aug/19 v.64 n.08
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Visitors Centres
canadian architect
august 2019 03
Olivier Blouin
04 viewpoint
Editor Elsa Lam weighs in on the controversy surrounding a proposed addition to the Château Laurier in Ottawa.
06 News
Library and Archives Canada plans net-zero carbon preservation facility; RAIC announces new Fellows.
09 RAIC Journal
Indigenous Task Force members help shape federal housing initiative; guide to 2019 Festival of Architecture in Toronto.
17 insites
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20 Pavillon d’accueil de l’Assemblée Nationale du Québec A new welcome centre, designed by Provencher_Roy + GLCRM in consortium, integrates sensitively with the historic National Assembly Building in Quebec City. TEXT Olivier Vallerand
26 DiscoverY and visitor centre of Îles-de-boucherville national park
31 passing
Brian Carter reflects on I. M. Pei’s career and the architect’s impact in Canada.
33 Calendar
Tall wood conference in Quebec City; BEA Atlantic Retreat in Saint John, New Brunswick.
34 backpage
The film City Dreamers explores the roles of four women in shaping North America’s cities. Review by Jocelyn Squires.
Adrien Williams
A pair of environmentally attuned pavilions by Smith Vigeant architectes frames the entryway to a nature reserve at Montreal’s doorstep. TEXT Odile Hénault
Peter Sealy visits the CCA’s current exhibition, Our Happy Life.
Pavillon d’accueil de l’assemblée nationale du Québec, by Provencher_Roy + GLCRM in consortium. Photo by Olivier Blouin.
COVER
v.64 n.08
26
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The National Review of Design and Practice / The Official Magazine of the RAIC
2019-07-22 10:42 AM
VIEWPOINT
ARCHITECTS ALLIANCE
CANADIAN ARCHITECT 08/19
04
LEFT A view from MacKenzie Avenue of the proposed Château Laurier addition.
CHÂTEAU LAURIER SHOWDOWN Ever since initial renderings of a proposed addition to the Château Laurier were released in 2016, there has been public outcry against the modernist box, designed by architectsAlliance with ERA. This scrutiny has come from two camps. A number of architects and heritage advocates have argued that the design doesn’t sufficiently embody the picturesque sensibility of the 1912 hotel, and that its massing should be further explored. On the other hand, the vast majority of the opposition seems to be coming from those who oppose any modern addition outright. A petition to “block changes to the Château’s classic look” garnered over 8,000 signatures. What both groups of critics share is a deepseated concern for the future of a privately owned site with an important public presence. Like several of Canada’s château-style railway hotels, it’s a designated National Historic Site, and it’s been the site of many cherished memories—weddings, milestone anniversaries, coming-of-age ceremonies. The Château Laurier’s location raises the stakes even higher—it’s part of the postcard view of the Parliamentary escarpment, as seen from across the Ottawa River. The 16thcentury French castle aesthetic, originally chosen by the Grand Trunk Railways in keeping with a look popular for European hotels at the time, became a quasi-official national style for Canada. It’s picked up in nearby Parliamentary Precinct buildings. The proposed addition does some things well. Designed as a pavilion that closes the U-form of the hotel, it replaces a four-storey parking garage and introduces a landscaped courtyard. New green roofs will be added, swapping the current view of asphalt roofing from many hotel rooms with formal gardens. The exterior of the seven-storey addition, whose main elevation faces Major’s Hill Park, is what’s raised the most concern. The façade is composed of limestone strips, interspersed with glazing and bronze fins. Overall, the proposed building is not a masterwork, but neither
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does it seem deserving of the epithets of “monstrosity,” “carbuncle,” and worse that have been levelled at it. And yet, we have now reached a crisis point where vitriol abounds, and lawsuits threaten. What could have steered us away from this juncture? Perhaps a different approach to the design process would have been helpful. An international design competition, for instance, would have put the process in a public arena. Or, at the first hint of controversy, the City and hotel owners may have been well advised to forge strategic alliances with key influencers in the local and national design community, seeking their collaboration in shaping the design. The National Capital Commission could have taken a more active role in the design process. Staffers, largely trained as planners, lacked the architectural knowledge to guide the proposals appropriately. The Urban Design Review Panel couldn’t overhaul the form of the building in the way that locals demanded. While public consultations were held, they don’t seem to have been effective in responding to the outrage, particularly coming from social media. An alternate strategy may have been needed to ensure that Ottawans felt heard. It may be that mandated expectations—for both design and public approbation—need to be set higher for buildings such as the Château. Canada is the only G8 country that does not have federal legislation to protect its National Historic Sites. Any such moves should be backed by appropriate incentives, such as tax credits for expenses related to the rehabilitation of historic properties. It’s difficult, at this point, to fathom a happy ending to this saga. It would be a minor miracle to see a détente on all sides, with key players on the private and public sides coming together to restore good will and find a better way forward. A more modest hope is that the present public furor can be channelled into stronger policies and processes guiding the design of future buildings, in the capital city and beyond.
EDITOR ELSA LAM, FRAIC ART DIRECTOR ROY GAIOT CONTRIBUTING EDITORS ANNMARIE ADAMS, FRAIC ODILE HÉNAULT DOUGLAS MACLEOD, NCARB, MRAIC ONLINE EDITOR CHRISTIANE BEYA REGIONAL CORRESPONDENTS MONTREAL DAVID THEODORE CALGARY GRAHAM LIVESEY, MRAIC WINNIPEG LISA LANDRUM, MAA, AIA, MRAIC VANCOUVER ADELE WEDER, HON. MRAIC SUSTAINABILITY ADVISOR ANNE LISSETT, ARCHITECT AIBC, LEED BD+C VICE PRESIDENT & SENIOR PUBLISHER STEVE WILSON 416-441-2085 x105 SALES MANAGER FARIA AHMED 416-441-2085 x106 CUSTOMER SERVICE / PRODUCTION LAURA MOFFATT 416-441-2085 x104 CIRCULATION CIRCULATION@CANADIANARCHITECT.COM PRESIDENT OF IQ BUSINESS MEDIA INC. ALEX PAPANOU HEAD OFFICE 101 DUNCAN MILL ROAD, SUITE 302 TORONTO, ON M3B 1Z3 TELEPHONE 416-441-2085 E-MAIL info@canadianarchitect.com WEBSITE www.canadianarchitect.com Canadian Architect is published monthly by iQ Business Media Inc.. 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: $54.95 plus applicable taxes for one year; $87.95 plus applicable taxes for two years (HST – #80456 2965 RT0001). Price per single copy: $15.00. USA: $135.95 USD for one year. International: $205.95 USD per year. Single copy for USA: $20.00 USD; International: $30.00 USD. Return undeliverable Canadian addresses to: Circulation Dept., Canadian Architect, 101 Duncan Mill Road, Suite 302 Toronto, ON M3B 1Z3. Postmaster: please forward forms 29B and 67B to 101 Duncan Mill Road, Suite 302 Toronto, ON M3B 1Z3. 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 416-441-2085 x104 E-mail circulation@canadianarchitect.com Mail Circulation, 101 Duncan Mill Road, Suite 302, Toronto, ON M3B 1Z3 MEMBER OF THE CANADIAN BUSINESS PRESS MEMBER OF THE ALLIANCE FOR AUDITED MEDIA PUBLICATIONS MAIL AGREEMENT #43096012 ISSN 1923-3353 (ONLINE) ISSN 0008-2872 (PRINT)
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news
Projects Library and Archives Canada unveils plans for net-zero carbon preservation centre
Library and Archives Canada and the Plenary Properties Gatineau (PPG) consortium have revealed the design of a second preservation centre in Gatineau, Quebec. The new building will be located directly behind the current Preservation Centre. The space will be the first net-zero carbon facility dedicated to archival preservation in the Americas, and the first federal building constructed to the requirements of Canada’s Greening Government Strategy. It will also be the world’s largest preservation facility equipped with a high-tech automated archive storage and retrieval system. The consortium responsible for the project includes B+H A rchitects, PCL Constructors, and ENGIE Services. Construction of the new preservation facility, optimization of the current Preservation Centre vaults, and project funding will cost approximately $330 million. Construction will begin in 2019, with the building expected to open in 2022. www.bac-lac.gc.ca
Humber Retrofit achieves zero carbon certification
Humber College’s retrofitted NX building has been awarded the Zero Carbon Building Design Certification by the Canada Green Building Council, making it the first retrofit in Canada to achieve this certification. A zero-carbon building is highly energy efficient and offsets its annual carbon emissions using clean renewable energy.
