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latreille delage photography

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The Arctic 9 News

Acton Ostry Architects complete York House Senior School in Vancouver; Shigeru Ban receives 2014 Pritzker Architecture Prize.

29 REPORT

Bill Semple describes the unique challenges of housing design in the North, not the least of which is achieving cultural sustainability.

33 Calendar

Gesamtkunstwerk in Vancouver; Banff Session 2014—Beyond Boundaries.

34 backpage

14 Piqqusilirivvik Inuit Cultural Learning Facility A new state-of-the-art building on Baffin Island by Stantec Architecture proves to be a powerful tool for diffusing and protecting Inuit culture. TEXT Michèle Aubé and Arnaud Paquin

Canada’s entry to the Venice Architecture Biennale is Arctic Adaptations: Nunavut at 15, described by Pamela Ritchot as restoring the agency of architecture in a region that is primed for progressive change.

18 East Three Schools Employing sophisticated sustainability strategies, Pin/Taylor Architects’ ambitious K-12 school strives to be a community hub in the remote town of Inuvik. TEXT Piper Bernbaum

24 Whitehorse Correctional Centre

latreille delage photography

ommunity and healing spaces are incorporated into a new correctional facility by C DGBK Architects with Ron Dies Architecture and Kobayashi + Zedda Architects. TEXT Alan MacDiarmid

COVER Piqqusilirivvik Inuit Cultural Learning Facility in Clyde River, Nunavut by Stantec Architecture. Photograph by Dave Brosha.

v.59 n.04 The National Review of Design and Practice/The Journal of Record of Architecture Canada | RAIC

canadian architect

april 2014

Viewpoint

Editor Elsa Lam, MRAIC Associate Editor Leslie Jen, MRAIC

Claude Constantineau

canadian architect 04/14

Editorial Advisor Ian Chodikoff, OAA, FRAIC Contributing Editors Annmarie Adams, MRAIC Douglas MacLeod, ncarb, MRAIC

A view of Cape Dorset, Nunavut—one of 25 photographs by local community members that will be on display as part of the Arctic Adaptations exhibition in Venice. Above

Architecture in Canada’s North is set to ascend the international stage. Over the past year, design-research firm Lateral Office has led Arctic design competitions in schools across Canada. As this goes to press, models of winning projects by five student teams are en route to Italy for display at the 2014 Venice Architecture Biennale. The Canadian pavilion exhibition, entitled Arctic Adaptations: Nunavut at 15, occasioned the current issue’s focus on the Canadian Arctic. The architects whose work is featured on these pages—Pin/Taylor Architects, Stantec Architecture’s Nunavut office (formerly FSC Architects & Engineers), Lateral Office, and Kobayashi + Zedda Architects—have all mentored a Venice Biennale student team. So has Montreal firm FGMDA, who worked with two Université de Montréal graduates on their project. While on a site visit up North, those interns took time out to visit and review an Inuit cultural learning centre for us. This month’s reviews are spread across the North, examining one building in each of Canada’s Arctic territories: the Yukon, Northwest Territories and Nunavut. Sites range from the Northern metropolis of Whitehorse (population 27, 889) to the village of Clyde River on Baffin Island (population 934). The selection merely samples the diversity of contexts that make up Canada’s vast Arctic. While each Arctic community is unique, projects across the territory face similar challenges. An obvious one is climate. “Virtually all Arctic communities are located in coastal environments with various permafrost conditions,” explain Lateral Office principals Lola Sheppard and Mason White in Many Norths, a book scheduled to come out in parallel with the Venice Biennale. Snow accumulation and drift present common challenges for building access. The winter chill itself, paired with the high cost of energy, incentivizes the construction of highly insulated building envelopes. But advanced construction can present a downside when it uses specialized components. Many Northern communities have one chance— the annual sealift—to obtain large-scale con-

Regional Correspondents Halifax Christine Macy, OAA Regina Bernard Flaman, SAA Montreal David Theodore Calgary David A. Down, AAA Winnipeg Lisa Landrum, MAA, MRAIC Vancouver Adele Weder Publisher Tom Arkell 416-510-6806 Account Manager

Faria Ahmed 416-510-6808 struction materials. Any item forgotten, lost or Circulation Manager damaged is expensive to replace by airfreight, Beata Olechnowicz 416-442-5600 ext. 3543 and can sometimes be impossible to obtain Customer Service Malkit Chana 416-442-5600 ext. 3539 until the next year. Precise planning around Production transportation schedules is thus a vital part of Jessica Jubb Graphic Design any Northern project. Sue Williamson Perhaps more than any other region of Vice President of Canadian Publishing Alex Papanou Canada, the Arctic is directly affected by climate President of Business Information Group change. Vanishing permafrost destabilizes Bruce Creighton building foundations, storm surges threaten Head Office 80 Valleybrook Drive, coastal settlements, and the warming weather Toronto, ON M3B 2S9 is shifting migration patterns of major food Telephone 416-510-6845 Facsimile 416-510-5140 sources. “In some instances relocation of comE-mail editors@canadianarchitect.com Web site www.canadianarchitect.com munities is being considered,” note Sheppard and White. Canadian Architect is published monthly by BIG Magazines LP, a div. of Glacier BIG Holdings Company Ltd., a leading Canadian information The social needs in the North are also great, company with interests in daily and community newspapers and businessto-business information services. partly due to the relocation of communities in The editors have made every reasonable effort to provide accurate and the past: in the mid-20th century, the federal authoritative information, but they assume no liability for the accuracy or completeness of the text, or its fitness for any particular purpose. government created permanent settlements Subscription Rates Canada: $54.95 plus applicable taxes for one year; $87.95 plus applicable taxes for two years (HST – #809751274RT0001). throughout the Arctic, disrupting the structures Price per single copy: $6.95. Students (prepaid with student ID, includes of earlier nomadic communities. Some describe taxes): $34.97 for one year. USA: $105.95 US for one year. All other foreign: $125.95 US per year. Single copy US and foreign: $10.00 US. the shift in the North as moving “from igloos to Return undeliverable Canadian addresses to: Circulation Dept., Canadian Architect, 80 Valleybrook Dr, Toronto, internet” in 40 years. Sheppard and White say ON Canada M3B 2S9. that at present, “Most Northern municipalities Postmaster: please forward forms 29B and 67B to 80 Valleybrook Dr, Toronto, ON Canada M3B 2S9. Printed in Canada. All rights are under pressure to address ongoing social and reserved. The contents of this publication may not be reproduced either in part or in full without the consent of the copyright owner. economic challenges regarding health, housing, From time to time we make our subscription list available to select education and employment.” companies and organizations whose product or service may interest you. If you do not wish your contact information to be made If the challenges are large, so too are the available, please contact us via one of the following methods: opportunities: lucrative resource extraction, Telephone 1-800-668-2374 Facsimile 416-442-2191 the melting of the Northwest Passage, and the E-mail privacyofficer@businessinformationgroup.ca imperatives of Arctic sovereignty are all bringMail Privacy Officer, Business Information Group, 80 Valleybrook Dr, Toronto, ON Canada M3B 2S9 ing renewed attention to the potential of Member of the Canadian Business Press Canada’s Arctic. If addressed strategically, these Member of the ALLIANCE FOR AuditED MEDIA Publications Mail Agreement #40069240 new possibilities may result in innovative infraISSN 1923-3353 (Online) ISSN 0008-2872 (Print) structure development throughout the North. What do architects have to contribute to this conversation? Sheppard and White suggest that Member of the ability to think at multiple scales—responding to both regional and local realities—will be key in generating an effective vision for the North. So will the ability to weave networks between Northern and Southern communities. In this regard, Arctic Adaptations—built on partnerships between students, architects and local We acknowledge the financial support of the Government of Canada through the Canada Periodical organizations from East to West and from North Fund (CPF) for our publishing activities. to South—presents a promising paradigm. Inc.

