, the 16-foot-tall figure is made up of characters from eight alphabets— Latin, Greek, Russian Cyrillic, Hebrew, Hindi, Japanese, Arabic and Chinese. We fully exemplifies the Vancouver Biennale’s commitment to diversity, engagement, accessibility and education. The Vancouver Biennale is a non-profit organization that mounts biannual public art exhibitions, bringing sculptures, new media and performance works by celebrated and emerging international artists to Vancouver and surrounding area parks, beaches and urban plazas. www.vancouverbiennale.com toronto launches green initiatives designed to build a more sustainable city.
On January 31, 2010, the City of Toronto introduced two initiatives designed to “green” Toronto’s new building stock: the Toronto Green Standard and Green Roof Bylaw. The Toronto Green Standard is a two-tiered set of performance measures that promote sustainable development. As of January 31, 2010, all planning applications for new development are required to meet Tier 1 performance measures and targets, which address environmental issues such as air and water quality, greenhouse gas emissions, energy efficiency, solid waste and the natural environment. Developers may also choose to meet Tier 2, a voluntary higher level of environmental performance, and be eligible for a development charge refund of 20 percent. January 31 also marked the start to Toronto’s Green Roof Bylaw, the first bylaw in North America to require and govern the construction of green roofs on new developments. The bylaw applies to permit applications for residential, commercial and institutional developments, while industrial buildings have until January 31, 2011 to include provisions for a green roof in new construction. It is estimated that widespread implementation of green roofs in Toronto could save the City between $40 million and $120 million in stormwater infrastructure costs, and reduce the impacts of urban heat-island effect by lowering local ambient temperatures by up to two degrees Celsius. The Toronto Green Standard and Green Roof Bylaw are key elements of the City’s Climate Change Action Plan, an aggressive environmental framework aimed at reducing Toronto’s greenhouse gas emissions by 80 percent by 2050. www.toronto.ca/greendevelopment 03/10 canadian architect
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a Monastic Life
a Quebec architect sensitiveLy baLances the rigorous prograMMatic reQuireMents of a Monastery with the need for a whoLLy conteMpLative and spirituaL environMent. Val Notre-Dame abbey, St-JeaN-De-matha Pierre thibault architecte teXt ricarDo l. caStro photos alaiN laforeSt proJect
architects
The Quebec Oka Monastery (1881-2008) was among nearly two dozen Cistercian complexes erected in North America since the 18th century. During its peak in the 1950s, it housed a community of 179 monks. In recent times, due to the diminished size of the communityâ&#x20AC;&#x201D;currently 28 monksâ&#x20AC;&#x201D;and the less than ideal situation of a large 12 canadian architect 03/10
building complex on a site which had deteriorated environmentally, the monks opted to build smaller quarters in a more suitable context. Oka was the predecessor of the new Val Notre-Dame Abbey, located northeast of Montreal in St-Jeande-Matha. The new monastery, which subtly incorporates some of the latest technical develop-
ments, mechanical services and environmental controls, resulted from a long process that began with an architectural competition in 2004, continued with its design and subsequent building activity, and culminated with its inauguration last spring. Pierre Thibault was selected as the winning architect of this competition, in which 60 Quebec architectural firms participated. Thibault is a Quebec architect with a remarkable artistic and building trajectory. His work, unlike that of so many designers nowadays, has been characterized by an emphasis on quality rather than quantity. His personal art projects and the architectural commissions that his office has undertaken seem to have become challenges and opportunities for deep reflection on tectonics, construction, place-making, topography, and
symbolism. His recent commission for the design of the Val Notre-Dame Abbey is no exception. Rigorous spatial hierarchies, skillfully choreographed through the handling of movement, silence and light, make up part of the elusive parameters which Thibault has addressed in the design of the new monastic complex. The simple and controlled overall design of the architecture is clearly discernible upon first inspection after arriving at the outskirts of the complex via a road that traverses an abrupt topography, and which culminates in a parking lot. Unfortunately, this is the least alluring part of the project, but the lot does overlook the simple rectilinear composition of the building in the distance. An artificial clearing located on a flat wooded area above a valley was made to accommodate the
abbey. It is not too distant from the meandering Rivière l’Assomption that, several metres below, runs through the dell, becoming an ideal site on which to anchor the monastic complex to nature. Emerging from the main complex, a pavilion projects towards the road; this is the residential guest house for visitors and pilgrims. Its laminated post-and-beam structure, slate flooring, and the striking ochre of the cedar surfaces greet guests and announce the palette of exterior finishes that are evident throughout the whole complex. Moving parallel to the pavilion, one arrives at an area that constitutes the spatial hub of the project, which provides access to the church as well as to the guest quarters, reception, and behind, the cloistered dependencies. All of these spaces are aligned along an axis that runs from the west, ter-
WeariNg traDitioNal White tuNicS With ScaPularS aND hooDS, the ciSterciaN moNkS gather iN the lightfilleD refectory for a commuNal meal. above SerViNg aS aN iNtegral hub for the moNaStery, the cloiStereD garDeN iS a WelcomiNg SPace for quiet coNtemPlatioN. opposite
minating at the large and distinct volume of the church in the east. This imaginary axis tacitly indicates the orientation of the church according to traditional liturgy, which culminates even further east on an important topographical feature known as the Montagne Coupée or the Cut Mountain. The importance of the hub is also indicated by the canopy that shelters the whole space, a consequence of extending the aluminum roof of the 03/10 canadian architect
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oVerlookiNg aN exiStiNg SWamP, the Site offerS SecluSioN, alloWiNg the moNkS a much-NeeDeD Place for Prayer aND coNtemPlatioN. above, Left to right the SecoND-floor cellS offer uNobStructeD VieWS to the foreSt beyoND; the eNtraNce caNoPy DefiNeS a threSholD SPace betWeeN the ParViS aND eNcloSeD courtyarD; SimPle WooDeN PeWS iNSiDe the church SaNctuary.