Renovations to the 4,484-square-metre NX building, built in 1989, were designed by B+H Architects and are scheduled for completion this summer. The work includes a complete envelope retrofit, energy-efficient upgrades to the lighting, heating and cooling systems, and a new 25kW photovoltaic system. The design was guided by Humber’s Integrated Energy Master Plan vision. www.cagbc.org
Awards Canadian firms win AIA awards
Two Canadian architecture firms have won awards in the American Institute of Architects (AIA)’s annual awards program. Hariri Pontarini Architects won an AIA Award for Architecture for Casey House, a healthcare facility in Toronto, and Looney Ricks Kiss, in association with Canadian firm DIALOG, were recognized for the Crosstown Concourse project in Memphis, Tennessee. The projects were among nine awards given by the five-member jury for the 2019 cycle. “We are very pleased that Crosstown Concourse has received the AIA Award for Architecture. This project was focussed on communal design and social interaction, and has proven to be truly transformative for this part of Memphis. It is heartening to receive recognition for design that truly changes people’s lives in profound ways,” says Alan Boniface of DIALOG. The award program celebrates the best contemporary architecture by projects that demonstrate the ways buildings and spaces have the ability to improve lives. www.aia.org
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What’s New Architectural practitioners named to the Order of Canada
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Donald Schmitt, principal of Diamond Schmitt Architects, and Raymond Cole, former director of UBC’s School of Architecture and Landscape Architecture, have beeen appointed to the Order of Canada. Donald Schmitt’s citation commends the architect “for his rehabilitation of iconic heritage buildings and for his sustainable architectural designs.” Schmitt’s work includes the high-rise laboratories of The Peter Gilgan Centre for Research and Learning at SickKids in Toronto; the new campus of Emily Carr University of Art + Design in Vancouver; and the collaborative academic environment of Lazaridis Hall at Wilfrid Laurier University in Waterloo, Ontario. Raymond Cole’s citation commends the educator “for his skilful pairing of architecture and environmental sustainability, and for his leadership in the field.” Cole is known for his teaching on environmental issues, regenerative design, and environmental performance in building design. Cole was a co-founder of the Green Building Challenge, an international collaborative effort to benchmark progress in green building performance. www.gg.ca
RAIC announces 2019 Fellows
The Royal Architectural Institute of Canada (RAIC) has announced the 2019 appointees to its College of Fellows. Fellowship is bestowed to RAIC members in recognition of outstanding achievement in design excellence, exceptional scholarly contribution, or distinguished service to the profession or the community. The new fellows are: Robert Allen, Mark Berest, Brian Bertrand, Robert J. Boraks, Sydney Elizabeth Browne, Michel Broz, Bruce Carscadden, Jerry Chlebowski, Roland Rom Colthoff, Chris Couse, Jennifer Cutbill, Donna Dolan, Paul Dolan, Paul George Dowsett, Patrick B. Fejér, Andrew Bernard Filarski, Graham Fligg, Robert Freedman, Drew Hauser, Kathleen Kurtin, Lisa Landrum, Ron LeLievre, Graham Livesey, Rocco Maragna, Erich Marosi, Chris McQuillan, Barbara Miszkiel, Craig William Mosher, Emilio Raimondo, Verne Reimer, Patrick Saavedra, John Warren Scott, Elizabeth Songer, Reno Soucy, David Stavros, Mark Sterling, Richard Lyle Stevens, Peggy Theodore, Megan Torza, Emmanuelle van Rutten, and Edward (Ted) Kerry Watson. Fellows will be inducted at a convocation ceremony during the annual RAIC Festival of Architecture, which takes place in Toronto from October 26 to 30. www.raic.org
MemorandA Canadian Architect Awards of Excellence open for entries
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Canadian Architect’s annual, peer-juried competition for future and in-progress projects is now open. This year’s edition includes an architectural photography competition. Entries are due September 12. www.canadianarchitect.com
LafargeHolcim Awards open for entries
The LafargeHolcim Awards for Sustainable Construction are open for entries until February 25, 2020. The program seeks leading projects from professionals, and design ideas from students and recent graduates.
PHONE: 416-219-3555 EMAIL: CANADA@FCSI.ORG
www.lafargeholcim-foundation.org
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CANADIAN ARCHITECT INVITES ARCHITECTS AND pHoTogRApHERS To ENTER THE 2019 AwARDS of ExCEllENCE
Now opeN for eNtries
Deadline: September 12th, 2019 at midnight Architecture project entry fee: $175 * Architectural photo entry fee: $75 * Since 1967, our annual national awards program recognizes the architectural excellence of projects in the design phase. If you are a Canadian architect or architectural graduate with a project scheduled for construction or under construction, you are eligible to enter. Submissions will be accepted in PDF format, up to 12 pages with dimensions no greater than 11� x 17�. Total file size is not to exceed 25MB. There is also the option to submit a video up to two minutes in length. This year, we are also presenting the second edition of the Canadian Architect photo Awards of Excellence, open to professional and amateur architectural photographers with recent images of Canadian buildings. winners of the architectural project and architectural photo competitions will be published in a special issue of Canadian Architect in December 2019. for more details and to submit your entry, visit:
www.canadianarchitect.com/awards * pluS ApplICAblE TAxES
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Briefs En bref The 2019 Festival of Architecture takes place in Toronto from October 25 to 30. Register by September 30 for best pricing at festival2019.raic.org. Le Festival d’architecture 2019 se tient à Toronto du 25 au 30 octobre. Inscrivez-vous avant le 30 septembre pour profiter des meilleurs prix! festival2019.raic.org. Be part of the excitement in Toronto on October 25 at the RAIC International Prize Gala when one of three shortlisted projects from Senegal, Chile, and Peru wins the $100,000 prize for transformative architecture. Secure your tickets at festival2019. raic.org. Soyez des nôtres à Toronto, le 25 octobre, au Gala du Prix international de l’IRAC lorsque l’effervescence atteindra son paroxysme et que l’un des trois projets finalistes du Sénégal, du Chili et du Pérou sera déclaré gagnant du prix de 100 000 $ pour de l’architecture transformatrice. Réservez vos billets à festival2019.raic.org. POP // CAN // CRIT 2019: Education and Emergence of Architects in Canada will be held on October 26 at the Design Exchange in Toronto. The day-long symposium brings together architects, academics, and advocacy organizations to discuss architectural education and internship in Canada. Register at festival2019.raic.org/pop-can-crit-2019. POP // CAN // CRIT 2019: Education and Emergence of Architects in Canada aura lieu le 26 octobre au Design Exchange de Toronto. Le symposium d’une journée réunit des architectes, des universitaires et des organisations de défense des intérêts pour discuter de formation et de stage en architecture au Canada. Inscription : festival2019.raic.org/ pop-can-crit-2019. RAIC regional chapters are now on social media. Follow the British Columbia Chapter on Facebook and Twitter @raicbc. Follow the Alberta Chapter on Facebook and Twitter @raicalberta. Les sections régionales de l’IRAC sont maintenant sur les réseaux sociaux. Suivez la section de la Colombie-Britannique sur Facebook et Twitter @raicbc. Suivez celle de l’Alberta sur Facebook et Twitter @raicalberta.
The RAIC is the leading voice for excellence in the built environment in Canada, demonstrating how design enhances the quality of life, while addressing important issues of society through responsible architecture. www.raic.org L’IRAC est le principal porte-parole en faveur de l’excellence du cadre bâti au Canada. Il démontre comment la conception améliore la qualité de vie tout en tenant compte d’importants enjeux sociétaux par la voie d’une architecture responsable. www.raic.org/fr
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Building Equality in Architecture (BEA) Atlantic was publicly launched at the 2018 RAIC Festival in Saint John, New Brunswick. Le lancement public de Bâtir l’égalité en architecture – Atlantique a eu lieu dans le cadre du Festival 2018 de l’IRAC à Saint John, NouveauBrunswick.