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Projects

Founded in 1932, York House is a leading independent K-12 day school for girls with a campus that occupies an entire block in the heart of the Shaughnessy residential neighbourhood of Vancouver. Acton Ostry Architects were commissioned to design a new Senior School on the greater York House campus, and their response is a strikingly handsome building that provides a strong presence and new entry point for the campus through a soaring glazed portal, circulation crossroads and atrium space that connects the south, north and east wings of the existing school. The addition includes 36,000 square feet of classrooms, administrative and service spaces, social locker zones, and lounge areas for students in Grades 8 through 12. Innovative, progressive and collaborative state-of-theart learning and teaching spaces are adaptable and flexible, encouraging informal student and teacher interaction. The composition and hierarchy of the primary west-facing entry elevation is stepped back at the third storey, creating an extensive balcony that reduces apparent scale and relates to the horizontal data of the adjacent north and south wings. Vivid woodﬁnished vertical sunshades at the west and east elevations provide solar shading and accentuate the striking presence of the building on the street and to the campus. Senior and junior students access the York House campus through a landscaped forecourt featuring a variety of outdoor seating and gathering areas, rain gardens and a gently flowing fountain. The coloured glass, steel and wood entry portal provides weather protection, clearly marking the primary access to the campus. Junior students pass through the central skylit atrium crossroads, which features several terraced social and informal study spaces. The atrium connects the Senior School to the existing north and south wings though a generous daylit concourse, creating dynamic interactions throughout the day as well as a unified circulation system for the entire campus. Finish materials are simple and spare with a palette of textured concrete, wood, glass and stone used throughout the facility. Additionally, the donor recognition program features the names of thousands of famous women, selected by the students that are screen-printed onto the myriad of glass guards delineating the circulation routes throughout the central atrium crossroads. www.actonostry.ca/projects/yhs/

Art Gallery of Greater Victoria selects architectural team.

The Art Gallery of Greater Victoria has selected LWPAC Lang Wilson Practice in

michael elkan

Acton Ostry Architects complete York House Senior School in Vancouver.

ABOVE Acton Ostry Architects’ York House Senior School in Vancouver welcomes students with a landscaped forecourt and an enticing natural material palette of wood and stone.

Architecture Culture Inc. + Moore Architecture Inc. (MA) Associated Architects as the architects for the major additions and renovations for the future home of the Gallery at its current location. The LWPAC+MA team was selected as the winner from an international open request for proposals and subsequent design concept submissions from three shortlisted ﬁrms. The project has a budget of $21 million and it is slated for completion in the fall of 2017. The AGGV holds the largest public art collection in Western Canada with over 18,000 works of art, ranging from Contemporary, Asian, New Media and Native Art collections to a dedicated Emily Carr gallery. The AGGV has been Greater Victoria’s major art centre and museum since 1951. Both LWPAC and MA will collaborate on all aspects of the project, with the former as the lead design architect and architect of record, while the latter will contribute its local experience based on major projects in Victoria and its understanding of approval processes, heritage alterations and construction procurement. LWPAC, based in Vancouver since 1999, is an interdisciplinary architecture and design practice with projects completed in Canada, China, the USA and Chile, and is the recipient of numerous national and international architecture design awards. Victoriabased MA was formed by award-winning architect Tom Moore in 2012 to build on his 25-plus years of work on Vancouver Island as a principal and architect with Moore Paterson Architects Inc. and Stantec Architecture Ltd. http://aggv.ca/sites/default/files/aggv_2014-02-14_ architects_final.pdf

Diamond Schmitt Architects | KWC Architects Inc. awarded Government Conference Centre rehabilitation project.

The Government Conference Centre in Ottawa celebrated its 100th birthday in June 2012, on the heels of a heritage conservation

study that outlined the extensive work needed on the building, which has not had major work done to it since the 1970s. It was determined that the building would be a suitable interim home for the Senate while Parliament Hill’s Centre Block is rehabilitated. Its high ceilings and column-free spaces make it a rare Ottawa building that can accommodate the expanse of the interim Senate Chamber. The work required to rehabilitate this deteriorated heritage building includes: restoration of the stonework; seismic reinforcement; replacement of rooﬁng materials, including skylights—one of which has been painted over; replacement of obsolete electrical, mechanical and life-safety systems to meet current codes; renovation of the interior space; removal of outdated conference amenities added in the 1960s; conformity to universal accessibility requirements; removal of hazardous materials; and expansion of the loading dock. At the same time, the building’s design, with large underused service and circulation spaces, will be reorganized to make it better suited to long-term use. The design of the project will be undertaken by Torontobased Diamond Schmitt Architects and Ottawa-based KWC Architects Inc. in joint venture, while PCL Constructors Canada are responsible for construction management. The Senate is expected to occupy the Government Conference Centre from approximately 2018 until it returns to the Centre Block, following the completion of that building’s future major rehabilitation. The approved project budget is $190 million, which includes various components such as: planning, architectural and engineering fees; abatement and selective demolition; limited excavation; seismic, structural and envelope upgrades; replacement of mechanical, IT and electrical systems; the installation of security infrastructure; a new loading dock; interior ﬁt-up; landscaping; risk, escalation and contingencies.

www.tpsgc-pwgsc.gc.ca/collineduparlement-parliamenthill/batir-building/mod-conference-eng.html

canadian architect 04/14

news

canadian architect 04/14

news Donor and landscape architect for Grange Park revitalization project announced.

The Art Gallery of Ontario (AGO) has announced that W. Galen Weston, Chairman and President of the W. Garfield Weston Foundation, has committed financial support to help restore and revitalize Grange Park, located in the heart of downtown Toronto. This commitment provides a catalyst for the AGO to collaborate with the City of Toronto and the local community to develop a design that will make Grange Park green, beautiful, resilient, sustainable and accessible. “Grange Park has a remarkable potential to be transformed into a welcoming and versatile park that serves its diverse local community and reflects its history and neighbourhood,” said Matthew Teitelbaum, Director and CEO of the AGO. “As a longtime supporter of the AGO, Galen Weston has once again chosen to invest in the Gallery and our community. This project will allow us to contribute to the beauty and vitality of our great city of Toronto.” Weston’s ﬁnancial commitment has allowed the AGO to commence initial planning with Greg Smallenberg of award-winning PFS Studio, a Vancouver-based planning, urban design and landscape architecture ﬁrm. Grange Park, a two-hectare green space in downtown Toronto, was originally part of the Grange estate built in 1820 by the Boulton family, who played an influential role in developing the young city of Toronto. In 1910, Harriet Boulton Smith bequeathed the Grange house and estate to the newly founded Art Gallery of Toronto for the purposes of building an art museum on the property. In 1911, the Gallery entered into an agreement with the City of Toronto to operate the land south of Grange House as a public park, and it has become a well-loved and well-used gathering place.

awards Shigeru Ban receives 2014 Pritzker Architecture Prize.

Shigeru Ban, a Tokyo-born 56-year-old architect with offices in Tokyo, Paris and New York, has been announced as the recipient of the 2014 Pritzker Prize. He designs elegant, innovative work for private clients, and uses the same inventive and resourceful design approach for his extensive humanitarian efforts. For 20 years Ban has travelled to sites of natural and man-made disasters around the world to work with local citizens, volunteers and students, to design and construct simple, dignified, low-cost recyclable shelters and community buildings for the disaster victims. In all parts of his practice, Ban finds a wide variety of design solutions, often based around structure, materials, view, natural ventilation and light, and a drive to make comfortable places for the people who use them. From

private residences and corporate headquarters, to museums, concert halls and other civic buildings, Ban is known for the originality, economy, and ingeniousness of his works, which do not rely on today’s common high-tech solutions. To construct his disaster relief shelters, Ban often employs recyclable cardboard paper tubes for columns, walls and beams, as they are locally available, inexpensive, easy to transport, mount and dismantle, and they can be water- and ﬁre-proofed and recycled. Ban’s humanitarian work began in response to the 1994 conflict in Rwanda, which threw millions of people into tragic living conditions. In 1995, he founded a non-governmental organization called VAN: Voluntary Architects’ Network. With VAN, following earthquakes, tsunami, hurricanes and war, he has conducted relief work in Japan, Turkey, India, Sri Lanka, China, Haiti, Italy, New Zealand and currently, the Philippines. Ban lectures and teaches at architecture schools around the world and is currently a professor at Kyoto University of Art and Design. He attended architecture school first at the Southern California Institute of Architecture, and completed his degree at Cooper Union in New York City in 1984. The Pritzker Prize ceremony takes place on June 13, 2014 at the Rijksmuseum in Amsterdam. www.pritzkerprize.com

Winners of 2014 OAA Awards announced.