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church towards the west. The church is undoubtedly the tour de force of the complex. Its austere white stucco exterior contrasts with an interior that has been beautifully articulated with cherry wood panelling and dark slate flooring. Along the axis, Thibault engages interior with exterior, framing the landscape beyond, borrowing views as it were, a recurrent motif throughout the complex. A wall of glass, which allows natural daylight to penetrate the church’s interior, continually celebrates the movement of sunlight, and has replaced the historical blind apse. If the church is the vertical focal element, the cloister around which the various dependencies such as the library, refectory, scriptorium and cells are gathered, becomes a subtle counterpoint. In Val Notre-Dame, this cloister—a traditional hortus conclusus (enclosed garden)—acquires full contemporary expression, paradoxically excluding the landscape but simultaneously bringing it into evidence. The traditional courtyard—surrounded by a peripheral gallery for ambulation and meditation—is sunken. This feature is the happy result of the landscape conditions that encouraged Thibault to site the complex at a higher level to compensate for the inconveniences of a 14 canadian architect 03/10
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high water table, and which enabled him to maintain the existing vegetation within the cloister. This new interpretation of a paradigmatic building type is undoubtedly a welcome addition to the contemporary repertoire of significant Canadian architecture. It also serves as a reminder of the importance of architectural competitions; this winning project encouragingly reflects the state of architecture in Quebec during the first decade of the 21st century. ca
takiNg hiS cue from the WooDeD Site, thibault’S tall columNS aND exteNDeD roof PlaNe are aN architectural iNterPretatioN of a treeD caNoPy. the White Stucco exterior aND ceDarclaD elemeNtS mimic the habitS WorN by the moNkS. above, Left to right amPle Natural light flooDS the hallWayS ProViDiNg acceSS to the moNkS’ cellS; a beautiful comPoSitioN of WooD columNS aND PlaNeS iN the cloiSter’S iNterior corriDor. top
Ricardo L. Castro is currently the Associate Director of the M. Arch. Professional Program at the McGill School of Architecture where he has been teaching since 1982. 03/10 canadian architect
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Monks on the Move teXt
JaSoN ZuiDema
Religious traditions are frequently judged on the basis of their commitment to the principles of love, peace, beauty, joy and justice. In the Christian tradition, these ideals can be supported through works of human creativity such as the long and rich history of architecture created by and for Christian communities. However, over time, certain structures that might have fulfilled their original intentions may no longer hold relevance. The story of the Cistercian monastic
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community, which recently moved from a century-old abbey near Oka, Quebec to a new structure near St-Jean-de-Matha, underscores the effect that a building can have on a religious community. Since the old structure could no longer convincingly inspire the monks who lived there, a new abbey, designed by Quebec City-based architect Pierre Thibault is eminently functional and modern, but also deeply respectful of its resident community. In 1881, eight Cistercian monks of the Strict Observance left the Abbey near Bellefontaine, France to begin a new foundation in Canada where the Sulpicians of Montreal had offered them a narrow strip of land—their seigneurie— near Oka. The departure from France was a flight of sorts—these Cistercians faced increasing anti-
clericalism and feared that the government of France would repress all monastic communities in the coming years. Even though this never occurred, the new community remained in Canada where it flourished. The Cistercian monks were welcomed by the Catholic faithful, as their vision for a consecrated life fit well with the ultramontane piety of late-19th-century French-Canadian culture. The monks at Oka were not the only religious community to settle in Quebec. In the last few decades of the 19th century alone, more than 10 new monastic communities settled in the province. Most were involved in either pastoral duties—such as the Canons Regular of the Immaculate Conception, the Redemptorists, the Capuchins, the Fathers of the Very Holy Sacrament—or
education, like the Brothers of Christian Instruction, the Brothers of Saint Gabriel, and the Brothers of the Sacred Heart. The Trappists, however, were one of the few monastic communities. Naming the property in Oka “La Trappe” after Soligny-la-Trappe in France, where the beginnings of reform in the order had taken place in 1662, the monks established their monastery and, soon after, the Oka Agricultural Institute was formed. Although each monk spent a great deal of time in meditation and silence, this type of monastic life also encouraged daily physical labour. Each monastery needed to produce food for its members while supporting itself financially by selling products. As anyone who has heard of the Oka monastery knows, its most
popular product is cheese. However, the creation and sale of these products was not just about money but also about preserving the active lifestyle of the monks. After all, written in the 6th century AD, the Rule of St. Benedict—the foundational document for the community—states that “Idleness is the enemy of the soul.” Although the monastery housed more than 175 monks during its peak in the 20th century, by the beginning of the 21st century, only about 30 remained. Labour-intensive activities like cheesemaking were passed on to more secular institutions nearby, and the small community that still resided within the massive original structures was increasingly surrounded by urban sprawl. The community felt lost and trapped—lost in the buildings designed to be used by a community
a SerieS of early SketcheS by Pierre thibault reflectS the magic of the Site aND coNVeyS the NeceSSity of commuNal actiVity aND quiet Prayer. opposite bottoM a ciSterciaN moNk WalkS through the cloiSter of a moNaStery that SuPPortS a ceNturieS-olD lifeStyle iN a coNtemPorary iDiom. beLow, Left to right aNgleD WooD PaNelS helP SculPt the light iNSiDe the NeW SaNctuary; light iS eVocatiVely reflecteD from the uNDerSiDe of the eNtraNce caNoPy at Night. opposite top, Left to right
more than six times its size and trapped in the frenetic, consumerist lifestyle of a secular society that was rapidly closing in. By the 1990s, the Abbot of the Oka monastery at that time, Yvon-Joseph Moreau, was faced with a difficult situation. He would either encourage the monks to support a major renovation of their original monastery, or begin the process of designing a completely new facility that would more appropriately reflect their needs. Abbot Moreau had to consider not just whether a new building made sense financially, but whether it made sense according to the spiritual vision of his order. In 2003, a decision was made: a new location would become the proper spiritual home of the community. Fortunately, the monks had the financial resources to enable them to consider a new facility that would not only serve their daily needs but stand as a highly engaging and elegant example of contemporary architecture. An hour’s drive northeast of Montreal, a new parcel of land was purchased in a quiet valley off Highway 131 near St-Jean-de-Matha. Through the assistance of Philippe Drolet’s firm PHD Architecture in Montreal, a preliminary design brief and competition was launched and eventually won by Pierre Thibault. There were many merits to Thibault’s
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design, but the most significant was the masterful attention paid to the monastery’s environment and his understanding of the special relationship between a monastery’s institutional programmatic requirements and the need for a contemplative space where religious men will spend their entire lives. Three key details were resolved in Thibault’s design and siting for the monastery: local materials, simplicity, and above all, the presence of light. It is a fact that the presence of light in Cistercian life has been significantly explored in Cistercian architectural history. Saint Bernard, the most significant theologian in this field of study, discouraged superfluous decoration in interiors, but he did encourage the presence of light. And although Bernard considered colour a distraction, light inspired the soul to deeper spiritual contemplations. Consequently, one of the most important elements in the new facility is the way in which light helps sculpt and define the new architecture. Since the monks spend much of the day in worship (seven extended prayer times spread out from early morning until early evening), it was especially important to have a well-lit chapel in the new building. Each monk’s cell also has a large window overlooking the surrounding landscape and a floor-to-ceiling glazed passageway encircling the inner courtyard, which gives the monks a sensation of being outside yearround. For those monks who had lived for a considerable time at the former monastery (more than 50 years for some), the new monastery has had a positive effect on their daily routines and on their spiritual experience. The new Abbot, André Barbeau, is clear in his intentions for the community: it will not be a priority to recruit more monks and return to bygone days. Rather, Barbeau believes that it is important to promote a rich consecrated life in a setting that is more suitable to the current number of monks at the new facility, thereby ensuring that their new building will remain vital and intimate. Thibault’s monastery is extraordinary, garnering considerable media attention. The attention to detail and the gravity with which every decision was made allows this project an intimate link between function and beauty. In a culture that increasingly assumes that religious communities like the Cistercian monks are relics from the past, this new monastery is proof that a religious community can lead into the future, in this instance by successfully commissioning vibrant and contemporary architecture that supports their religious and cultural traditions. ca Jason Zuidema is a Lecturer in Christian Spirituality at Concordia University in Montreal.