Maria Cook Editor, RAIC Journal Rédactrice en chef, Journal de l’IRAC
As advocates for better communities, architects bring valuable skills to the table, including problem-solving, managing projects, and making ideas visible. In some instances, architects also offer a specialized knowledge of communities. This issue of the RAIC Journal recounts a milestone example of advocacy by members of the RAIC Indigenous Task Force who were invited by the federal government to help design its new Indigenous Home Innovation Initiative. The opportunity to influence the shape of a government program is a significant event, both for the task force, and the ongoing efforts of the RAIC to advocate nationally for the profession and the built environment.
ses, notamment en matière de résolution de problèmes, de gestion de projets et de concrétisation des idées. Dans certains cas, ils offrent également une connaissance spécialisée des communautés. Ce numéro du Journal de l’IRAC présente un exemple marquant de mobilisation des membres du Groupe de travail autochtone de l’IRAC qui ont été invités par le gouvernement fédéral à contribuer à la conception de sa nouvelle Initiative d’innovation pour la construction de logements dans les communautés autochtones. La possibilité d’influencer la forme d’un programme gouvernemental est un événement important pour le groupe de travail, mais aussi pour l’IRAC qui déploie des efforts constants pour plaider en faveur de la profession et du cadre bâti sur la scène nationale.
Thank you for reading the RAIC Journal. Please send your feedback and ideas to mcook@raic.org
Vous trouverez également dans ce numéro un guide succinct du Festival d’architecture de l’IRAC 2019 qui se déroule du 25 au 30 octobre à Toronto. Au programme : plus de 20 séances de formation, six plénières, 16 visites guidées, 55 conférenciers, des activités de réseautage, des fêtes, un salon professionnel, et plus encore. Inscrivez-vous avant le 30 septembre pour profiter des meilleurs tarifs. Ne ratez pas le gala du Prix international de l’IRAC, le 25 octobre! Il n’en coûte que 1 600 $ pour une table de huit. C’est une soirée inspirante à partager avec des amis, des collègues, des clients ou des étudiants.
Dans leur plaidoyer en faveur de l’amélioration des communautés, les architectes apportent des compétences précieu-
Merci de lire le Journal de l’IRAC. N’hésitez pas à nous faire part de vos commentaires et de vos idées à mcook@raic.org
Also, in this issue, your clip-and-save guide to the 2019 RAIC Festival of Architecture taking place from October 25 to 30 in Toronto. It features more than 20 sessions, six plenaries, 16 tours, 55 speakers, networking events, parties, a trade show, and more. Register before September 30 for the best price. And don’t miss the RAIC International Prize gala on October 25 – only $1,600 for a table of eight. It’s an inspiring evening to share with friends, colleagues, clients, or students.
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RAIC Journal
Journal de l’IRAC
George Pierce
Indigenous Task Force helps shape federal housing initiative Des membres du Groupe de travail autochtone contribuent à la conception d’une initiative fédérale en matière de logement
Maria Cook Editor, RAIC Journal Rédactrice en chef, Journal de l’IRAC
When the federal government wanted help in designing its new Indigenous Homes Innovation Initiative, it turned to members of the RAIC Indigenous Task Force. “This is a new way of doing business,” says task force chair Dr. Luugigyoo Patrick Stewart, MRAIC. “They’re reaching out. It’s exciting because we’ve never been invited before.” In April 2019, the federal government announced that it was accepting submissions from Indigenous applicants for the $36-million Indigenous Homes Innovation Initiative. The initiative is seeking innovative ideas to improve housing in rural, urban, or remote Indigenous communities. It will fund the development of ideas and construction of the chosen projects. Several members of the task force served as technical advisors to the steering committee that oversaw the design of the initiative and will select projects to be developed. The steering committee is comprised of First Nations, Inuit, and Métis Nation housing experts. The RAIC Indigenous Task Force launched in 2016 to promote Indigenous architecture in Canada and advocate alongside communities. Its 25 current members include architects, designers, academics, interns, and students. “Honestly, $36-million is not a lot of money when it comes to the housing crisis in our Indigenous communities,” says task force member Rachelle Lemieux, MRAIC. “However, taking time to look at the larger issues is
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a big step for the government. We cannot continue to go on building cheap houses that do not last and that do not reflect any of the communities in which they are located.” The Indigenous Homes Innovation Initiative is a partnership between Indigenous Services Canada, Infrastructure Canada, and the Privy Council Office’s Impact and Innovation Unit. “Typically, in the past, a ministry like Indigenous Services Canada […] would have their in-house policy people in Ottawa dream up a program and roll it out,” says Stewart, a Vancouver architect and adjunct professor at the McEwen School of Architecture at Laurentian University in Sudbury, Ontario. In contrast, he says, “‘Having this initiative be an open call for ideas has so much promise.” In October 2018, Lemieux, MRAIC, and task force member Ryan Gorrie, MRAIC, both Winnipeg architects, met with Indigenous Services Canada staff to share values they hoped would be considered. Lemieux and Gorrie favoured projects that were community-led, sustainable, culturally appropriate, and built with local materials and labour. They wanted all communities that applied to receive equal consideration, not just those with money. They highlighted the critical role that Indigenous architects, engineers, and designers can play in the process. “We expressed apprehension about cookie-cutter ideas over vetting designs and concepts through a community,” says Lemieux, who also provided a list of contacts valuable to the discussion. “I tried to ensure I gave a voice to the communities,
and that the government and steering committee understood the urgency of the issue,” she says. Task force members met with the steering committee last January in Ottawa, and February in Winnipeg. David Fortin, MRAIC, of the task force, said that their participation shifted the direction of the initiative, which began as a competition-based proposal call awarding $30 million for 15 buildable projects. It now includes a $6-million fund called an Accelerator to refine proposals that are not fully developed, and secure partners or services that are needed to succeed. The mentoring and technical guidance stage will be followed by $30 million for the construction of 15 to 24 of the projects.
Dave Pranteau Aboriginal Children’s Village (2013) in Vancouver is an example of innovative housing offering stability to youth in care. The architect, Patrick Stewart, grew up in foster homes. Le village pour enfants autochtones Dave Pranteau (2013) à Vancouver est un exemple de logement innovateur offrant une stabilité aux jeunes pris en charge. L’architecte, Patrick Stewart, a lui-même grandi dans des familles d’accueil.
“What I found interesting was the transformation of how the project was first announced to where it is now,” says Fortin, director of the McEwen School of Architecture. Indigenous Task Force chair Dr. Luugigyoo Patrick Stewart, MRAIC. Le président du Groupe de travail autochtone, Luugigyoo Patrick Stewart, Ph. D., MRAIC.
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Indigenous Task Force member Rachelle Lemieux, MRAIC.
“I sensed a definitive attempt to listen to our recommendations,” says Fortin. “Changing the attitude of the initiative—from a competition-based prize to a seed fund to develop appropriate systems that might address problems more successfully—has made the project much better.” Todd Keesey, Manager of Innovation and Infrastructure in the Community Infrastructure Branch of Indigenous Services Canada, agrees that the task force’s recommendation to devote funds to the pre-development of ideas had an impact. Other examples of their input included a recommendation to publish criteria for the assessment of ideas. “The task force members combined technical knowledge and the experience of working day-to-day in communities to give guidance to the steering committee,” says Keesey. “As architects, they were able to provide recommendations on the timing, complexity, and resources needed to develop projects. And as Indigenous people, they shared their views on what does or does not constitute Indigenous philosophy,” he says. “They presented on how housing is part of a broader community system, and innovation should reflect the interconnectedness of housing within the community,” he says. “They spoke about the importance of engaging a community in the design and construction of a home so that they see themselves reflected in it.” Others at the meetings included government employees, elders, scholars, and representatives of both philanthropic and advocacy groups. “We were the only architects in the room,” says Stewart. Adds Keesey: “We hope to continue working with the task force to have their technical advice on proposals we receive and to mentor individual participants that we screen into the Accelerator.” The Initiative invited submissions by Indigenous applicants for projects serving rural, urban or remote First Nation, Inuit, or Métis Nation communities, by August 1, 2019.