Selected from more than 170 submissions, 15 newly completed projects have been distinguished in the Ontario Association of Architects’ Design Excellence category: Algonguin Centre for Construction Excellence in Ottawa by Diamond Schmitt Architects Inc. and Edward J. Cuhaci and Associates Architects Inc.; Bridgepoint Active Healthcare in Toronto by Stantec Architecture Ltd. Architects | KPMB Architects, HDR Architecture Associates Inc. | Diamond Schmitt Architects Inc.; Centennial College Athletic and Wellness Centre in Toronto by Kongats Architects; Centennial College Library and Academic Facility in Toronto by Diamond Schmitt Architects Inc.; Chinguacousy Park Redevelopment in Brampton by MacLennan Jaunkalns Miller Architects Ltd.; County of Simcoe Administration Centre in Midhurst by Teeple Architects Inc. and Ted Handy & Associates Inc. Architect in joint venture; Manitoba Hydro Place in Winnipeg by KPMB Architects (Design Architect), Smith Carter Architects & Engineers Inc. (Executive Architect) and Prairie Architects Inc. (Advocate Architect); Moore Park Residence in Toronto by Drew Mandel Architects; Mount Dennis Library in Toronto by G. Bruce Stratton Architects; Nova Scotia Power (NSP) Corporate Headquarters in Halifax by WZMH Architects Fowler Bauld and Mitchell Associates Architects; Stealth Cabin in Bracebridge by Superkül Inc. Architect; Stoney

Creek Recreation Centre in Hamilton by RDH Architects Inc. with Lintack Architects Inc.; Through House in Toronto by Dubbeldam Architecture + Design; Tommy Thompson Park Pavilions in Toronto by Montgomery Sisam Architects Inc.; and Victoria Park Subway Station in Toronto by IBI Group Architects Brown and Storey Architects Inc. In the Concepts category: Semi [Detached] by Batay-Csorba Architects; Jiigew (By the Water) at Prince Arthur’s Landing in Thunder Bay by spmb & Brook Mcllroy Architects; and UnEarthed by Ken O. Lum won an Honourable Mention. The Sustainable Design Excellence Award went to Manitoba Hydro Place in Winnipeg by KPMB Architects (Design Architect), Smith Carter Architects & Engineers Inc. (Executive Architect) and Prairie Architects Inc. (Advocate Architect). A Landmark designation went to: 50 Park Road in Toronto by John B. Parkin Associates (now NORR Limited, Architects and Engineers); McMaster University Health Sciences Centre in Hamilton by Zeidler Partnership Architects; and Wandich Cottage in Peterborough by Strasman Architects Inc. Atelier Kastelic Buffey Inc. claimed the Best Emerging Practice Award. Susan Ruptash was named the recipient of the G. Randy Roberts Service Award, which recognizes members of the OAA for extraordinary service to its members. Honouring members for career-long contributions to architectural design excellence, the Lifetime Design Achievement Award went to Jerome Markson. And ﬁnally, Gordon Grice was awarded the Order of da Vinci, which is presented to persons who have made a signiﬁcant and meaningful contribution to the profession of architecture.

www.oaa.on.ca

Winners of Wood WORKS! BC 2014 Wood Design Awards announced.

The annual Wood Design Awards program recognizes leadership and innovation in wood use, while publicly honouring and encouraging continued excellence in the building and design community. There were 113 nominations in 12 categories for the 2014 awards from all over British Columbia, as well as some national and international project submissions. All projects showcase distinctive and unique qualities of wood such as strength, beauty, versatility and cost-effectiveness. The Wood Champion Award was presented to Peter Busby of Perkins+Will, who was recognized for championing and pioneering the use of wood in many prominent public buildings in BC. He was the driving force behind the implementation of wood in projects such as the Earth Sciences Building and Centre for Interactive Research on Sustainability in Vancouver, the Brentwood and Gilmore Skytrain Stations and the Kingsway Pedestrian Bridge. Gerald Epp of Fast + Epp Structural Engineers was the

recipient of the Engineer Award, while the Architect Award was presented to Mike Mammone of Ratio Architecture-Interior Design-Planning. The Wood Innovation Award went to Gord Macdonald of Macdonald & Lawrence Timber Framing for his project WildPlay in Kelowna, and the Environmental Performance Award was presented to John Wall of PUBLIC: Architecture + Communication for his project Centennial Beach Boundary Bay Regional Park Pavilion in Delta. Winners in the wood design categories include: Residential Wood Design—David Hewitt, Hewitt + Company Architecture for Silver Lake House in Silver Lake, Washington; Multi-Unit Residential Wood Design—Andreas Kaminski, aka architecture + design inc. for Red Sky Townhomes in Whistler; Commercial Wood Design—Mike Mammone, Ratio Architecture-Interior Design-Planning for Salmon Arm Savings and Credit Union Uptown Branch in Salmon Arm; Interior Beauty Design—James Tuer, JWT Architecture and Planning for Forest House on Bowen Island; Institutional Wood Design Small—Dave McIntyre, David Nairne + Associates Ltd. for Yunesit’in Health Centre in Hanceville; Institutional Wood Design Large—Jennifer Marshall, Urban Arts Architecture for T’it’q’et Community Hall + Health Centre in Lillooet; Western Red Cedar—Alfred Waugh, Formline

Architecture + Urbanism for Liard River Hot Springs Facility in Liard River. Additionally, there were two Honourable Mentions: Peter Busby and Robert Drew of Perkins+Will for Samuel Brighouse Elementary School in Richmond; and Karen Marler of Hughes Condon Marler Architects for UniverCity Childcare Centre in Burnaby. www.wood-works.ca/bc

what’s new

materials, P3’s, residential design, retail design, sustainable design, technology and workplace design. Seminar topics will be selected based on varying criteria including: relevancy to the industry, timeliness, body of knowledge, learning outcomes, speaker experience and how the particular topic complements the IIDEX Canada conference program. The deadline for submissions is Friday, May 2, 2014 at 11:59pm EST. www.iidexcanada.com/2013/attendee/conference/2014call-for-presentations

IIDEX Canada invites submissions from potential seminar leaders.

Push the boundaries of professional practice and thought as a speaker at the 30th anniversary of IIDEX Canada, Canada’s National Design and Architecture Exposition and Conference, taking place December 3-4, 2014 at the Metro Toronto Convention Centre. Thousands of influential decision-makers from the design, architecture, building and real estate industries will participate in the over 80 accredited seminars offered by industry leaders. Conference topics include accessibility, acoustics, architecture, business management, education design, facility management, health-care design, hospitality design, industry trends, innovation, institutional design, interior design, landscape architecture, lighting design, marketing,

HCNT accepting nominations to the 2014 Top Ten Endangered Places List.

Heritage Canada the National Trust (HCNT) is accepting nominations to Canada’s Top Ten Endangered Places List. The list is released annually to bring national attention to sites at risk due to neglect, lack of funding, inappropriate development and weak legislation. It has become a powerful tool in the fight to make landmarks, not landfill. HCNT uses three primary criteria to determine the 10 final sites for inclusion on the list: significance of the site, urgency of the threat, and community support for its preservation. Nominations should be received by Friday, May 9, 2014. www.heritagecanada.org/en/issues-campaigns/top-tenendangered/nominate-site

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Learning from the land an inuit cultural learning centre on baffin island embeds students in the high arctic landscape. Project Piqqusilirivvik Inuit Cultural Learning Facility, Clyde River, Nunavut architect Stantec Architecture Text Michèle Aubé and Arnaud Paquin Photos Dave Brosha unless otherwise noted

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Piqqusilirivvik, or “a place to keep the things we know,” is a centre for the transmission of Inuit traditional knowledge in the community of Clyde River on Baffin Island. Opened in 2012, it functions as a kind of alternative school. The program caters to First Nations Inuit fluent in Inuktitut: unlike other educational venues, academic performance is not a criterion for entry. It’s also a bridge between past and future. For generations of Inuit before the arrival of western schooling, the territory and land itself were the master teachers. The project thus aims to immerse its young Inuit students in the Arctic landscape, returning them to traditional sources of knowledge and know-how. At the same time, it is fully equipped as a state-of-the-art building with contemporary tools and technologies. To launch the hybrid education-architecture initiative, an integrated design process was conceived to explore the program’s unique needs. Locals, architects, engineers, government delegates and representatives from Nunavut’s divisions of culture, language, elders and youth gathered for charrettes and workshops throughout the design process. According to design architect Harriet Burdett-Moulton, this working method allowed the Inuit representatives’ innovative ideas to be brought forward. The integrated design process also offered the enormous advantage of facilitating acceptance by the participating community. “Integrated design is the best. They get what they want. They have ownership of the place,” says Burdett-Moulton. She adds, “They are part of the process so they understand the choices made even if they don’t like some of them.”