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ScreeN Narthex chaPel NaVe VeStry library ScriPtorium cloiSter chaPter houSe ScreeNeD Porch father abbé’S cell father abbé’S office cellarer’S office Prior’S office office accouNtiNg
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cLient commuNauté De l’abbaye Val Notre-Dame architect teaM Pierre thibault, JeaN-fraNçoiS mercier, aNDré limogeS, VaDim Siegel, JoSePh-marie tremblay structuraL Nicolet, chartraND, kNoll MechanicaL/eLectricaL DuPraS leDoux Landscape atelier Pierre thibault interiors atelier Pierre thibault contractor berNarD malo iNc. area 5,800 m2 budget WithhelD coMpLetion october 2009
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i See You See Me, cBc
the cBc BritiSh coluMBia headquarterS in VancouVer engageS the puBlic through tranSparent and wel coMing architectural geStureS. CBC/Radio-Canada VanCouVeR RedeVelopment, VanCouVeR, BRitish ColumBia hotson BakkeR BonifaCe haden aRChiteCts teXt adele WedeR photoS BoB matheson proJect
architect
In the heart of downtown Vancouver and adjacent to the central library and two important theatres, Hamilton Street has nonetheless long projected the forlorn solitude of a de Chirico painting, minus the sunshine. Pedestrians have been scarce on the ground; the south façade of the famously convivial coliseum-cum-library is truly the indifferent rear end. And across the street sat the longstanding CBC British Columbia broadcast centre, a rain-streaked concrete behemoth that responded to passing citizens with mutual indifference. These days, much has changed at the CBC, 20 canadian architect 03/10
thanks to a reinvention of sorts by Hotson Bakker Boniface Haden Architects. Working with project architect Kate Gerson, the interior design firm SSDG Interiors, and CBC BC senior manager Ken Golemba, Joost Bakker has transformed not only the immediate broadcast centre, but the entire neighbourhood. “The idea was to make the buildings and the CBC more of a part of the community,” says Golemba, “and to welcome the public back into our facility.” To this end, the design team reconfigured the original building into a kind of launch pad, from which the large new integrated newsroom pro-
trudes. The reconnection with the public is as literal as you can imagine. At ground level, an Lshaped corridor-atrium accessible to anyone runs through the centre and out the side of the building, allowing glimpses of the actual newsgathering going on behind the glass walls. Driving downtown at night, one can actually see news anchors Gloria Macarenko and Ian Hanomansing at work on the curtain-wall-glazed second floor. And from the sidewalk, the façade beckons stray pedestrians with coffee and information kiosks. “The whole block was conceived as having a CBC presence,” says Bakker. The designers’ mandate was to incorporate transparency, integrate the diverse and discrete news and radio operations as much as possible, and engage with the street. Consequently, HBBH developed a master plan for the entire block defined by Hamilton, Georgia, Cambie and Robson streets. A density-transfer package allowed the construction of two adjacent residential towers by architect Walter Francl with IBI/HB and Concord Pacific, and generated funds for the over-
haul and expansion of the broadcast centre itself. But despite its low-rise massing, the CBC building visually and programmatically dominates not only its own section of the block, but the entire vicinity. What is particularly remarkable is the ideological contrast of the new design approach compared to the original building. “Formidable” is one way to describe the original 1973 building, a seven-storey Brutalist structure with several storeys below grade. Today, its rain-streaked concrete walls reinforce its image as a dark and impenetrable fortress. Yet the original made sense in the context of its era. At the time, long before the era of citizen journalism, that opacity served the broadcaster well. Thompson Berwick Pratt designed what would be a “media factory”— an architectural iceberg, of which outsiders could only see the tip. The express purpose wasn’t so much to hide the media production but to insulate it for lighting and acoustic reasons. Since that time, the quality of microphones and other technical equipment has improved to the point
where the newsmaking process can become a sort of tableau vivant, a show of creative nonfiction for the general public. Technical factors aside, the public perception of the media in general—and the CBC in particular—was starkly different 35 years ago. Broadcasting by its nature was an exclusive industry, an activity associated with specialized training, glamour and mystique; who would want to let daylight in upon magic? As well, Vancouver was at that time poised to become a major media production centre. But in the mid-1980s, the federal government began its ravaging of the CBC’s core funding, hacking its budget so mercilessly that the broadcaster would never be the same again, in Vancouver or anywhere else in Canada. From its mid’70s peak of 850, the staff at CBC British Columbia has dwindled to about 375 personnel, according to Golemba. Part of that reduction was due to certain kinds of jobs vanishing in the wake of enhanced technology. With computer-controlled desktop editing and so forth, the nightly news re-
the fully glazed, loW-Rise pRofile of the CBC BRitish ColumBia headquaRteRs aChieVes the BRoadCasting institution’s mandate of WelComing the puBliC BaCk into its faCility. aBoVe a Wide, shalloW plaza on hamilton stReet pRoVides a WelComing tRansition fRom the stReet to the main entRanCe of the Building, WhiCh is loCated at the junCtuRe of the neW CuRVilineaR glazed addition and the existing BRutalist ConCRete stRuCtuRe. oppoSite
quires half the technical staff of yesteryear. Still, it’s undeniable that in Vancouver and across the country, the cutbacks eroded CBC’s once-dominant role as arbiter of Canadian culture. For years, CBC Vancouver remained quietly hunkered in its downtown site, mostly invisible to passersby, even as the concept of a media factory grew obsolete. Making one’s way around the interior meant negotiating a dark labyrinth where one false turn could land you in the faraway English-language radio section when you wanted the 03/10 canadian architect