“People are sick, mentally and physically, because they are living in sick homes. This needs to be addressed and changed! “
• Culturally-inspired urban spaces; • Safety, security, and accessibility; • Energy independence and efficiency. “By putting better outcomes for Indigenous Canadians at the beginning of the conversation—focusing not just on housing itself, but education and skills development, employment and health outcomes—we are supporting Indigenous communities in developing holistic solutions that meet their needs and priorities,” says Julie Greene, of the Impact and Innovation Unit of the Privy Council Office. “There are still constraints and limits, but if we can get money into a community to build something that will help them, I’m all for it,” says Stewart. “First Nations are now having a say in the definition of a program which we never had before,” he says. “We are having input into policy and program direction, and that’s a good thing. We are advocating for real change at the community level. That is what we see our job to be. It will be the communities themselves that will be the beneficiaries”. Lorsque le gouvernement fédéral a voulu de l’aide pour concevoir sa nouvelle Initiative d’innovation pour la construction de logements dans les communautés autochtones, il s’est tourné vers les membres du Groupe de travail autochtone de l’IRAC.
It supports innovative housing ideas that fall under six focus areas:
« C’est une nouvelle façon de faire les choses », souligne le président de ce groupe de travail, Luugigyoo Patrick Stewart, Ph. D., MRAIC. « Le gouvernement s’efforce d’établir le dialogue. C’est intéressant, parce que n’avions jamais reçu une telle invitation auparavant. »
• Traditional First Nations, Inuit or Métis Nation building styles and techniques; • Using the home for empowerment, capacity building, and support for local businesses; • Support for vulnerable populations;
En avril 2019, le gouvernement fédéral a annoncé qu’il acceptait les candidatures de demandeurs autochtones pour l’Initiative d’innovation pour la construction de logements dans les communautés autochtones dotée
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Rachelle Lemieux, MRAIC, membre du Groupe de travail autochtone. « Les gens sont malades, mentalement et physiquement, parce qu’ils vivent dans des maisons malsaines. Il faut corriger et changer cette situation! »
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d’un budget de 36 millions $. L’initiative sollicite des idées novatrices pour améliorer le logement dans les communautés autochtones en régions rurales, urbaines ou éloignées. Elle financera le développement des idées et la construction des projets sélectionnés. Plusieurs membres du groupe de travail ont agi comme conseillers techniques auprès du comité d’orientation qui a supervisé la conception de l’initiative et qui sélectionnera les projets à réaliser. Ce comité d’orientation est formé d’experts en logement des Premières Nations, des Inuits et de la Nation métisse. Le Groupe de travail autochtone de l’IRAC a été créé en 2016 pour promouvoir l’architecture autochtone au Canada et plaider aux côtés des communautés. Il compte actuellement 25 membres qui sont des architectes, des designers, des universitaires, des stagiaires et des étudiants. « Honnêtement, 36 millions $, ce n’est pas beaucoup d’argent lorsqu’il est question de lutter contre la crise du logement dans nos communautés autochtones », souligne pour sa part Rachelle Lemieux, MRAIC, membre du groupe de travail. « Toutefois, c’est un grand pas pour le gouvernement qui prend ainsi le temps de se pencher sur des questions de plus vaste portée. Nous ne pouvons pas continuer à construire des maisons de piètre qualité qui ne durent pas et qui ne reflètent aucune des communautés dans lesquelles elles sont situées. » L’Initiative d’innovation pour la construction de logements dans les communautés autochtones est un partenariat entre Services aux Autochtones du Canada [SAC], Infrastructure Canada et l’Unité de l’impact et de l’innovation du Bureau du Conseil privé. « Par le passé, des ministères comme SAC [...] comptaient parmi leur personnel des responsables de politiques chargés de concevoir des programmes et de les mettre en œuvre », rappelle Stewart, un architecte de Vancouver (C.-B.) et professeur adjoint à l’École d’architecture McEwan de l’Université Laurentienne, à Sudbury (Ont.). « Ils présentaient alors les directives et les modalités des programmes, et les communautés et organisations autochtones pouvaient présenter une demande », explique-til. « Il n’y avait pas vraiment de consultation. C’est pourquoi cette initiative qui lance un appel d’idées est si prometteuse. » En octobre 2018, Rachelle Lemieux, MRAIC, suite à la page 16
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RAIC Festival of Architecture 2019 Festival d’architecture de l’IRAC 2019
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Samedi 26 octobre POP // CAN // CRIT 2019 : Éducation et émergence des architectes au Canada 8 h 30 – 16 h 30 Design Exchange, 234 Bay St. Les panélistes discuteront des expériences des étudiants et des stagiaires en architecture ainsi que des professionnels de la relève. 1
Assemblée générale annuelle de l’IRAC 17 h 30 – 18 h 30 Le conseil d’administration fera part des dernières nouvelles et entendra les membres.
The architecture and design event of the year takes place October 25 to October 30 in Toronto. Register before September 30 for the best price. Con-ed sessions, plenaries, tours, keynotes, parties, networking, exhibitors and more – here’s the day-by-day lineup. All events take place at the Westin Harbour Castle unless otherwise indicated. Don’t miss it! https://festival2019.raic.org/.
Sunday, October 27 PLENARY: RAIC Honorary Fellows 8:30 - 10 a.m. From city design, to architecture on the radio, to design for underserved communities.
1 Shortlisted for the RAIC International Prize, the Artists’ Residence and Cultural Center in Sinthian, Senegal was designed by Toshiko Mori Architect. 2 Shortlisted for the RAIC International Prize, the Baha’i Temple of South America in Santiago, Chile was designed by Hariri Pontarini Architects. 3 Shortlisted for the RAIC International Prize, Edificio E, a lecture building at the University of Piura in Peru, was designed by Barclay & Crousse. 4 A panel from POP//CAN//CRIT’s 2018 edition.
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L’événement de l’année dans le domaine de l’architecture et du design a lieu du 25 au 30 octobre à Toronto. Inscrivez-vous avant le 30 septembre pour profiter du meilleur tarif. Séances de formation continue, plénières, visites guidées, allocutions, fêtes, réseautage, exposants et plus encore – voici un sommaire du programme au jour le jour. Toutes les activités se déroulent au Westin Harbour Castle, sauf s’il en est indiqué autrement. Ne ratez pas cet événement! https://festival2019.raic.org/.
College of Fellows Annual Business Meeting and Luncheon 12 - 1:30 p.m. Biagio Ristorante, 155 King St. E. Open to Fellows only. PLENARY: RAIC International Prize Lecture 1:30 - 2:30 p.m. A talk by the 2019 winner of the RAIC International Prize. 3
Friday October 25
Saturday October 26
RAIC International Prize Gala Cocktail 6-7 p.m.; Dinner 7-11 p.m. One of three shortlisted projects in Peru, Senegal, and Chile will take home $100,000.
POP // CAN // CRIT 2019: Education and Emergence of Architects in Canada 8:30 a.m. - 4:30 p.m. Design Exchange, 234 Bay St. Panelists discuss the experiences of architecture students, interns, and emerging professionals.
VENDREDI 25 OCTOBRE Gala du Prix international de l’IRAC Cocktail 18 h – 19 h; Dîner 19 h – 23 h L’un des trois projets finalistes situés au Pérou, au Sénégal et au Chili remportera le prix de 100 000 $.
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RAIC Annual General Meeting 5:30 - 6:30 p.m. The board of directors will share news and hear from members.
PLENARY: An Architectural Policy for Canada 2:30 - 5:30 p.m. Learn about an initiative to develop and implement a national architecture policy. Opening Reception 7 - 10 p.m. Food, drink, entertainment, and networking.
5 Socializing with emerging practitioners. 6 Toronto City Hall features in the Towers Tour. 1 Projet finaliste au Prix international de l’IRAC, Thread : Centre culturel et résidence d’artistes à Sinthian, au Sénégal, conçu par Toshiko Mori Architect.