Creating a building in the High Arctic entails numerous cultural, programmatic and technical challenges. Added to this, Piqqusilirivvik was a one-off in the Nunavut education system, and the creation of a new program was in itself a challenge. During our recent visit, Shari Gearheard, manager of curriculum development for the school, explained that a critical moment in the project’s progress was the translation of the ambitious program into a concrete plan. Particular attention was accorded to this step, resulting in a careful delineation of spaces that reconcile traditional activities with up-to-date technologies. Accordingly, the compact building includes a wide range of parts: library, sewing workshop, woodworking facilities, large-capacity kitchen, residences for students and invited teachers, and spaces for preparing and storing animal skins and other products from the hunt. Custom equipment and furnishings were developed for the programs, as well as for the needs of the elders responsible for much of the teaching. This included sewing tables, ergonomic benches, fur and animal skin treatment tubs, and special containers for food from the land, among other elements. The interior organization makes reference to a qaqqiq, or large communal igloo, which is traditionally encircled by smaller spaces for specific functions. At Piqqusilirivvik, this translates into a hierarchy of gathering spaces at the heart of the building that encourage casual encounters and informal discussions. Various teaching and work areas open on to these central spaces. The layout aims to build on the dynamic of a communal workshop, where students learn from each

other through observation. Two residential wings link into the central zone, completing the composition of the complex. Architectural details reinforce ties to the landscape and to local culture. Following the suggestion of stakeholders, wood elements inside and earth-toned façade panels outside pick up on tundra colours. Large openings on the south façade overlook the bay, assuring a constant visual connection between interior and exterior. Other interior elements—from lichen-red flooring to sealskin-covered built-ins—also reference the surrounding landscape. The site itself was chosen through community consultation. Elders were involved in the process of identifying a location outside of the village, selected for its close relationship with the landscape. Situated between land and sea, it privileged complete immersion within a natural setting. Incidentally, it also allowed for keeping watch on polar bears, known to prowl near the sled dog pens at the end of the bay. The distancing of the building from the community was a means to encourage autonomy, self-organization and interdependence among students. For instance, during a snowstorm the students and instructors opposite Piqqusilirivvik's streamlined roof mitigates the effects of prevailing winds and creates opportunities for daylight to be drawn deep into the building. top A gentle ramp leads up to the main entrance. The building is on a single level, ensuring accessibility for students and instructors, many of whom are regional elders.

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Harriet Burdett-Moulton

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FIRST FLOOR 1 BEDROOMs 2 GATHERING SPACE 3 SEWING WORKSHOP 4 WOOD SHOP 5 LIBRARY

6 LEARNING STUDIO 7 TV LOUNGE 8 OFFICE 9 SKIN PREPARATION WORKSHOP 10 KITCHEN

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would be left to their own contrivances—as would have been the case in seasonal campsites. Construction in the Arctic involves construction challenges and riskmanagement decisions with significant project impacts. In this case, the distance of the site from the community facilitated site management in terms of materials transportation and storage. Materials and heavy

construction equipment were carried to the site by boat during the short navigable period when the sea is ice-free. There was no room for error: forgetting or damaging a single component could result in needing to modify part of the building design to avoid delays and huge cost overruns. The extreme climate also necessitated strategic design adaptations. For instance, the restricted height of the building and curved roof limit the impact of dominant winds on its façades. A wind barrier is integrated into the project; the building’s exposed location otherwise risks being buried by snow buildup. Piqqusilirivvik has had an undeniably positive impact. It successfully reinterprets traditional architecture in a contemporary idiom. The interior space organization, choice of materials, and overall exterior design display an attuned sensitivity to Inuit culture without falling into cliché. The open and interlinked communal areas integrate an understanding of traditional apprenticeship, affording opportunities for observation and oral transmission of knowledge. The community’s enthusiastic appropriation of Piqqusilirivvik testifies to members’ acceptance of the project and of the consultative processes that led to it. One of the questions that the project raises, however, is that of the “omnibuilding”—that is to say, the autonomous building that incorporates all needed functions. In terms of functional efficiency and energy savings, it’s a logical strategy. But some of its effects appear to contradict Piqqusilirivvik’s initial intentions. In particular, by annexing the student residences to the central gathering and teaching spaces, the objectives of autonomy and daily connection to the outdoors are seemingly weakened. A more dispersed, village-like scheme would have tied the project more closely to its landscape, albeit with trade-offs in terms of accessibility and maintenance costs. Nevertheless, Piqqusilirivvik is a remarkable success for the community of Clyde River that has skillfully negotiated many challenges. The involvement of regional stakeholders in the design process ensured the project’s feasibility, while also integrating Inuit culture in the building’s core fabric rather than through ornamental add-ons. In short, the program and its architecture form a balanced whole: a building that is a powerful and essential tool for diffusing and protecting Inuit culture. Arnaud Paquin and Michèle Aubé are graduates of the Université de Montréal’s architecture school. They are teamed with the Clyde River Ilisaqsivik Society and Montreal firm FGMDA to develop one of five models for the Arctic Adaptations exhibition at the 2014 Venice Architecture Biennale.

Harriet Burdett-Moulton

Client NUNAVUT COMMUNITY AND GOVERNMENT SERVICES | architect team HARRIET BURDETTMOULTON, JOSHUA ARMSTRONG, TERRY GRAY, ROGER TULK | STRUCTURAL ADJELEIAN ALLEN RUBELI | Mechanical stantec consulting ltd. | electrical stantec consulting ltd. with stantec architecture | Interiors Stantec architecture | general contractor Kudlik construction ltd. | electrical contractor ryfan nunavut inc. | mechanical contractor narwhal plumbing & heating ltd. | education design consultants fielding nair international | food services s.i. bellingham & associates ltd. | Area 2,058 M2 (main building) + 142 M2 (outbuildings) | Budget $22 M | Completion October 2012

Harriet Burdett-Moulton

Opposite top A view of the central space, which serves as dining area, meeting commons, and gathering space at different times of the day. Basic construction techniques were used throughout the complex to mitigate the risks associated with lost or damaged materials, which would be expensive to replace. Above, clockwise from top left Custom work-stations accommodate jewelry-making, carving, soldering and other handwork; a sealskin-covered bench leads from the entry to the main gathering space; glazed garage doors allow the learning studios to open entirely to the main space; workshops and charrettes involved a variety of stakeholders throughout the design process; a view of the village from Piqqusilirivvik.

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Super-School A k-12 school in inuvik does its homework with fine-tuned environmental strategies and spaces adaptable for broader community use. East Three Schools, Inuvik, Northwest Territories Pin/Taylor Architects Text Piper Bernbaum Photos Ihor Pona Project

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Opposite Coloured canopies protect from harsh summer sun and deter vandalism. The patterns draw inspiration from the Northern Lights and the Delta Braid trim traditionally used on parkas in the Western Arctic. Top Walkways gently ramp up to the school's main entrances for kindergarten, elementary and high school students.

“It’s an important project for us,” says former mayor Peter Clarkson as we walk up to Pin/Taylor Architects’ new East Three Schools in Inuvik, an arc-shaped building comfortably nestled into the terrain. He smiles, “Everyone’s excited for it.” The openness of the building and the warm sunlight entering the main foyer makes me agree. Inuvik needs this. Inuvik, just two degrees north of the Arctic Circle, is situated in a stunning location with rich natural resources, but with significant social needs and not nearly enough support. Scattered throughout town are decaying homes, poorly insulated trailers, unfinished suburban-style houses, and utility pipelines running amok. The community has a relatively large population of 3,500 and an important location beside the Mackenzie River Delta at the end of the Dempster Highway. It’s a regional centre to the Beaufort Delta Region in the Northwest Territories. As a territorial hub, it’s the ideal place for a major new building that brings together people and landscape. The Northwest Territories has been replacing and upgrading its schools since the 1990s. Accessible civic spaces are limited in many of its communities, so as a result, buildings often do double duty: arenas and school gymnasiums serve as indoor areas for social gatherings. East Three Schools’ mandate was thus to provide much more than simply a daytime school, but also to act as a recreational centre and to offer town hall-style meeting spaces. “We need more diversification of programs and facilities to help the economy and the region,” says Clarkson. East Three Schools is a 128,000-square-foot two-storey facility that sits on 16 acres, half of which is dedicated to parkland. Nicknamed the “Super-School,” it replaces Inuvik’s two existing public schools that not only had high heating loads but were supported on timber-pile foundations reaching the end of their lifespan. The project evolved through roundtable discussions with the community, including local Gwich’in and Inuvialuit First Nations. “The community was a big force throughout,” says Simon Taylor of Pin/Taylor Architects, who led the design with partner Gino Pin. “We focused on the common aspirations of

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Site Plan

n outdoor activity area n treed area n outdoor courts n controlled play area

n existing building n proposed school buildings n roadways/parking n walkways

drainage ditches property line

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Second floor 1 high school classroom 2 science classroom 3 multi-purpose room 4 art room 5 seminar