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French section, or vice versa. On entry and exit, the walk though its barren windswept plaza suggested an edifice and an outfit that was both uncared for and uncaring. To this occasional visitor, the rabbit’s warren felt spooky, the way I’d imagine the interior of a dilapidated CIA headquarters, full of darkness at noon. “There were perceptions of the CBC that just weren’t right,” agrees Golemba. “People were almost afraid to approach us, because the old building and that plaza were so daunting and intimidating. We wanted to tell them that we are not the elite CBC looking down on them; we wanted them to be a part of what we do here.” The new CBC British Columbia bureau is now the conceptual opposite of its predecessor. Its curvilinear storefront façade is literally transparent: anyone can view what’s going on inside. News production and delivery is now amalgamated—French and English, television and radio, on- and off-air personnel in one huge space. The centrepiece of this space is a circular overhead steel framework filled with television screens and backlit banners—the newsy-looking backdrop for migrating anchors and reporters. Even though this is the British Columbia bureau, 22 canadian architect 03/10
“Vancouver” is the place-name emblazoned on the banners—simply because it’s conveniently unilingual, requiring no French translation. Its curving façade is almost completely glazed, but the acoustics are protected by enormously thick glass, double-glazed with a much thicker airspace than regular window-wall, notes Gerson. For the design team, the program was, and is, a moving target. With reporting, processing and broadcasting now portable and near instantaneous, the whole idea of architectural permanence is upended. CBC reporters can plug themselves in and broadcast their stories at various locales throughout the station, so the concept of a backdrop is highly fluid. What viewers at home perceive to be a map of Canada or a night shot of Vancouver is likely a solid “green screen” behind the reporter, with the digitized landscape projected as an illusory backdrop. With its high-tech fittings and red-and-white fritted glass, the new CBC British Columbia space strongly evokes two other major signifiers of our national culture: the Canadian flag and the contemporary airport (especially the Air Canada counter). The abrupt shift in architectural identity is jarring at first glance, with its intimations
of modern consumer culture. And no doubt it’s posed some challenges to a staff used to working in isolation and far away from the public eye. “We’re not used to live audiences,” smiles Claire Martin, the CBC’s beloved meteorologist, who now delivers the national weather reports from the fully glazed second floor while curious passersby look up and wave. Unnerved at first, especially on those days when she wore a skirt to work, Martin points to her own ad-hoc architectural solution: a “modesty panel” that she jerryrigged from ordinary black cardboard and plastered onto the lower portion of the glazed wall. With that minor concession to human modesty, Martin calls the new broadcast environment “fabulous—you can actually see the idea put into play.” The interaction with the street is remarkable, courtesy of several key elements. The most basic is the visual interaction, as one can look up from the sidewalk or through a car windshield and see the on-air staff delivering the goods. The literal interaction comes by way of a coffee shop, a JJ Bean franchise also designed by HBBH. The design team has also added a series of “media lanterns”—air vents that pop up through the Hamil-
the openness of the neW inteRioR is eVident, a faR CRy fRom the CBC’s pReVious RaBBit WaRRen of sequesteRed spaCes. oppoSite Middle, leFt to right VaRious glimpses of the inteRnal day-to-day WoRkings of the nation’s puBliC BRoadCasteR. right, top to BottoM the main entRanCe leads VisitoRs thRough an atRium toWaRds the seCuRity desk, With VieWs into the integRated studio to the left; signifiCant gReensCaping and the pRoVision of seating on the hamilton stReet plaza enCouRages employees and passeRsBy to lingeR; looking doWn the plaza to WheRe hamilton and geoRgia stReets inteRseCt. oppoSite top
ton Street sidewalk, which are double-purposed as advertising screens for CBC personalities or programs. And, in a most publicly generous gesture, the CBC and the design team worked with the Vancouver Heritage Foundation to create “The Wall,” a rectangular concrete screen facing the street, upon which a changing series of images will be visible to passersby, created by Canadian artists and inspired by the CBC archives. Finally, the city’s seasonal festivals—the summer Jazz Festival and autumn’s literary fair—will enliven this Hamilton Street strip. As Bakker himself puts it, “It’s not so much capital-A architecture as good urban design,” an observation that could arguably serve as the firm’s motto. The Vancouver overhaul is part of a low-key nation-wide reconsideration of the national broadcaster’s aging and outdated building infrastructure. “Basically, the CBC recognized a few years ago that we had these huge real estate assets across the country and there was potential to 03/10 canadian architect
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leverage them for financial gains,” says Golemba. The regional bureaus in Edmonton, Ottawa and Quebec City have already been transformed, and the broadcaster is now looking at the network centres in Montreal and Halifax. “There’s the potential to expand this across the country,” says Golemba, “providing there’s the business case to do them.” Ah, the business case. As with so many other publicly supported institutions, the CBC is
subject to the tyranny of democracy—the illinformed perception that spending taxpayer money on architecture is wasteful. That nefarious attitude tempers what should otherwise be a joyously noisy celebration of the CBC British Columbia revamping, but its personnel are careful not to vaunt the new architecture too openly. That’s a pity and an irony, because the CBC’s new West Coast headquarters is all about communicating with the wider public. The architec-
in addition to the fReestanding jj Bean Coffee shop, aRtistiC and aRChiVal images pRojeCted onto the laRge ConCRete sCReen Behind engage passeRsBy; a VieW of the entiRe CBC Complex illustRating the existing BRutalist ConCRete Behemoth anChoRed By the neW loW-Rise addition; a ReaR VieW of the Coffee shop, With the VanCouVeR puBliC liBRaRy in the BaCkgRound.
clocKwiSe FroM BottoM leFt
robson street
georgia street
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vancouver public library puBlic circulation
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ture is already creating urban density and a sense of vitality in the once-bleak streetscape. It’s a staggering transition from high, dull, opaque and sequestered to low, bright, transparent and engaged. But it’s been a far-from-straightforward challenge. As Bakker puts it: “Seeing the world through a television lens is far different than seeing it through an architectural eye.” ca
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Adele Weder is an architectural critic and curator based in British Columbia.