Emerging Practitioners (EP) After Party 10:00 p.m. ‘til late The Firkin on Harbour, 10 Yonge St. Open to all architecture students, interns, and emerging practitioners attending Festival. Tours: Art and Performance; Old Meets New;
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2 Projet finaliste au Prix international de l’IRAC, le temple bahá’í pour l’Amérique du Sud, à Santiago, au Chili, conçu par Hariri Pontarini Architects.
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Wellington Place: Adapting to City Changes; Towers; Old Town: Beginnings to 21st Century.
Une allocution prononcée par le lauréat du Prix international de l’IRAC 2019.
Sessions: Equity and Inclusion Drive Design Excellence; Comprehensive Density: Driving the Future of Community and Campus Recreation Hubs.
PLÉNIÈRE : Une politique de l’architecture pour le Canada 14 h 30 – 17 h 30 Renseignez-vous sur cette initiative visant à élaborer et à mettre en œuvre une politique nationale de l’architecture.
Tradeshow hours: 7 - 10 p.m. Dimanche 27 octobre PLÉNIÈRE : Fellows honoraires de l’IRAC 8 h 30 – 10 h Ils parleront de conception des villes, d’émissions radiophoniques sur l’architecture et du design pour des communautés mal desservies. Assemblée annuelle et déjeuner du Collège des fellows 12 h - 13 h 30 Biagio Ristorante, 155 King St. E. Pour les fellows seulement. PLÉNIÈRE : Allocution du lauréat du Prix international de l’IRAC 13 h 30 – 14 h 30
Réception d’accueil 19 h – 22 h Bouchées, consommations, divertissement et réseautage. Fête de fin de soirée de Relève professionnelle (RP) 22 h – jusqu’aux petites heures The Firkin on Harbour, 10 Yonge St. Pour tous les étudiants en architecture, les stagiaires et les praticiens de la relève qui assistent au Festival. Visites : Art et spectacles; À la rencontre de l’ancien et du nouveau; Place Wellington : Adaptation aux changements de la ville; Les tours; Le quartier Old Town : Nouvelles approches pour le 21e siècle.
3 Projet finaliste au Prix international de l’IRAC, Edificio E, pavillon de conférence à l’Université de Piura au Pérou, conçu par Barclay et Crousse. 4 Un panel de l’édition 2018 de POP//CAN//CRIT. 5 Réseautage avec des praticiens de la relève. 6 L’Hôtel de ville de Toronto, au programme du circuit pédestre « Les tours. »
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Séances : L’équité et l’inclusion stimulent l’excellence; Densité globale : Orienter l’avenir des centres récréatifs communautaires et de campus. Heures d’ouverture du salon professionnel : 7 h – 22 h Monday October 28 PLENARY: Trends in Canadian Architecture—Sustainability, First Nations, and the North 8:30 - 10 a.m. Contributors to the new book Canadian Modern Architecture: 1967 to the present examine practice in three areas. RAIC Emerging Practitioners Meeting 12 - 1:30 p.m. EP committee seek input from students, interns, and recently licensed architects on upcoming events and goals. Dalhousie Architecture Alumni Reception 4 - 5:30 p.m. Calling all alumni and friends of Tech, TUNS and Dalhousie Architecture. President’s Reception, Dinner and Awards Gala 6 - 11 p.m. Unwind with friends and celebrate exceptional achievement. Tours: Queen Richmond Centre West by Sweeny&Co Architects; Nelson & Garrett Lighting Factory and Showroom.
RAIC Heritage Conservation: a new limited edition workshop!
T le AN OW b N aila TEN ité N lim ER av AI t ST ots M s es GI sp US ace RE ted i VO pl m Z- de Li VE re RI mb SC no IN Le
RAIC x CIMS: From Point Cloud to Existing Conditions BIM with Revit Workshop
IRAC et CIMS : Du nuage de points à la MDB avec Revit
Conservation du patrimoine de l’IRAC : un nouvel atelier offert en édition limitée! Date November 15-17, 2019 Date 15-17 novembre 2019 Location Carleton Immersive Media Studio (CIMS) Lab Endroit Carleton University, Ottawa, ON Université Carleton, Ottawa (Ontario) Price $2,000 for RAIC members, $2,400 for non-members Coût 2 000 $ pour les membres de l’IRAC; 2 400 $ pour les non-membres Registration RAIC.org/workshops Inscription RAIC.org/ateliers
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7 Opening Reception at the 2018 RAIC Festival of Architecture in Saint John, New Brunswick.
Tradeshow hours: 7:30 a.m. – 12:00 p.m. Mardi 29 octobre Petit-déjeuner conférence de RP IRAC avec le lauréat d’un prix 8 h 30 – 9 h 30 Perkins + Will, 110 Yonge St. Pour les étudiants, les stagiaires et les praticiens de la relève qui assistent au Festival. Inscription obligatoire.
8 St. Michael’s Cathedral is part of a tour on Tuesday, October 29. 7
9 Dive into the renovations at Union Station with a tour and a talk. 10 The Simcoe WaveDeck on Toronto’s waterfront was designed by West8 with DTAH. 7 Réception d’ouverture du Festival d’architecture de l’IRAC 2018 à Saint John, Nouveau-Brunswick. 8 La cathédrale St. Michael’s est dans le circuit pédestre du mardi 29 octobre. 9 Plongez dans les rénovations de la gare Union : visite et exposé. 10 Le Simcoe WaveDeck dans le secteur riverain de Toronto a été conçu par West8, en consortium avec DTAH.
Sessions: Underground expansion below Toronto’s Union Station: Canada’s largest heritage railway transportation hub; An Architectural Conversation of Old and New: Queen Richmond Centre West. Tradeshow hours: 7:30 a.m. – 5:00 p.m. Lundi 28 octobre PLÉNIÈRE : Tendances en architecture canadienne : durabilité, Premières Nations et Grand Nord 8 h 30 – 10 h Des contributeurs du nouvel ouvrage, Canadian Modern Architecture: 1967 to the present, se penchent sur la pratique dans trois domaines. Assemblée de la Relève professionnelle IRAC 12 h - 13 h 30 Le Comité RP IRAC sollicite les commentaires des étudiants, des stagiaires et des architectes récemment admis sur ses prochaines activités et ses objectifs. Réception des anciens de Dalhousie en architecture 16 h – 17 h 30 Pour tous les anciens et les amis de tech, TUNS et Dalhousie Architecture. Réception des présidents, dîner et gala de remise des prix 18 h – 23 h Détendez-vous avec des amis et célébrez des réalisations exceptionnelles. Visites : Queen Richmond Centre Ouest, de Sweeny&Co Architects; Fabrique de luminaires architecturaux personnalisés. Séances : Agrandissement souterrain sous la gare Union de Toronto : le plus grand carrefour de transport ferroviaire patrimonial du Canada; Un dialogue architectural entre l’ancien et le nouveau : Queen Richmond Centre Ouest.
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Heures d’ouverture du salon professionnel : 7 h 30 – 17 h Tuesday October 29 RAIC EP Award Winner Breakfast Talk 8:30 - 9:30 a.m. Perkins + Will, 110 Yonge St. Open to students, interns, and emerging practitioners attending Festival. Registration required. PLENARY: BEAT Forum: How Are We Addressing Inclusion in Architecture Today? 8:30 - 10 a.m. With presenters from Building Equality in Architecture and the Canadian Centre of Diversity and Inclusion. Foundation Luncheon 12 - 1:30 p.m. With presentation by Royal Institute of British Architects President Alan M. Jones.
PLÉNIÈRE : Forum de BEAT : Comment traitons-nous la question de l’inclusion dans l’architecture d’aujourd’hui? 8 h 30 – 10 h Avec des animateurs de Building Equality in Architecture et du Centre canadien pour la diversité et l’inclusion. Déjeuner de la Fondation 12 h - 13 h 30 Avec une allocution du président du Royal Institute of British Architects, Alan M. Jones. Cérémonie d’intronisation au Collège des fellows de l’IRAC et collation des grades du Syllabus de l’IRAC 19 h – 22 h 30 Le Conservatoire royal de musique de Toronto, 273 Bloor St. W. Hommage aux nouveaux fellows et fellows honoraires et aux diplômés du programme Syllabus de l’IRAC. Une réception suivra.