6 learning resource 7 computer lab 8 O & M office 9 library 10 elementary classroom

11 primary classroom 12 activity area

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8 general office/reception 9 drama room 10 fitness room 11 stage 12 gymnasium 13 open gathering1m space 14 boys’ change room

15 girls’ change room 16 Inuvialuktun 17 Gwich’in 18 French 19 kindergarten 20m 20 primary classroom 21 activity area 0

these groups, seeking to give the project a conscious cultural identity inside and out that all groups could identify with.” The school is welcoming and personable, providing large perimeter classrooms interspersed with a central band of common learning and leisure spaces for its 1,050 students. It’s laid out as a faceted southfacing crescent, with one wing dedicated to kindergarten and elementary students, and the other given over to high school students. A massive double gymnasium and a library form shared spaces in the centre. Glass panels adjoin the multiple entrance foyers as well as the administrative offices and gymnasiums, creating visual links to the heart of the school. Open spaces and generous stairwells connect common areas on different levels, offering students a wealth of opportunities to socialize, mingle, and to see and be seen. Glazing between hallways and various classrooms creates openness in the plan to encourage shared methods of learning. The animated light-filled environment is drastically different than the dark double-loaded corridors of Inuvik’s previous schools. Roof-integrated skylights, light wells and extensive glazing throughout the building ensure natural light throughout the year. Even nearing the winter solstice, when the sun goes below the horizon, twilight

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enters through clerestory windows. In contrast to many Northern buildings that form bunkers against the harsh outdoors, East Three Schools constantly links indoors and out. “The windows frame the landscape around the building,” says Gino Pin. “The Aboriginal relationship to the ground is very sacred, and we worked to emphasize the environment throughout.” Colourful pastel murals of the Northern Lights, Arctic animals and scenery enliven the hallways, while depictions of Aboriginal Arctic games in the gymnasium tie back to the region and its traditions. The design of the new school exceeds the Model National Energy Code by 56.1 percent. One key energy-efficiency measure is a modern ventilation system. Operable windows offer cross ventilation and central two-storey open spaces create a stack effect that naturally circulates air. At the top of the central light wells, temperature-sensitive louvres open to release warm air. Computerized energy management, clean burning boilers, a heat-recovery system and a daylight-harvesting light-control system reduce energy waste while optimizing the way the building captures natural light and fresh air from the outdoors. Outside, intricate sunshades on the façades leave winter light unimpeded to filter into the school, while protecting against the harsh 24-hour high-angle summer sunlight. “The sunscreens are a safeguard

At the school’s east end, a light well connects the main level and an upper level activity area. Above The double gymnasium opens onto a raised stage at the centre of the school, providing a generous airy space for school and community functions. Right The main stairwells include glass guard panels and glazed transitions to the hallways, increasing visibility and light transmission through the floor plate. Opposite

fabric too,” remarks Taylor, explaining that they deter vandalism. Many of Inuvik’s facilities are boarded up during the off-season and become targets for damage by weather or idle teens. Says Taylor, “The community didn’t want the building to look shut down or inaccessible after hours or during the summer—it needed to feel open and inviting all year round.” Underneath the school, Pin/Taylor used a steel adfreeze pile system— a common approach to foundations in the Northwest Territories. Contractors drilled holes up to 60 feet deep in the frozen ground, then dropped piles into the holes, surrounding them with a silica cement slurry which freezes over the span of several months, adhering the steel to the permafrost. The school is lifted off the ground, allowing cold winter air to move freely under the building to ensure that the ground remains frozen. To create accessible and welcoming grade-level entrances, a series of rock-filled gabion baskets slope the terrain up to the entrance level, ending in a retaining wall 10 feet from the face of the building. Bridges span over the moat between the top of the gabion walls and the entrances. The gently sloped, landscaped walkways leading to the school doors are a welcome change from the steps and ramps at the front of many Arctic buildings. Despite its overall size, East Three Schools is not an imposing structure. This is in part due to the thoughtful integration of the structure with its landscape. “For us, any landscape intervention had to be sensitive,” says Pin. “If you compete with nature, you generally lose. We wanted to maintain an outdoor play area and incorporate the building into the natural environment of the North.” That’s where landscape architect Cornelia Oberlander came in, with a design that makes the grounds just as educational as the school itself.

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Above, left to right Sketches of Northern sports and games are etched into the acoustic panels encircling the gymnasium; colourful Arctic animal murals adorn the kindergarten hallways.

“Everything used on the grounds is sourced locally from the region,” she explains, adding that she chose plants that are key in traditional native food and medicine. “Nowhere is climate change more noticed than in the Arctic. This impact on food security changes traditional hunting, food-gathering and storing. Above all, it points to the importance of youth learning to understand local foods.” To successfully establish vegetation in the North, Oberlander directed the collection of seeds native to the Inuvik region and had them grown at a state-of-the-art facility in Langley, British Columbia. The mature plants were brought back to the site in 2012. Spruce, birch and larch trees were relocated from forests surrounding the town to create a shelterbelt that protects the school grounds from wind, weather and snowdrifts. A lack of maintenance has kept the site from fully thriving, but the hardy native plant material has sustained itself regardless. Such a big building with big expectations comes with big adjustments. To date, East Three Schools has been active as a school, but has yet to grow into its full potential as a community hub. In part, that’s due to a lack of money—funding for civic initiatives such as after-school programs and park maintenance is hard to come by—but it’s also waiting for community members to take charge of the space. “It’ll take time,” says Pin. “The project offers flexibility: all the potential for imaginative space is there, and we just hope for more buy-in from the community over the years to come.” “There was a big feast in the gymnasium the night the school opened. It was beautiful,” recalls Taylor. “We want that life to be present as often as possible in the building. A school in the Northwest Territories is an important and major facility. Hopefully the government and the people will see the need for it to be more available.”

high school main entrance canopy section

Piper Bernbaum is a graduate of the University of Waterloo, currently pursuing her Masters of Architecture. Client GOVERNMENT OF THE NORTHWEST TERRITORIES—DEPARTMENT OF EDUCATION, CULTURE AND EMPLOYMENT | architect team GINO PIN, SIMON TAYLOR, BECCA DENLEY, SVETLANA KAZNACHEEVA, JENNIFER ESPISITO, SETH LIPPERT | Structural NELSON ENGINEERING INC | Mechanical/electrical STANTEC ARCHITECTURE (FORMERLY FSC Architects & engineers) | Landscape CORNELIA HAHN OBERLANDER | interiors IHOR PONA and PIN/TAYLOR ARCHITECTS | Contractor DOWLAND CONTRACTING LTD | Wind and snow consultant THEAKSTON ENVIRONMENTAL | Cost Consultant HIGHLAND ECONOMICS | Acoustics HFP ACOUSTICAL | Energy Assessment ENERSYS ANALYTICS INC | Hazmat ARCTIC ENVIRONMENTAL SOLUTIONS | Area 12,167 M 2 | Budget $92 M | Completion July 2012

High School Section 1 standard classroom 2 circulaton 3 janitor 4 information centre 5 staff room

6 learning resource 1m 7 science classroom 8 soffit space

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rehabilitation revolution

A progressive correctional centre in whitehorse combines high-security requirements with community and healing spaces. Whitehorse Correctional Centre, Whitehorse, Yukon DGBK Architects with Ron Dies Architecture and Kobayashi + Zedda Architects Text Alan MacDiarmid Photos Latreille Delage Photography Project