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client CBC Real estate diVision architect teaM joost BakkeR, alan BonifaCe, kate geRson, deRyk Whitehead, BRuCe haden, eRiC stedman, tina huBeRt, teResa loWe, mona tsui, Roland kÜpfeR, ouRi sCott, ali stiles Structural glotman simpson Consulting engineeRs Mechanical/electrical aeCom, floW Consulting ciVil aeCom landScape pWl paRtneRship landsCape aRChiteCts inC. interiorS ssdg inteRioR design, hotson BakkeR BonifaCe haden aRChiteCts contractor sCott ConstRuCtion, oxfoRd ConstRuCtion deVelopMent conSultant mkt aRkle deVelopment management inC. Building enVelope Read jones ChRistoffeRson ltd., Wells klein Consulting gRoup code B.R. thoRson Consulting, lmdg Building Consultants ltd. coSting Bty gRoup SurVeYing undeRhill & undeRhill geomatiCs ltd. proJect ManageMent mkt aRkle deVelopment management inC., snC laValin pRofaC graphicS kent allan design gRoup authoritieS City of VanCouVeR SpeciFicationS moRRis speCifiCations inC. traFFic WaRd Consulting gRoup acouStic Bkl Consultants ltd. SecuritY R.a. duff & assoCiates lighting joseph sCott area 31,000 m2 (9,000 m2 neW ConstRuCtion; 5,700 m2 RenoVation) Budget $48 m coMpletion noVemBeR 2009
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open offiCe plaza (BeloW) uppeR leVel paRking CBC tRuCk paRking tV toWeRs audienCe lounge staging aRea Retail
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the power of the paVilion
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teXt
TOnygranT
In recent years, the Olympic Games have become a magnet for national, regional and corporate interests to promote themselves through temporary venues within a host city. During the Vancouver 2010 Olympic Winter Games, the city has become home to a myriad of hosting spaces, interpretive displays and freestanding pavilions. Whether or not these structures can represent a meaningful architectural contribution is a good question. However, the recent furor over the design of the Canada pavilion, its cost, and the nature of the contract award suggests that they are seen as im-
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portant identity statements worthy of design consideration. For the most part, Vancouver’s pavilion structures could be described as “decorated tents.” Unlike Expo ’86, which produced a collection of temporary structures constructed like real buildings and sited in a single coherently planned development, the Olympic structures were forced to adapt to whatever sites were available, the locations often being changed late in the planning process. Designers were given the challenge of working with readily available temporary build-
ing technology (in most cases a modular tent structure), trying to somehow make their pavilions appear less bland and impermanent. A few of the successful examples are worth noting. Probably the most significant temporary addition to Vancouver’s landscape was the Four Host First Nations Aboriginal Pavilion. Designed by Vancouver’s Hotson Bakker Boniface Haden Architects (HBBH) and located in the plaza of the Queen Elizabeth Theatre, this cedar-clad postand-beam “doughnut” operated as a support structure for a 60-foot-diameter inflated sphere
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(containing a performance space and multimedia-projected interior surface) which was the main draw of the pavilion. In this case, the technology portion of the pavilion was the most temporary aspect, while the surrounding architecture will become a legacy piece on a First Nations site. Hariri Pontarini Architects’ design for Ontario House deserves special mention for its clever concealment of a temporary structure—something sadly missing from the Canada pavilion. A series of tensioned cords arranged in vertical rows along the front and sides of the pavilion created an elegant screen highly suggestive of a waterfall and with varying effects from day to night. The screen also provided form around a large outdoor queuing area leading to the pavilion’s main attraction—a 4D theatre experience of Ontario. Cognizant of the significant wait times at pavilions, the designers have thus attempted to alleviate this tedium for visitors. For the Maison du Québec, located near the Ontario Pavilion, Régis Côté et Associés Architectes created an enigmatic six-storey cube from scaffolding and white fabric which, in keeping with the minimalism of the exterior, housed only a small bistro building and outdoor performance stage. Their elegant use of a very simple structural system gets top marks. Cibinel Architects’ CentrePlace Manitoba represented a prefabricated building with an ambitious sustainability agenda. Using recycled materials and reclaimed wood from Manitoba, it was the only structure to win a sustainability award from VANOC. Unfortunately, this pavilion suffered from poor placement on LiveCity Vancouver’s downtown site—squished into a corner and partially hidden from the street by an unattractive chain-link fence. Despite these more notable efforts, the contribution to the urban landscape of Vancouver was limited not only by the extremely temporary nature of the event but also by an almost complete lack of urban design direction from the City to support the public celebration. In order for these structures to have had any real impact, something more than the ubiquitous lamp-standard banners and chain-link fencing should have been provided to form a coherent backdrop. From an architectural and urban design perspective, this was a disappointment, and it made the various celebration sites and activity areas seem disparate and often chaotic. For this reason, these structures quietly disappeared, leaving us with barely a memory—unlike Expo ’86. This is unfortunate, because events like these could potentially become a sort of “Biennale” of design—a forum to present ideas and technology, and to discuss urban issues. Instead, it was Tent City. ca Tony Grant is a graduate architect and exhibit designer based in Vancouver.
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Autodesk continued to aggressively promote its new software platforms at the Autodesk Univer sity (AU) 2009 Conference held at the Mandalay Bay Hotel in Las Vegas. Although much of the re lentless rhetoric of embracing new computation al technology is already a decade old, it seems so much more relevant and urgent today than at any other time. We are currently witnessing the role of the architect being compromised within the building process as emerging specialist and con sultant groups have increasingly begun to take up leadership roles. This is due in part to a wide spread refusal to accept computational innova tions and new design methodologies which could potentially help architects deal with the complex ities of the current economic and environmental crisis. Autodesk is therefore pushing for the use of parametric design systems, scripting tech niques, simulation tools, digital prototyping and 3D building information modelling (BIM) as a way of (re)tooling the design disciplines. technological continuum
The AU Conference opened with a keynote pre sentation by the CEO of Autodesk Carl Bass. With thousands of industry professionals present, he
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broadly outlined the company’s future goals and technological trajectory. Bass began his talk by describing technology as a continuum that spans five phases: Impossible, Impractical, Possible, Expected, and Required. For architects, in particular, the timing for adopting new 3D software plat forms such as Revit and Ecotect is important be cause competitive advantages can only be gained in the Possible phase of the continuum. Bass re iterated the old story that companies who began to implement 2D CAD in the mid1980s achieved significant marketplace success over companies that were still doing handdrafting. Now CAD is expected as an integral part of almost every de sign firm. Although technologies such as BIM and Rapid Prototyping are not entirely expected, Autodesk is suggesting that it will be critical— even as a matter of survival—for designers to use these advanced technologies as standard practice in both the design and construction process. This message was reinforced through the ex amples of several companies in various design industries who are using advanced computational tools developed by Autodesk to achieve competi tive advantages and to support better decision making processes. Some of the examples were not necessarily directly linked to the architectur al profession, illustrating that other industries
have often taken bigger steps to improve their design methodologies to achieve greater profits. An example directly related to the building industry, however, is the MEP (Mechanical/ Electrical/Plumbing) engineering firm Glumac, who specialize in sustainable design projects. The company is now adopting BIM in Revit MEP in conjunction with early energyanalysis software such as Ecotect and Webbased services such as Green Building Design Studio, to improve energy efficiency in its projects and to enable clients to achieve the much coveted LEED certification. Ecotect, for example, gave the company critical in sight and early feedback on how much energy and money their clients would save over the life of the building depending on certain configurations of windows, lights, HVAC and photovoltaic cells. Perhaps the most famous of their projects is the Wayne L. Morse US Federal Courthouse in Eugene, Oregon, designed in collaboration with LAbased Morphosis Architects, which is the first federal courthouse to receive LEED Gold certification. Another interesting example is the mega company Intel, which is currently investing an astounding $7 billion to refurbish 15 of their fab rication plants around the world. Although Bass was very short on specifics, the company was able to manage the complex scheduling and the execu 03/10canadian architect