RAIC College of Fellows and Syllabus Program Convocation 7 - 10:30 p.m. The Royal Conservatory of Music, 273 Bloor St. W. Honouring new Fellows, Honorary Fellows, and RAIC Syllabus Program graduates. Cocktail reception follows. Tours: St. Michael’s Cathedral; Pam McConnell Aquatic Centre by MJMA; Launchpad Collaboration Workspace; Union Station Revitalization Project; Daphne Cockwell Health Sciences Complex; Rob and Cheryl McEwen Graduate Study and Research Building, Schulich School of Business, York University. Sessions: Integrated Hybrid Systems: A Case Study of Low Energy Building Design; The Making of a Library, the Shaping of a City; Back to School: Teaching, Learning and Practicing Architecture; Through Other Eyes: How People with Vision Loss See Your Buildings; Impact Design— A Human Centric Design Approach.
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Visites : Centre aquatique Pam McConnell de MJMA; Espaces collaboratifs du Launchpad; Cathédrale St. Michael’s; Projet de revitalisation de la gare Union; Complexe des sciences de la santé Daphne Cockwell; Pavillon d’études supérieures et de recherche Rob et Cheryl McEwen, École de commerce Schulich, Université York.
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Des présidents d’associations d’architecture nationales de divers pays discuteront d’architecture et de changement climatique. Fête de clôture 18 h – 22 h The Goodman Pub & Kitchen, 207 Queens Quay W. Un dîner de clôture décontracté et une soirée de divertissement. Visites : Projets de l’avenue St. Claire à la rue Yonge; Visite pédestre de la revitalisation du secteur riverain avec DTAH.
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Séances : Systèmes hybrides intégrés : Une étude de cas de la conception d’un bâtiment éconergétique; Concevoir et construire une bibliothèque, modeler une ville; De retour à l’école : enseignement, apprentissage et pratique de l’architecture; À travers les yeux d’un autre : Comment les personnes atteintes d’une perte de vision voient vos bâtiments; Design d’impact – Une approche au design centré sur l’humain. Heures d’ouverture du salon professionnel : 7 h 30 – 12 h Wednesday October 30 PLENARY: Presidents’ Panel 8:30 - 10 a.m. Presidents of national architectural associations from several countries discuss architecture and climate change.
Industry Realities; The Next Green – Scandinavian Innovation in Sustainable Design; The Inuit Qaujimajatuqangit Body of Knowledge Guiding the Design of the Canadian High Arctic Research Station (CHARS); Implementing a Digital Practice: Looking Beyond BIM Management; Typology – Multi-unit Residential; Leading the Change Towards Ultra-Low Energy and Passive House Buildings; Building for a Net Zero Carbon Future: A Case Study of Mount Dennis Childcare; Designing for Future Mobility: Developing a Framework for the Livable Future City. Mercredi 30 octobre PLÉNIÈRE : Panel de présidents 8 h 30 – 10 h
Séances : De l’arrivée à destination à la création d’un lieu : le transport en commun dans deux villes canadiennes; Design axé sur la performance : Les modèles énergétiques du futur orienteront les principales décisions de design; Intégration autochtone; Un lieu favorable au progrès : Transformer votre atelier pour l’adapter aux nouvelles réalités du domaine; Le vert de l’avenir : Innovation scandinave en conception durable; Le savoir de l’Inuit Qaujimajatuqangit oriente la conception de la station canadienne de recherche dans l’Extrême-Arctique (SCREA); Mettre en place une pratique numérique : Voir audelà de la gestion du BIM; Typologie : Résidentiel à logements multiples; Diriger le changement vers des bâtiments à ultrafaible consommation d’énergie et des bâtiments selon la norme de la Maison passive; Bâtir pour un futur à carbone net zéro : Une étude de cas de la garderie Mount Dennis; Concevoir en prévision de la mobilité future : Développer un cadre pour la ville agréable du futur.
Festival sponsors: Commanditaires du Festival :
Closing Party 6 - 10:00 p.m. The Goodman Pub & Kitchen, 207 Queens Quay W. A casual wrap-up dinner and evening of entertainment. Tours: St. Clair Ave. at Yonge St. projects; Waterfront Revitalization Walking Tour with DTAH. Sessions: From Getting Places to Placemaking: Transit in Two Canadian cities; Performance-Driven Design: A Future of Energy Models Informing Key Design Decisions; Indigenous Integration; A Space for Progress: Transforming Your Studio to Meet
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suite de la page 11 et Ryan Gorrie, MRAIC, un autre membre du groupe de travail, tous deux architectes à Winnipeg, ont rencontré des fonctionnaires de Services aux Autochtones Canada pour faire part des valeurs qu’ils souhaitaient être prises en compte. Ils préconisaient des projets menés par la communauté, durables, culturellement appropriés et construits avec des matériaux et de la main-d’œuvre de la région. Ils souhaitaient aussi que toutes les communautés qui présentent une demande soient considérées sur un même pied d’égalité, sans privilégier celles qui ont de l’argent. Ils ont souligné le rôle essentiel que les architectes, ingénieurs et designers autochtones peuvent jouer dans le processus.
« C’est très intéressant de voir comment le projet tel que conçu initialement s’est transformé pour devenir ce qu’il est maintenant », dit Fortin, le directeur de l’école d’architecture McEwen de l’Université Laurentienne. « J’ai senti une réelle volonté de tenir compte de nos recommandations », ajoutet-il. « En changeant l’orientation de l’initiative qui est passée d’un prix fondé sur un concours à un fonds de démarrage qui favorise le développement des systèmes appropriés pour mieux résoudre les problèmes, on a beaucoup amélioré le programme. » Todd Keesey, gestionnaire à la division de l’innovation et de l’infrastructure dans l’infrastructure communautaire de Services aux Autochtones Canada, convient que la recommandation du groupe de travail d’allouer des fonds au peaufinage des idées a contribué à la portion Accélérateur de l’initiative. Sa recommandation de publier les critères d’évaluation des idées est un autre exemple de sa contribution. « Les membres du groupe de travail avaient le savoir technique et l’expérience du travail au quotidien dans les communautés pour guider le comité d’orientation », souligne Keesey.
« Nous avons exprimé nos craintes par rapport aux idées préconçues sur l’approbation des designs et des concepts par l’entremise d’une communauté », souligne Lemieux, qui a aussi fourni une liste de personnes-ressources pouvant être utiles à la discussion. « J’ai voulu m’assurer que les communautés aient leur mot à dire et que le gouvernement et le comité d’orientation comprennent l’urgence de la question », ajoute-t-elle. Les membres du groupe de travail ont rencontré le comité d’orientation en janvier dernier à Ottawa, et en février à Winnipeg. Selon David Fortin, MRAIC, l’un de ces membres, leur participation a modifié l’orientation de l’initiative. À l’origine, il était question d’un appel de propositions sous forme de concours visant à attribuer 30 millions $ pour 15 projets réalisables. L’initiative comprend maintenant un fonds de 6 millions $ appelé Accélérateur servant à peaufiner les idées qui ne sont pas entièrement développées, et à trouver les partenaires et le soutien nécessaires à la réussite des projets. La phase du mentorat et du soutien technique sera suivie
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Upper left, Julie Greene Lead, Partnerships, Impact and Innovation Unit, Privy Council Office, Government of Canada.
de l’injection de 30 millions $ pour la construction de 15 à 24 projets.