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From above, Yukon’s capital city Whitehorse is a blip against a vast carpet of boreal spruce, shadowed by the high peaks of the St. Elias Mountains. With no other city within 1,000 kilometres, it is firmly embedded within the North’s natural beauty. For those building in the Yukon, however, this environmental stockade introduces a multitude of unique architectural challenges. The remote geography presents limited infrastructure and mobility networks, severe cold weather conditions, and a population density too low to support specialized construction labour and large-scale manufacturing industries. In addition to logistical considerations, social sensitivity towards the North’s long-marginalized indigenous populations adds a further degree of complexity to any Northern project’s viability. Such concerns are doubly compounded with respect to the design of correctional facilities, largely stemming from Canada’s troubled, histor-

ically “corrective” relationship with its First Nations. Underscoring this tension in the present, First Nations represent 25% of the Yukon’s general population, yet constitute some 75% of its incarcerated individuals. In 2006, the Yukon Justice Department sought to reframe the territory’s overall system of correctional facilities. The government’s Correctional Redevelopment Strategic Plan of 2007 placed a greater focus on cooperation and inmate support, rather than retributive justice. In terms of architecture, this was to take place both through updated facilities and through programmatic development for those buildings that supports a new operational philosophy. The Whitehorse Correctional Centre (WCC), opened in spring 2012, is the cornerstone of this plan. The seven-hectare WCC complex is located on the site of the 1967 Whitehorse Jail, in the historic downtown neighbourhood of Takhini. Since the WCC also falls within the traditional territory of the Kwanlin Dün First Nation and the Ta’an Kwäch’an Council, consultation between local and other Territorial First Nations and the project team were woven into the process. DGBK Architects of Vancouver led the design team with the help of corrections advisors Jug Island Consulting and Ron Dies Architecture. They coupled their specialized correctional design expertise with the local design knowledge of Whitehorse-based Kobayashi + Zedda Architects (KZA). The general contractor for the WCC was a joint venture between Canada-wide Stuart Olson Dominion Construction and the Kwanlin Dün First Nation. An effective outcome of this partnership was continuous First Nations involvement with the project throughout its various stages. The first phase of the Centre’s redevelopment involved the construction of a Transitional Women’s Living Unit on the southwest corner of

the site, designed by KZA as a subconsultant to DGBK and completed in 2010. The larger WCC building, designed by DGBK, is adjoined by a 50-square-metre Spiritual Healing Room, spearheaded by KZA. All three of these spaces were envisaged as components in a project narrative of community healing and regrowth. Generally, the main WCC building houses inmates awaiting trial and inmates serving sentences of up to two years. During this time, they are accommodated in one of five largely self-contained living units, each comprised of 18 to 20 cells over either two or three floors, arrayed around a common space. Adjacent to each common space is an exercise room and an outdoor courtyard for use by inmates in that area. A central command core between the second and third floors allows officers to oversee activity within all the living units. Other corrections officers are stationed within the living units for direct supervision. The designâ&#x20AC;&#x201D; which conforms to Generation 3 corrections operations principles that emphasize the humane treatment of inmatesâ&#x20AC;&#x201D;offers several operational advantages. Its spatial organization requires fewer staff to monitor inmate activities while simultaneously reducing the amount of inmate movement, reducing costs and potential confrontations. The WCC also houses inmate medical, dental and video court facilities on site. This reduces the need to transport inmates to and from downtown Whitehorse, affording further efficiencies, improved security and more immediate service to inmate needs. Although incarcerated in a secure facility, the Centre provides a supportive environment and connects inmates to the community through a diverse array of other auxiliary spaces within the facility, including a library, various workshops, a Yukon college campus, space for extended family visits, and gathering spaces where First Nations elders and family members

Opposite Generous spaces and warm materials cultivate an open transparent atmosphere throughout the correctional facility, beginning from its wood-canopied entry lobby. above, top to bottom Each of the inmate pods is a largely self-contained unit with outdoor access; a view of a standard inmate room.

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perform traditional native ceremonies including solstice celebrations, smudging, and ceremonial game meat preparation. One of the most dramatic architectural features of the Centre is the Spiritual Healing Room, which is intended as a quiet, inclusive and secular space. To avoid prioritizing any one of the Yukon First Nations’ varied traditional building typologies, a common natural form—the Prairie Crocus—was abstracted in the room’s shape. The Yukon flower is known for its early springtime germination following prolonged winter darkness, making it an appropriate symbol for an inclusive space of renewal. Light plays a key role in the Spiritual Healing Room. A radiating series of curved fin walls cascades toward the west, revealing vertical glazing strips, akin to the faint openings between the petals of the Prairie Crocus. Through this glazing, slivers of daylight illuminate the perimeter wooden benches and articulate the curved white walls. Diffuse clerestory light renders the wood beam ceiling with a buoyant glow. Natural light is given similar importance throughout other areas of the building, used strategically to both provide a more humane environment for inmates, and to symbolize the collective nature of their rehabilitation. Within the living units, communal spaces have been afforded a generous amount of daylight, borrowed from the courtyards’ skyward-facing apertures. The Centre’s material palette was chosen primarily to meet security

concerns and durability needs. Although uncommon in corrections facilities, to add warmth to inmates’ daily environmental experience, wood is included throughout as an accent on doors, millwork and ceiling beams. Given the project’s relatively large size, few materials were available through local suppliers. This meant that in order to avoid delays in construction, material considerations were necessary early in the design stage. Additionally, the erection of the building envelope before winter was critical in ensuring the project was concluded on time and, ultimately, under budget at $58 million. The project was designed to LEED Silver standard; an impressive feat given the dramatic energy loads imposed by both climatic conditions and the project’s high-tech security features. In order to offset energy demands, DGBK originally contemplated a geo-exchange heating and cooling system. When it was determined that the system would be ineffective due to the high porosity of the glacial gravel underlying the site, the alternative of a biomass energy generator fuelled by highefficiency wood pellets was selected. Other LEED features include low-voltage lighting, in-floor hydronic radiant heating and cooling, and displacement ventilation. In its ability to successfully navigate Whitehorse’s complex social and climatic environment, the WCC outlines a positive trajectory for incarceration in the North. Where the design struggles to fully satisfy its promises however, is at the junction between symbolism and materiality.

The two-storey gathering space is intended to bring family members into the Centre as participants in solstice celebrations, smudgings and other cultural events. The facility also includes consultation spaces for elders to assist with programs and a separate kitchen for preparing traditional dishes for ceremonies. above, CLOCKWISE FROM TOP LEFT Outdoor recreational spaces adjoin each pod of inmate living units; the healing room uses curved wood beams to evoke the form of a Yukon Prairie Crocus, one of the first flowers to bloom in the spring; secure windows allow the walls of the healing room to be awash with natural light; a view of the recreational courtyards from the exterior of the facility. opposite

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Level 2 SECOND LEVEL 1 upper lobby 2 living unit 3 gathering space below 4 mechanical/electrical 5 visits 6 staff break room

above Adjacent to the main facility, the Transitional Women’s Living Unit is a medium-security correctional centre for nine female inmates. Inmates prepare their own meals and are allowed to walk about on their own within the secure perimeter surrounding the residentialstyle building.

7 fitness 8 lockers 9 admin/records 10 conference 11 reception

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References to nature—through organic forms, daylighting and wood accents—supplant direct experiences with nature. Perhaps it’s a noble ambition that is extremely difficult to achieve in a high-security facility. It does not diminish from the facility’s sensitivity to both inmate support and traditional practices. The designs of the Healing Room and amenity spaces in particular point back towards First Nations’ traditional Healing Circles, which prioritize integrated forms of justice. Overall, in its updated programmatic design and special attention focused on the rehabilitative needs of First Nation peoples, the WCC encouragingly gestures toward a new healthier paradigm for correctional facilities across Canada.

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Alan MacDiarmid is a graduate student at the University of Waterloo School of Architecture. He has previously worked with architectural practices in New York, London, Barcelona and Whitehorse. 2 Client Yukon Territorial Government | architect team Greg Dowling, Jack Kobayashi, Ron Dies, Konhee Ho, Roger Green, Walter Dales, Hamish Boa, Kristin Schreiner, Justine Copestake, Frank Dalley | Structural Bush Bohlman and Partners | HVAC Douglas Spratt and Associates Ltd | plumbing and fire protection Northern Climate Engineering | electrical Genivar with Doward Engineering | interiors DGBK Architects | contractor Dominion Kwanlin Dün Joint Venture | Corrections Consultant Jug Island Consulting | BSCS Engineer REI Consulting Services Inc | Civil Quest Engineering | Leed Recollective | Area 7,350 M2 | Budget $58 M | Completion March 2012

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CROSS SECTION

Cross Section 1 living unit 2 segregation

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one piece at a time TEXT

Bill Semple Latreille Delage Photography

Photos

housing designs for the north must address a complex set of issues—from transportation logistics to the distinct cultural needs of first nations communities and capital city dwellers.