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tion of the project in addition to creating precise planning layouts and equipment installation through digital prototyping and 3D BIM models. In fact, Intel expects that 3D digital models will soon be the standard method for collaboration between both equipment suppliers and construc tion contractors. To further elaborate on these examples, Bass went on to describe how Design Exploration, Analysis, Storytelling, Access, and Collaboration are currently five capabilities made possible through its applications which allow designers to operate within the Possible phase—also referred to as the sweet spot of the technological continuum. design exploration
The iconic Centre PompidouMetz in France designed by Japanese architect Shigeru Ban in collaboration with the parametric wizards at Zurichbased firm designtoproduction was the first example used to explain the concept of Design Exploration. Through parametric 3D mod elling available in AutoCAD 2010, the designers were able to embed information about the trans port, assembly, structure, manufacturability and constructability of each of the prefabricated lam inated wood beams into the generation of the ge ometry. The designers would bypass the tedious and impractical trialanderror design process since the software only explored and provided feedback on the most efficient forms that could be built using CNC fabrication tools. analysis
Autodesk is also suggesting that there needs to be an urgent push for the incorporation of Analysis as an integral component to the design process— especially in the early phases. Green Ocean En ergy Ltd, for example, is a Scottishbased renew able energy company that is currently developing 34canadian architect03/10
very large devices for harnessing energy from the ocean. The socalled Ocean Treader could only be designed with software such as Autodesk Inventor—a program which enables designers to perform complex hydrodynamic and structural analysis on digitals models which can then be physically modelled with rapid prototyping tools. With these applications, designers can get real time feedback about cost, manufacturability and environmental information related to their de sign. The program is also able to inform the de signer when a modification is made that violates the initial design parameters. Advanced analysis can be achieved through simulating the entire manufacturing process of a product to uncover errors that would occur during fabrication. Even more impressive is the potential ability to use Webbased computing to run optimization algo rithms to generate and analyze hundreds of pos sible design options which can then be explored and further developed by the designer. Architects have much to learn from these types of compa nies as they transform design from a static and linear process to a dynamic and elliptical one characterized by multiple feedback loops. Storytelling
Highly profitable films such as Avatar are now pushing the boundaries of what advanced anima tion software can achieve. Autodesk is promoting the idea that the Storytelling tools once only avail able to Hollywood artists can now become a stan dard part of the way architects and engineers communicate their design intents. Through the use of highly realistic simulation tools in Auto desk Maya, for example, the engineering firm Parsons Brinckerhoff successfully visualized their controversial proposal for the reconstruction of Doyle Drive running through San Francisco’s his toric Presidio district. The simulation was shown
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to city officials and residents in an effort to dem onstrate that the new design would improve traf fic flow while still preserving the original charac ter of the area. Here, advanced imagery was used as a didactic tool for explanation rather than sim ply operating as a descriptive tool. access
The idea of Access also seems to be at the fore front in the arena of research and development at Autodesk. Given the popularity of the iPhone, it would be impossible for designers not to consid er the potential implication of its use in the de sign process. Sketchbook Mobile, for example, is a new application which could revolutionize the way contractors communicate with other mem bers of the design team. By taking a photograph on site, the contractor can make markups directly on the image and send it via email to the archi tect to be coordinated with an existing digital construction model. In addition, the capacity to be flexible in diverse working conditions is being explored in a project developed by Autodesk Labs called Project Twitch. This application can give designers access to data through Webbased computing. It allows users to run software re motely on powerful external servers without hav ing to download them onto a desktop. collaboration
There is no doubt that social networking plat forms such as Facebook and Twitter are trans technOlOGY continued on page 41
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Books
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a Guidebook to contemporary architecture in toronto ByPhilGoodfellowandMargaretGoodfellow.Vancouver/Toronto:Douglas& McIntyre,2010.
As part of a series of recent publications celebrating contemporary architecture in Canada’s three largest cities—Vancouver, Montreal and Toronto— A Guidebook to Contemporary Architecture in Toronto presents a collection of buildings completed in Toronto over the past decade. From well-considered laneway housing to technically advanced institutional buildings, architects practicing in Toronto have successfully made advances in urban density, infill, heritage restoration, environmental sustainability and social awareness. As one might expect, this publication devotes considerable attention to the city’s architectural “renaissance,” in the form of well-publicized and oftdebated cultural institutions such as the Art Gallery of Ontario, the Michael Lee-Chin Crystal at the Royal Ontario Museum, and the Gardiner Museum. These buildings are succinctly presented, as are other highly acclaimed projects such as Canada’s National Ballet School and the Sharp Centre for Design at the Ontario College of Art & Design. The selectively and conservatively illustrated assemblage of notable projects have nevertheless irrefutably altered the course of Toronto’s architectural trajectory. To animate the rather normative display of recent buildings, the editors include a dynamic interview with Bruce Kuwabara, Larry Richards and William Thorsell. Playing the role of architect, advocate and civic booster respectively, these three individuals discuss their influential involvement in spearheading change in the city over the past decade. While the guidebook is largely focused on the downtown core, it does make an earnest attempt at documenting several significant buildings constructed throughout the city’s suburbs while acknowledging the diversity of Toronto’s many ethnic populations. When surveying the city’s development over the past decade through this handy resource book, it is readily apparent that change requires leadership, perseverance and talent to build projects that improve the quality of life in Toronto. ic
consciousness in Vancouverites. This book couldn’t have been published at a more opportune time. The Winter Olympics has thrust Vancouver onto the world stage, and the photogenic qualities of the city have captivated a global audience: spectacular snow-capped mountain ridges, evergreen forests and clear, blue ocean compete with glimpses of a vibrant downtown street life, throngs of jubilant citizens, and lots of shiny, happy new buildings. Since 1995, an astounding 150-plus high-rise residential structures have been built in the ever-densifying downtown peninsula—many of which were realized through the City’s density bonus transfer system, which allows developers greater height and density in exchange for the provision of public amenity. Consequently, a proliferation of community centres, parks, public art, social housing and heritage restoration has enriched Vancouver to the extent that it has become the envy of cities around the world, who look to it as an ideal paradigm for their own continuing growth and evolution. But the guidebook does not glorify the city as a leisure-filled playground for the rich; it directly addresses the other, less glamorous story of Vancouver. The gritty and notoriously troubled Downtown Eastside is plagued by alarmingly high rates of homicide, HIV transmission and homelessness. Accordingly, a number of social housing projects are included in the volume, as is the ambitious and provocative Woodward’s Redevelopment. Vancouver is unequivocally a fascinating work in progress; the rapid pace of development during its adolescent growth spurt of the past two decades has encouraged an “almost improvisational mode of practice,” according to editor Chris Macdonald. As a laboratory for experimental research in architecture and the public realm, there are bound to be positive results, numerous examples of which are contained in this thoughtfully prepared guidebook. LJ
a Guidebook to contemporary architecture in Vancouver ByChrisMacdonald.Vancouver:Douglas&McIntyre,2010.