« En tant qu’architectes, ils ont pu formuler des recommandations sur le calendrier, la complexité et les ressources nécessaires au développement des projets et en tant qu’Autochtones, ils ont partagé leurs points de vue sur ce qui est et ce qui n’est pas de la philosophie autochtone. » « Le groupe de travail a fait valoir que le logement fait partie d’un système communautaire élargi et que l’innovation devait refléter l’interdépendance du logement au sein de la communauté. Il a parlé de l’importance d’engager les membres de la communauté dans la conception et la construction d’une maison pour qu’ils y trouvent leur reflet. Nous espérons continuer de travailler avec les membres de ce groupe de travail pour avoir leur avis technique sur les propositions que nous recevrons et pour agir comme mentors auprès des participants individuels choisis pour la phase de l’Accélérateur », conclut-il. Les autres participants à ces rencontres étaient des fonctionnaires, des aînés, des chercheurs et des représentants de groupes philanthropiques et de groupes de défense des intérêts. « Nous étions les seuls archi-
Lower left, Indigenous Task Force member David Fortin, MRAIC.
tectes dans la pièce », dit Stewart. L’initiative reçoit des demandes autochtones pour des projets liés au logement dans les régions rurales, urbaines ou éloignées des communautés des Premières Nations, des Inuits ou de la Nation métisse jusqu’au 1er août. L’initiative appuie des idées de logement novatrices qui relèvent de l’un des six domaines d’intérêt suivants : • styles et techniques de construction traditionnels des Premières Nations, des Inuits ou de la Nation métisse; • utilisation de la résidence pour l’autonomisation, le renforcement des capacités et le soutien aux entreprises locales; • soutien aux populations vulnérables; • création d’espaces urbains culturellement inspirés; • sûreté, sécurité et accessibilité; • efficacité et indépendance énergétiques.
En haut, à gauche, Julie Greene, Chef, Partenariats, Unité de l’impact et de l’innovation, Bureau du Conseil privé, Gouvernement du Canada En bas, à gauche, David Fortin, MRAIC, membre du Groupe de travail autochtone.
« En affirmant dès le début la volonté d’offrir de meilleurs résultats aux Canadiens autochtones – en mettant l’accent non seulement sur le logement en tant que tel, mais sur l’éducation et le développement des compétences, l’emploi et les résultats en santé – nous appuyons les communautés autochtones dans l’élaboration de solutions holistiques qui répondent à leurs besoins et priorités », dit Julie Greene, de l’Unité de l’impact et de l’innovation du Bureau du Conseil privé. « Il y a encore des contraintes et des limites, mais si nous pouvons obtenir de l’argent dans une communauté pour bâtir quelque chose qui l’aidera, je suis tout à fait d’accord », dit Stewart. « Les Premières Nations ont maintenant leur mot à dire dans la définition d’un programme, et c’est une première », ajoute-t-il. « Nous contribuons à l’orientation de la politique et du programme et c’est une bonne chose. Nous plaidons en faveur d’un réel changement à l’échelle de la communauté. C’est ainsi que nous envisageons notre travail. Ce sont les communautés elles-mêmes qui en seront les bénéficiaires. »
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Are We Happy Yet? TEXT
Peter Sealy CCA Montréal, unless otherwise noted
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The CCA’s Current exhibition examines the spatial effects of the global happiness industry. In a 1968 campaign speech at the University of Kansas, Robert F. Kennedy observed that Gross National Product “measures everything… except that which makes life worthwhile.” The feeling that economic metrics fail to capture the totality of lived experience has taken an odd, if predictable, twist in the past decade. The 2008 financial crisis brought the seeming complacency of the 1990s and early 2000s—the so-called “end of history”—to a crashing halt. A new ideology of happiness has taken hold in geopolitical discourse, with the United Nations, national governments, and major journalistic organizations publishing increasingly precise rankings of global well-being. Such efforts to quantify an essentially subjective part of human existence hover between a humanist desire to recognize the panoply of noneconomic factors underlying the quest for human decency, and late capitalism’s drive to reify even the most essential of human emotions. Now on display at the Canadian Centre for Architecture in Montreal, Our Happy Life: Architecture and Well-being in the Age of Emotional Capitalism explores the spatial and sociological ramifications of this phenomenon. Curated by Francesco Garutti, Our Happy Life continues the
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ABOVE In Hawaii, houses built in the shadow of an active volcano point to the increasing risks that are being taken to realize the American dream of home ownership.
institution’s recent series of thematic exhibitions challenging the unspoken assumptions of contemporary architecture. Our Happy Life does so by asking: what happens when architecture shifts its focus away from material techniques and the production of physical spaces, and aims towards the satisfaction of emotional desires? Will we really be happy in a world designed to make us happy? The first and the last galleries in Our Happy Life form a pair, exposing the dramatic insinuation of happiness discourse into the post-crash world. While the opening gallery presents videos of world leaders subscribing to this ideology of well-being, the final one concludes with three case studies from Copenhagen, Tampa, and Tokyo spotlighting happiness as a form of urban branding. Frequently lauded in global rankings for its liveability, Copenhagen is justly praised for its impressive cycling infrastructure. But behind this success lurks a dangerous sense of smug satisfaction (one so often found in Canada!), which occludes inquiry into other problems troubling the Danish capital. In particular, one can point to the uneven distribution of bicycle thoroughfares and the high cost of the ubiquitous cargo-bike used by 25 percent
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18 of Copenhagen’s citizens. Meanwhile, a consulting industry flourishes, selling “copenhagenization” to other world cities. Two highlights of the exhibition were commissioned especially for it by Garutti. The first is a 22-minute documentary film by Erin Weisgerber. Filmed at Gallup Headquarters in Omaha, Nebraska, it juxtaposes spring views of the neighbouring Missouri River with interviews with Gallup executives and scenes inside the company’s call centre. Now, Please Think About Yesterday compellingly explores the production of the data underpinning the global happiness race. The comfortable but banal conditions within this generic office space illustrate the film’s palpable subtext: can happiness be divorced from conditions of labour and work? A second commission is a series of eight bas-relief collages made by the Belgian office Bovenbouw in collaboration with Maria Malgorzata Olschowska. These are displayed under yellow neon lights in a room with heavy shag carpet (groovy f looring being a particular trademark of recent CCA exhibitions). These visually striking images were produced in response to a series of spatial imperatives found in international happiness reports, such as “exercise regularly,” “take public transit,” and “eat local.” Bovenbouw replied with brightly coloured perspectives depicting domestic and urban scenes, which follow these suggested guidelines for happiness. The collages follow in a recent Belgian trend (including groups such as Office KGDVS and Monadnock) presenting Hockney-esque architectural drawings as an antidote to photorealistic renderings. Yet, as bas-reliefs, they refresh this medium, highlighting the crafted, layered nature of these images’ compositions, thereby transforming the slick flatness of typical drawings of this type into subtle material artefacts. The result is compelling, especially in an image revealing a hidden ravine glimpsed from behind a floor-to-ceiling window. While the inclusion of small boats and fishing rods suggest the possibility of a pleasant urban idyll, the uncanny associations latent in the collages’ visual antecedents—especially the forced perspectives reminiscent of de Chirico and Dali—are transferred to the images. Can such spaces exist in our present economic, political and ecological situation? And if so, at what cost? Or are they only possible as alluring images? Our Happy Life is highly convincing in its argument for the dominant place of a happiness agenda within contemporary global discourse, and its insinuation into the built environment. This ideology is explored in greater depth through 25 case studies, presented in a long enfilade of three connected galleries. These cases are intended to reveal the ambiguous and complex dynamics underlying our contemporary emotional landscapes. While most of the examples are individually compelling, the overall result is somewhat of a disparate jumble, pulled together by the incongruous imperatives of the contemporary real estate market. The patient viewer is, however, rewarded with a dark tour of the underbelly of late capitalism, stretching from sleep inducement products to taxidermy. The strongest cases are the most troubling. A documentary film by Brett Story examines Amazon’s “CamperForce” of itinerant seasonal workers who live in camper vans and work at Amazon warehouses during peak pre-holiday seasons. Many of these nomadic “workampers” are older Americans, who lost their homes or suffered other forms of financial distress following the 2008 crash. Here, the image of the RV as symbol of mobile American happiness collides with the prevailing North American ideology of home ownership—all wrapped in a troubling situation brought about by the exploitative labour conditions inherent to our current world of seamless e-commerce. Another example—more inane than distressing—is the Scandanavian fad for “Plogging” (a portmanteau of jogging and plocka upp, Swedish for “picking up”) which sees runners collecting garbage as they exercise. While indeed a benevolent form of public citizenship, Plogging has also
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become a performative ritual of virtue signalling—diffused through Ploggers’ social media accounts—whose actual function is far removed from the scale of contemporary environmental emergencies. The institutional insistence upon a happiness agenda post-2008 was clearly driven by governments’ inability (or unwillingness) to guarantee the material sureties of the pre-crash world. This has sometimes led to a dramatic transformation of risk tolerances. A concrete example is the construction of New Kalapana Gardens, a suburb atop a calcified lava field created following the 1990 eruption of Hawaii’s Kilauea Volcano. This move to build dozens of effectively uninsurable structures in the path of a deadly volcano testifies both to their occupants’ high tolerance for risk, and to the rise of land values to unaffordable levels elsewhere in the paradisiacal archipelago. More so, this example provides a glimpse of the future awaiting many of us in an ecologically transformed world, where home ownership may carry far greater risks due to rising seas and increases in turbulent weather. Designed by OK-RM from London and Bernard Dubois from Brussels, Our Happy Life is an attractive exhibition, frequently fluffy, and full of Instagrammable moments. Key exhibition text is printed onto plexiglass sheets, which are framed in front of felted backgrounds—the effect is beautiful and clear. But is the exhibition’s visual appeal and frequent softness another example of what architecture will become under the ideological reign of happiness? Does the design produce an ironic space of moral critique, or is it just another vacuous thing meant to make us happy? Our Happy Life’s ambiguity towards the issue turns each component of the exhibition into a sort of Rorschach Test for the viewer: perhaps the CCA, too, should survey our responses. Did the exhibition make you happy?