The list of issues to be addressed when designing in the North is considerable. The immense size of the region, the severe climate, and the shortage of skilled trades and professionals all present challenges. The three Northern territories cover 3,921,739 square kilometres, representing 39.3% of the land area of Canada, an area larger than India. Within this vast region lives a population of only 110,000 people, with approximately 50,000 living in the territorial capitals of Whitehorse, Yellowknife and Iqaluit. Putting this in context, in Nunavut, outside the capital of Iqaluit, some 25,000 people are scattered in 25 communities over an area of 2,093,190 square kilometres, 20.4% of Canada’s land mass. Given these large distances, the challenges of transportation and the delivery of goods and services are often the first considerations for archi-

Above Designed by Kobayashi + Zedda Architects, River’s Edge combines 12 residential and 20 commercial units. Situated on one of Whitehorse’s last remaining waterfront parcels, the development offers an urban alternative to suburban housing.

tects working in the region. In Nunavut, for example, where there are no roads outside the communities, all materials arrive by way of the annual sealift. As a result, the design process is often governed by the need to complete working drawings and material takeoffs to ensure that materials are delivered to a specific transport ship in time. Missing this shipment would mean missing a year of construction, while miscalculating and leaving anything off the list may require shipping the materials by air—an expense every Northern project wants to avoid. Similarly, the timeline for working in remote Northwest Territories communities that are supplied on winter ice roads is heavily influenced by the short ice-road season. While climate change is lengthening the season for the annual sealift, rising global temperatures are predicted

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report

metal roof deck w/preformed closure flashing 1x4 smart trim

air barrier vapour barrier 1x4 smart trim

flashing 1x6 window casing (finger-jointed pine)

window w/ argonfilled triple glazing and insulated fibreglass frame

1x3 mdf trim (typical)

arviat northern sustainable house—roof/window assembly (north-facing)

smart panel siding air barrier sheathing 2x6 exterior wall (24΄΄ O.C.) w/6΄΄ roxul insulation (R22) 2x2 horizontal strapping (24΄΄ O.C.) w/ 1.5΄΄ semi-rigid insulation (r7.5)

adhesive for v.b.

vapour barrier 2x4 interior wall (24΄΄ o.c.) 2/4΄΄ roxul insulation (r16) 1/2΄΄ drywall

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extend smart panel to create typical drip feature

arviat northern house—floor 5 9 6 (north-facing) 6 8 sustainable 10 assembly

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wind porch 7 sewing room (partially foyer heated to 2-5°C) dining room/living room 8 storage (unheated) kitchen 9 mechanical bathroom 10 sea lift bedroom 11 roof line

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to reduce winter road access in Canada’s Arctic by 13 percent by 2050, presenting a significant challenge that has already impacted some communities. The need to reduce Northern communities’ complete dependency on imported oil—currently used for both home heating and the generation of electricity in community diesel power plants—is also paramount. This involves building upon the significant efforts made over the past several years towards improving the energy efficiency of buildings, while also developing and implementing alternative energy technologies, and increasing the skills and capacities of Northern communities to address and manage these ongoing challenges. Perhaps the most crucial issue in the Arctic and Subarctic is that of housing. Numerous studies have drawn attention to the inadequate supply, poor-quality construction, and the design of housing that neither addresses the rigorous climate of the Canadian Far North nor the cultural realities of its Aboriginal peoples. Andy Moorhouse, President of the Kativik Municipal Housing Bureau notes, “Housing is not the only issue [for Northern communities], but all issues relate to housing.” As Yellowknife architect Gino Pin writes, “The transition from the basic nomadic settlement (a coming together of family), to the contemporary settlement (orchestrated by the planner), has not been a success.” The national significance of this issue was highlighted in a recent UN report on housing in Canada’s North that emphasized the need to design and construct sustainable and culturally appropriate housing, and develop innovative ways to involve Inuit and First Nations in the design process. Several housing projects have successfully addressed the combined issues of energy efficiency and cultural appropriateness. Starting in 2005, the Canada Mortgage and Housing Corporation (CMHC), under its Northern Sustainable House initiative, began working with local communities and territorial housing agencies to develop one housing prototype in each of the three Northern territories. Technically, the projects delivered significant energy-efficiency improvements over existing housing while incorporating input from local officials, builders, elders, women and young people through the design process. It is noteworthy that the projects built upon each other, with the energy performance of each subsequent project improving upon the previous,

opposite A shipment of insulation board lands at Old Crow, Yukon. The community has no access apart from an airport and temporary winter road. left Kobayashi + Zedda Architects designed Bling Urban Dwellings to combine townhouses with ground-level access, walk-up units, and penthouse suites. The project is six times as dense as the typical Whitehorse site. Above The urban-style units are all oriented to the south to maximize daylight and views to the city and to Golden Horn Mountain beyond.

resulting in EnerGuide ratings from 83 to 88. As a CMHC senior researcher at the time, I was involved in the design and implementation of each of the three projects. This included the Arviat Northern Sustainable House, a project carried out by the Nunavut Housing Corporation and CMHC in Arviat, an Inuit community on the west coast of Hudson Bay. The project began with a one-day design charrette that, in addressing the needs of the community, evolved into a three-day event. Drawing upon both input from local residents and research that has been carried out in Northern communities, the charrette identified many of the failings of Northern housing, while also highlighting some of the unique cultural requirements of Inuit families. For example, while typical houses provide small kitchens with small separate dining areas, the Arviat Northern Sustainable House includes a sizeable open-concept living/dining and kitchen area, provided to make space for large family gatherings, which often take the form of elaborate communal meals eaten while seated on the floor. Reflecting the desire to reinforce family connections, hallways are eliminated, with bedrooms opening directly into the main family space. The compact floor plate includes other spaces considered crucial to the local lifestyle: a partially heated room for sewing skins and preparing game brought in from the land, an exterior cold room for storing hunting and outdoor gear, and a room for storing bulk goods delivered in the annual sealift. The house includes summer and winter entrances, with the main entrance located based on wind direction to prevent snow drifts. To reach energy performance targets, the design includes a low roof profile with limited openings, locates most windows on the extended south elevation (where space is provided for the future installation of solar panels), and provides an airtight energy-efficient envelope, vestibules at each of the entrances, and a high-efficiency oil boiler with heat recovery. With the ever-changing face of the North, notions of culture are also changing. This is reflected in new housing projects in the capitals, where almost half of Northerners now live. The “Northern way of life” is different in the territorial capitals, and Northern architects are exploring distinct ideas in these communities. For instance, Kobayashi + Zedda Architects (KZA) recognized that for Whitehorse to evolve and attract more urban amenities, it would

need to increase its density. To accomplish this shift, more examples of multi-unit housing should be built. Becoming their own developer, the architects constructed a series of condominium projects that cater to a growing segment of the market that is younger, urban and educated. Unlike many of the Whitehorse suburbs, which are structured for homeowners to access a maximum of acreage and enjoy seclusion from neighbours, these “Northern condominiums” cater to those who want low-maintenance urban housing that allows them to spend weekends out in the great wilderness of the Yukon. Reflecting this different philosophy, the complexes are contemporary in design, using a combination of Scandanavian-like materials and colours. The variety of sizes and types of units has made a notable positive contribution to the urban fabric of Whitehorse. While enhancing sustainability is a major goal throughout the country, in the North this challenge always includes cultural sustainability, a component that is seldom part of parallel discussions in southern Canada. The Canadian North is a unique part of the world, home to many different peoples whose cultures form integral and evolving parts of the Northern way of life. Young Aboriginal Northerners—a large and growing population segment—are working to honour their traditions while incorporating contemporary values and influences into their way of life. As the late Chief Jimmy Bruneau of NWT’s Tlicho people once stated, “If we are to remain a strong people we must educate our children and grandchildren in both the white and the Tlicho ways. They must be strong like two people.” Capital city dwellers, on the other hand, have a distinct set of desires that will keep on evolving as development of the North continues. For architects, it is these multiple rich realities that make designing in the North an intriguing, fulfilling and challenging experience. For 10 years Bill Semple was CMHC’s senior researcher responsible for Northern housing projects. He is now the owner of NORDEC Design and Consulting, and works with Northern stakeholders to enhance the environmental and cultural sustainability of their communities. Bill sits on several design and technical committees including the Board of Directors of the Cold Climate Housing Research Center (CCHRC) in Fairbanks, Alaska, and the Steering Committee of the Incubator for Northern Design and Innovation (INDI) at the University of Alberta.

canadian architect 04/14

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Faria Ahmed 416-510-6808 Canadian Architect 80 Valleybrook Dr Toronto, ON M3B 2S9 www.canadianarchitect.com

Mike Nelson: Amnesiac Hide January 31-May 19, 2014

This exhibition at the Power Plant Contemporary Gallery in Toronto by renowned British artist Mike Nelson features new site-specific work that dramatically transforms the gallery’s space to explore ideas of travel, the road trip and the journey. A Terrible Beauty: Edward Burtynsky March 1-May 26, 2014

The Vancouver Art Gallery features 44 photographs by acclaimed Canadian artist Edward Burtynsky, highlighting his most captivating images of natural and manmade landscape that reflect the impressive reach of human enterprise. www.vanartgallery.bc.ca