The projects in A Guidebook to Contemporary Architecture in Vancouver were selected not only for their design merits but because they so clearly represent the public and private interests shaping the warp-speed evolution of this highly malleable young city. The book encompasses work built in what seems to be an incredibly short chunk of time—1990 to 2010—more or less the period bookended by Expo ’86 and the 2010 Winter Olympics, both critical events that catalyzed unprecedented ambition and a collective urban circLe repLY card 25 03/10canadian architect
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5:
calendar Community Centred
January 23-June 13, 2010 This exhi bition at Toronto’s Architecture at Harbourfront Centre includes the work of ERA Architects Inc., Public Workshop, and du Toit Architects Limited. The show also features paintings by artist Martha Eleen. www.harbourfrontcentre.com Forum 64: Cecil Balmond
Until May 30, 2010 This exhibition at the Carnegie Museum of Art in Pittsburgh features H_edge, an installation by designer Cecil Balmond, who has transformed the role of structure and mathematics in contemporary art with his unortho dox and visionary approach that challenges staid definitions of architecture and engineering. Bal mond is deputy chairman of Arup, the international design consultancy based in London. Since the early 1980s, he has collaborated with im portant contemporary architects and artists such as Toyo Ito, Rem Kool haas, Daniel Libeskind, Álvaro Siza, and Anish Kapoor. Building Storeys 2010: A Photo Exhibit of Toronto’s Industrial Past
February 4-April 25, 2010 A collabor ative effort by Heritage Toronto and members of Toronto’s Shadow Collective and DK Photo Group, the second edition of Heritage Toron to’s successful photo exhibition is a visual documentation and anecdotal exhibit of the city’s historical in dustrial buildings and sites, and changes the perception of industrial heritage in Toronto by revealing the hidden beauty of these sites. The exhibit will be open to the public daily from 12:00 noon to 5:00pm at the Gladstone Hotel in Toronto. www.buildingstoreys.com Take Note at the cca
February 4-May 30, 2010 This exhib tion at the Canadian Centre for Architecture in Montreal traces se lected pivotal moments in the on going relationship between writing and architecture over the past 50 years. The intellectual dimension of architecture is explored, specifically 40 canadian architect 03/10
the ways in which architects visualize their ideas and transcribe them in their notes, producing writings that contribute to cultural advancement and architectural transformation. www.cca.qc.ca Philippe Rahm: Domestic Astronomy
February 25-April 9, 2010 This exhi bition at the Eric Arthur Gallery, John H. Daniels Faculty of Architec ture, Landscape and Design at the University of Toronto features the work of Philippe Rahm architectes, with collaborators Andrej Bernik and Timothée Boitouzet. Here, a global ecosystem like a kind of as tronomy is created in the home, where combinations of tempera ture, light, time and place are re configured. www.daniels.utoronto.ca/events/eric_ arthur/exhibitions/5131 Imagining Home: Selections from the Heinz Architectural Center
February 27-May 30, 2010 Taking place at the Heinz Architectural Center at the Carnegie Museum of Art in Pittsburgh, this exhibition ex plores the range of styles in residen tial architecture, innovative con struction technologies, interiors, companybuilt housing, and how the modern and contemporary house has evolved over time. Architectural models, drawings, and other objects from the collection are supple mented by photography, video, and two new works of installation art. London Eight at Sci-arc
March 19-May 9, 2010 Curated by Sir Peter Cook, renowned English architect and founding member of the 1960s futurist group Archigram, this exhibition at the Southern Cali fornia Institute of Architecture in Los Angeles features established architects and their protégés. The exhibition results in a rich investi gation of exploratory architecture, where the pedagogy of the Bartlett School of Architecture in London has crafted and enabled “indulgent” formal objects and drawn imagery. www.sciarc.edu
dan Graham: Work Between art and architecture
March 29, 2010 New York artist Dan Graham delivers this lecture at 6:00pm in Room G10 of the MacdonaldHarrington Building at McGill University in Montreal. Marion Weiss lecture
March 31, 2010 As part of Carleton University’s Forum Lecture Series, Marion Weiss of New York’s Weiss/ Manfredi lectures at 6:00pm at the National Gallery in Ottawa. architecture@carleton.ca tim Macdonald lecture
March 31, 2010 Tim McDonald of multidisciplinary design firm Onion Flats in Philadelphia delivers this lecture at 6:00pm in Room G10 of the MacdonaldHarrington Building at McGill University in Montreal. Urban Field Speakers Series: Ou ning
April 8, 2010 Multidisciplinary cul tural practitioner Ou Ning speaks at the Prefix Institute of Contempo rary Art in Toronto about his urban research projects, including his role as Chief Curator of the 2009 Shen zhen and Hong Kong BiCity Bien nale of Urbanism and Architecture. www.prefix.ca new home Sweet home competition
April 8-24, 2010 OntarioGreenSpec. ca kicks off its new Ontariowide homebuilding and renovating competition with several events in the Waterloo region. Please visit the website for specific event dates. www.hsh-competition.ca 3rd international holcim Forum: reinventing construction
April 14-17, 2010 This conference takes place at the Universidad Iberoamericana in Mexico City, and is geared to academics and profes sionals from architecture, civil en gineering, urban planning, natural and social sciences. The program will advance concepts on how con struction needs to be reinvented and aligned with principles of sus tainable development. Keynote
addresses by internationally re nowned experts include Amory Lovins (USA), Rocky Mountain Institute; Thom Mayne (USA), Morphosis; Jeremy Rifkin (USA), Foundation on Economic Trends; and Michel Rojkind (Mexico), Rojkind Arquitectos. www.holcimforum.org Global challenges: architectural Solutions, Global convention and expo of architecture
April 15-17, 2010 In celebration of Architecture Week 2010, product leaders, design professionals, and academics will gather at the Illinois Institute of Technology in Chicago for this event which features a pro fessional exposition, a product ex hibition, a design college/university connection event, a seminar series, and professional and mock firm competitions. The activities will conclude with the first Amazing Architectural Race. www.chicagoarchitecturetoday.com/ convention.htm Buildex Vancouver
April 21-22, 2010 Held at the Vancou ver Convention Centre, Buildex Vancouver welcomes over 12,000 design, construction and real estate management professionals each year. Over 550 exhibits and more than 40 educational seminars im pact three distinct professional markets: interior design and archi tecture; property and real estate management; and construction and renovation. www.bcconstruct.com Ferda Kolatan lecture
April 22, 2010 As part of the Univer sity of Calgary’s EVDS Design Mat ters lecture series, Ferda Kolatan of Sull in New York delivers a lecture at 7:00pm at The Uptown Stage and Screen in Calgary. www.ucalgary.ca/evds/design_matters
For more inFormation about these, and additional listings oF Canadian and international events, please visit www.canadianarchitect.com