2014 Canadian Society of Landscape Architects Awards of Excellence

Around 1914: Design in a New Age March 29, 2014-March 21, 2015

This exhibition at the Royal Ontario Museum includes over 100 objects from the era’s key designers and critically and historically renowned craftsmen, including Christopher Dresser, Charles Rennie Mackintosh, Frank Lloyd Wright, Emile Gallé, Carlo Bugatti, Georg Jensen, Otto Wagner and Josef Hoffmann. www.rom.on.ca

London’s Growing…Up! April 3-June 12, 2014

Through the use of images, video, models, CGIs and visitor interaction, this exhibition at the Building Centre in London, UK presents a past, present and future view of the city’s skyline as the capital’s developers focus on building upwards, not outwards. www.newlondonarchitecture.org/ exhibition.php?id=593

March 10-April 21, 2014

Taking place at the ARCH 2 Gallery at the University of Manitoba Faculty of Architecture, this exhibition features the winning projects from the 2014 Canadian Society of Landscape Architects Awards of Excellence. Gesamtkunstwerk March 22-May 19, 2014

This curated exhibition is an unprecedented look into architectural creativity in action—the thinking behind the Vancouver House project designed by the Bjarke Ingels Group, a creative synthesis of art, architecture, interiors, urbanism and energy with public-mindedness. www.gwerk.ca

Building Healthy Cities for the 21st Century April 9-11, 2014

Building healthy communities that meet the shifting needs and preferences of different generations, accommodate new economic drivers, and which are more resilient to environmental changes will be the key focus of the Urban Land Institute’s 2014 spring meeting at the Vancouver Convention Centre. http://spring.uli.org/category/ program-track/vancouver-story

Architecture + Photography April 12-May 26, 2014

This exhibition at the Heinz Architectural Center in Pittsburgh

features an array of works from its own photography collection, demonstrating the wonderfully rich symbiosis between architecture and photography. www.cmoa.org/ExhibitionDetail. aspx?id=21492

Robert McCarter lecture April 17, 2014

Architect and historian Robert McCarter lectures at 7:00pm in Auditorium HA19 at Dalhousie University. http://architectureandplanning. dal.ca/current_events/lecture_ series_2014_winter.jpg

Architecture for the Internet of Things April 22, 2014

Taking place at 7:00pm at the North York Central Library, Rodolphe el-Khoury of the University of Toronto’s Faculty of Architecture, Landscape and Design describes a not-too-distant future in which our homes, workplaces, and the objects within them will all be wirelessly connected, intelligent and responsive. www.torontopubliclibrary.ca

2nd Building Integrated PV Symposium April 24, 2014

This event at the Allstream Centre in Toronto allows the solar and building industries to jointly explore the opportunities for building integrated PV (BIPV) in Canada—an exciting approach to generating on-site renewable energy that can be used to facilitate the transition towards more energy-self-sufficient or even energy-producing buildings. inga.ebert@germanchamber.ca

London Architecture Series

responses to landscape and place across a broad range of creative practices, and features 26 new projects symbiotically connected to tell stories about water, memory, urbanism, natural process, public space, everyday materiality, hunting, urbanism and rural food economies. www.gladstonehotel.com/spaces/ gladstone-grow-op/

OCAD University Graduate Exhibition May 1-4, 2014

OCAD University’s class of 2014, an eclectic mix of more than 600 graduating students working in 12 undergraduate programs, present their final thesis work to an audience of more than 24,500 guests. www.ocadu.ca/gradex

Banff Session 2014: Beyond Boundaries May 2-3, 2014

Held every two years in Banff, this conference provides an opportunity for those involved in the practice of architecture and interior design to discuss their work, ideas, beliefs and attitudes in an arena of open dialogue, in a unique context unencumbered by the everyday pressures and activities of the workplace. www.banffsession.ca

Delivering Change on the Ground: Guelph Urban Design Summit May 5-6, 2014

This two-part event focuses on mixed-use and high-density development in successful citybuilding, and features speakers David Miller, Andrew Howard, Ric Young, Joe Minicozzi, Helena Grdadolnik and Tim Smith. www.guelph.ca/urbandesignsummit

April 24, 2014

Meg Graham, cofounder of Superkül Architects in Toronto, speaks at this series—a partnership between the London Society of Architects and Museum London that promotes and explores the practice of architecture locally and across the nation. www.lsaoaa.com

17th Annual Alberta Sustainable Building Symposium May 6, 2014

Hosted by the Alberta Chapter of the Canada Green Building Council, this Calgary event offers AEC professionals national and international trends in sustainable design. www.asbs2014.ca

Gladstone Grow Op 2014 April 24-27, 2014

This exhibition at Toronto’s Gladstone Hotel celebrates innovative ideas and conceptual

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

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Northern Exposure Text

Pamela Ritchot

Canada’s pavilion at the 2014 Venice Biennale showcases the architecture of Nunavut 15 years after its founding—and speculates on what the territory might become 15 years from now. Beginning June 7, 2014, Venice hosts its 14th Architecture Biennale. The six-month exhibit showcases buildings through large-scale installations and exhibitions from 40 countries. Curated by Rem Koolhaas, this year’s Biennale carries the theme Fundamentals: Absorbing Modernity 1914-2014. It aims to critically examine Modernism by focusing on basic building elements and strategies—a shift for an event that has come to be known for celebrating singular architects’ creative might. Koolhaas challenges the national pavilion curators to ask: how has their country’s architecture subsumed—or withstood—the international language of the Modern movement over the past century? Lateral Office’s Lola Sheppard, Mason White and Matthew Spremulli are curating Canada’s contribution. Over the past five years, the Toronto-based firm has held a strong interest in the Canadian North, conducting research and proposing designs that contemplate architecture’s impact on Northern landscape, communities and people. Their exhibition, Arctic Adaptations: Nunavut at 15 resonates clearly with Koolhaas’s vision. Modernism has had a troubled presence in the Canadian Arctic. High Modernist fantasies have played out in concepts for Arctic new towns, exemplified by Ralph Erskine’s bunkerlike plans for Resolute Bay. Such schemes are characteristically futuristic, reliant on mythical notions of Arctic living. Actual building projects have sometimes realized these designs,

and more typically are utilitarian in nature— housing projects led by the government to manage remote communities, or industrial structures for resource development. This type of Arctic building ignores the opportunity for architecture to engage in culturally appropriate acts of placemaking for Canada’s North. Part of this comes from the unfamiliarity of the Arctic to the nation as a whole. Although we pride ourselves in being a “Nordic nation,” nearly 90% of Canadians live within 160 kilometres from our southern border. Daily life in the 25 communities that make up Nunavut is rarely considered. And yet, the country’s youngest and largest territory is experiencing vast changes and facing considerable challenges. Arctic Adaptations takes on this unknown, providing a variety of views inside this part of Canada through an architectural lens. The core of the exhibition is a series of collaborative design projects. Each reconsiders architecture’s role in one of five thematic areas: Arts, Education, Health, Housing and Recreation. The student designers, who were selected from competitions held at architecture schools across Canada, are teamed with local Nunavut organizations and architecture firms with active experience building in the North. Expertise from each team member is tapped, resulting in a series of thoughtful, critical and culturally specific architectural proposals. Dalhousie University students Anders Peacock, Caitlin Biggar and Fatima Rehman, for example, designed a performing arts centre

Above left Artist Lew Philip with his carving of St. Jude’s Cathedral, designed by Ron Thom in 1970. Above Relief models of Nunavut’s 25 communities are part of the Arctic Adaptations exhibition.

directly in the breakwater of Frobisher Bay, creating a maritime gathering space that incorporates local infrastructure. Other elements display the existing built environment in Nunavut. A photo competition took place in each of its 25 communities, asking residents to capture Nunavut from an insider’s perspective. These photos, along with intricate relief maps built from Corian, reveal fundamental realities of the Northern context. Lateral Office also commissioned six soapstone carvers to produce models of notable modern buildings in Nunavut, from the UFOlike Igloolik Research Centre to the domed St. Jude’s Cathedral. Arctic Adaptations challenges the failings of Modernism in the Arctic, restoring the agency of architecture in a region that is primed for progressive change. By revisiting the fundamental styles and systems of the past, it uncovers a timely opportunity to redefine Arctic architecture. The exhibition projects what the 15-year-old territory could become 15 years from now: a place cognizant of its past, embedded in its geography, and resonant with our future as a nation. Arctic Adaptations will be exhibited as part of the Venice Biennale from June 7 to November 23, 2014. The exhibition tours across Canada in 2015. Pamela Ritchot is an intern architect and urban designer whose design research focuses on remote regions in the Canadian Arctic and abroad.

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