technOLOGY continued from page 34
forming the way information is shared. These technologies are increasingly giving users the ability to be selectively aware of other people’s activities. Architects are all too familiar with the process of sending multiple files with version numbers and highlighted changes to contractors and engineers. But Web-based networking combined with software such as Revit will enable markups and edits that are shared by all members of the design team in real time. In this scenario, as changes are made on a digital model, the system is able to detect any clashes that may occur in the shared model. The challenge here is how to manage complexity given the fact that building projects often involve the coordination of multiple experts working in different locations, companies and software platforms. Finally, Autodesk is promoting a more holistic design approach through the combination of multiple programs. An example of how they see this working is if a manufacturer publishes a lighting fixture design onto Autodesk Seek—an online source for product specifications and design files—where it can be subsequently downloaded by designers into Revit, CAD, 3D Max and even Google SketchUp. Alternatively, it can be used by consumers to assist in visualizing their interior
designs using Web-based programs such as Project Showroom. The combination of these tools and the ease with which they can be accessed and exchanged over different applications will have a dramatic impact on the design process. Although much of the conference consisted of little more than college-level software seminars, there was a general feeling that a paradigm shift was emerging—one that could replace the existing model of most digital design processes. It’s perhaps worth noting that Autodesk has an extensive research group based in Toronto dedicated to understanding and developing new design tools and methodologies. One of their most interesting projects currently being conducted in collaboration with the CIMS Lab at Carleton University and FARO Technologies is the Digital 210 King project. The research group is developing a digital model of their own offices—originally designed by KPMB Architects—using BIM and laser scanners. The objective of the project, according to Ramtin Attar of Autodesk Research, is to test and validate environmental simulation technology with the potential of understanding energy performance and power usage. The intention is to think of sustainability not as an abstract discourse, but rather as a concept that can be tested and proven through quantifiable codes and practices. This research may have far-reaching con-
sequences on the way architects approach the urgent problem of retrofitting old and inefficient buildings in urban areas. The examples of designers using advanced software to gain competitive advantages and marketplace success discussed at the AU Conference illustrates that much of the problem today may not entirely be due to the refusal to accept new computational tools. It has been proven that many design firms are now successfully implementing Revit and BIM from conception to construction. It could be argued, however, that the problem is due to a general lack of rigour on the part of architects to use these tools in more opportunistic ways in order to reclaim their position as leaders in the building design process. As other industries are adapting and streamlining their design and manufacturing processes to new market and client demands, architects are still caught up in the age-old search for more complex geometries and patterns. The time for formal games is certainly over. For architects, it’s simply a matter of survival. ca Gabriel Fain is currently pursuing a Master of Architecture degree at the University of Toronto and has worked for several architecture and urban design firms in Toronto.
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Warm uP tO Winter
a series oF warming huts installed along a Frozen section oF the assiniboine river provides delight For thousands oF winnipeggers who continue to Find new ways oF enjoying their wintry city. ian chodiKoFF PhOtOS brian gould teXt
Score another point for the architects. In Winnipeg this winter, five architectdesigned warming huts (plus one rogue hut) have been dispersed along the Assiniboine Credit Union River Trail. Intended to provide skaters with a place to lace up their skates, warm up from the cold, or just engage in friendly discussions with fellow outdoor enthusiasts, these expressive huts have become an instant success by adding a sense of place to a six-kilometre section of frozen ice that begins at the Hugo Street Dock on the Assiniboine River and extends out to the Churchill Dock on the Red River, passing the historic downtown site of The Forks along the way. Peter Hargraves of Sputnik Architecture initiated the idea of the warming huts as a means of bringing a greater awareness of art and architecture to the River Trail. The plan involved inviting 42 canadian architect 03/10
Fir Hut was a collaboration between architect richard KroeKer and neil Forrest; suspended beneath a bridge, SunSpot, designed by 5468796 architecture and artist ewa tarsia, received glowing praise.
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five teams—each consisting of an architect paired with an artist or landscape architect—to design and construct a warming hut within a $9,000 budget. And thus, The Warming Hut: An Art + Architecture Exposition on Ice was born. All the huts were completed at the beginning of February, with the exception of architect David Penner’s rogue hut entitled Corigami. Penner and his co-conspirators designed a selffinanced accordion-like three-sided shelter made of corrugated plastic, which they slid out onto the ice under the cover of darkness a few days after the other designs were open to the public. Hargraves’s initiative was made logistically and financially possible through the support of Manitoba Homecoming 2010, the Winnipeg Foundation, the Manitoba Association of Architects, and The Forks. Due to the success of the warming huts (plus the rogue shelter), organizers expect there to be a design competition for next year’s entries. In a broader sense, the presence of these
warming huts has made apparent the need for significant improvements to Winnipeg’s vast network of riverfronts. For example, skating along the River Trail reveals how the architecture at the base of the high-rise residential towers along Wellington Crescent has failed to maximize the aesthetic potential of the river’s edge. And, it is unfortunate that the industrial buildings and empty lots in Mostyn Park—adjacent to a magnificent riparian landscape—sprawl endlessly as if they were situated near the airport, not a few hundred metres from the Manitoba Legislative Building. Other lost opportunities can be seen elsewhere, such as the grounds of the St. Boniface General Hospital. Perhaps the most famous flood plain in Western Canada, this wondrous merging of city and river could surely benefit from improved riverfront planning and design. Nevertheless, the warming huts are a positive step towards realizing the full potential of Winnipeg’s riverfront opportunities, and the architects involved deserve credit for finding new ways to appreciate this magnificent prairie city. ca
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