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OUR HAPPY LIFE: CITY SCENES, 2019, MULTIMEDIA COLLAGE. © BOVENBOUW ARCHITECTUUR, IN COLLABORATION WITH MARIA MALGORZATA OLSCHOWSKA
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Garutti has wisely avoided setting out an agenda for architects in this age of emotional capitalism. But perhaps the only solution to the question of how to close happiness “gaps” (both real and perceived) is to refuse to play the game. If the right to happiness is so hard to pin down, what other rights should we be fighting for instead? The exhibition’s framing and content is essentially economic. Contemporary politics has revealed a transformed landscape in which dreams of what Aaron Bastani calls “fully automated luxury communism” compete with dystopian narratives of AI-induced mass unemployment—all under the rising spectre of reactionary populism. Our Happy Life lays bare many of the Potemkin cities erected in the wake of 2008. Architectural historian Peter Sealy is an Assistant Professor at the Daniels Faculty of Architecture, Landscape, and Design.
Our Happy Life: Architecture and Well-being in the Age of Emotional Capitalism is on display at the Canadian Centre for Architecture until October 13, 2019.
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YAN WANG PRESTON, PHOTOGRAPHER. FOREST, 2010–2017. © YAN WANG PRESTON
OPPOSITE Collages by Bovenbouw in collaboration with Maria Malgorzata Olschowska depict a series of idealized places, based on descriptions of what makes people happy. ABOVE One of the commissioned collages presents the implausible pairing of a hidden lake with city skyscrapers. TOP RIGHT A short film and series of photos show Gallup’s offices, where the happiness rankings of cities are produced. BOTTOM RIGHT A park under the Egongyan Bridge, which carries six lanes of traffic across the Yangtze River, is an example of the type of spaces meant to contribute to the well-being of citizens.
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National Treasure A new welcome centre for the Parliament of Quebec defers to the historic building, while creating a suite of inviting spaces for public gathering and democratic consultation.
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PROJECT Pavillon d’accueil de l’Assemblée Nationale du Québec, Quebec City, Quebec ARCHITECTS Provencher_Roy + GLCRM in consortium TEXT Olivier Vallerand PHOTOS Olivier Blouin, unless otherwise noted
Tucked underneath the grand stair fronting Quebec’s Parliament Building, a new underground welcome centre includes public meeting rooms and creates a secure entry to the historic building.
ABOVE
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Quebec’s motto, “Je me souviens,” appeared for the first time—carved in stone—as part of Eugène-Étienne Taché’s elaborate façade for the province’s Parliament Building in Quebec City. The 19th-century building continues to blend architecture and politics in the present-day, with an impressive addition opened in May. The project is both a complex and careful intervention to what is certainly one of the most symbolically important heritage buildings in the province. Ever since the 1984 shooting by Denis Lortie, Quebec’s National Assembly has worked to reconcile its desire to be open to everyone with the need to ensure the safety of assembly members, staff and visitors. After years of planning and studies of similar efforts in other political centres, the Assembly hired Provencher_Roy and GLCRM to design a new visitor facility that would sit in front of the Parliament Building and double as a protective barrier. Instead, the architects proposed an underground space. While surprised, the National Assembly’s representatives quickly embraced the architects’ argument that this solution would avoid creating a showy, quickly dated object. Moreover, it would defer to Taché’s elaborate Parliamentary façade, complementing the narrative of the historic building. Using the space underneath the existing twin stair in front of the Parliament, the architects created a new, secure entrance. Community and parliamentary rooms are arrayed alongside a continuous path that circles under the gardens, before crossing under the existing building and emerging in a new circulation core in the Parliament’s courtyard. The route invites visitors to approach the heritage façade, offering glimpses of it throughout their journey, interspersed with enlarged historic images and interpretative exhibits. The images and exhibits focus on collective successes in Quebec’s history, counterbalancing the existing Parliament’s iconography highlighting heroic individuals. For the first time, windows look into two new committee rooms (the glass is electronically controlled to be obscured when needed). An upgrade from existing facilities, these new spaces were designed to account for the needs of television broadcast and include acoustically isolated press and translation booths. The importance of the historic
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“Je me souviens” is mirrored in the new spaces: written on the front lobby wall, the motto is the first thing visitors see when entering. For the architects, the design gives the Parliament Building back to the public by increasing accessibility in different ways. It adds more space for security before giving free access to the whole building. It offers glimpses of the political processes through visual access to the previously closed-off committee sessions. This is complemented with the addition of classrooms and children’s spaces for public programs. Finally, the main circulation element of a continuous ramp, paired with the courtyard circulation core, creates improved physical access that circumvents the usual challenges associated with historic buildings. As architect Nicolas Demers-Stoddart of Provencher_Roy notes, one of the challenges of designing for a political context is to “create meaning without being bland.” The designers chose colours, materials, and even technical systems to convey meanings that would reference (both directly and more subtly) the history of the Parliament Building, of Quebec’s political history, and of democratic traditions. For example, the project includes a motif of circles that, for the architects, links to the existing grand entry stair, but also refers to the Greek Pnyx, the meeting place of the Athenian democratic assemblies. However, if the circular shape of the oculus seems natural, other elements—such as the circular furniture in the circular plan of the boutique—become overly repetitive. The interior finishes also dialogue with the existing building. Smooth white surfaces are used to bring more light into the underground space,
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OPPOSITE TOP A central oculus brings daylight from the plaza down through the welcome centre. OPPOSITE BOTTOM A long ramp spirals through the centre, punctuated by entrances to a boutique and meeting spaces. LEFT The colours of the secondary circulation areas refer to the red and blue chambers in the historic Parliament. BELOW Wood panels surrounding the rotunda are engraved with imagery that evokes key episodes in the province’s history.
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while blue and red coloured ceilings, walls and floors act as an orientation device around the spiralling ramp. The colours refer to the Salon bleu in the northern wing and Salon rouge in the southern wing of the existing Parliament–even if the hues have been modified to be more vibrant than the heritage colours of those rooms. Most impressive are the gorgeous wood panels depicting images from Quebec’s history. Each is pierced with pixel-like dots that allow them to serve as air return grilles, while concealing a large part of the addition’s mechanical, electrical and plumbing systems. The approach of working underground left the existing building and landscape almost intact. It also brought challenges: including taking apart then rebuilding the stairs over an explosion-proofed lobby, and building alongside and under the existing building. Few visible interventions were made to the existing Parliament Building; the most prominent are the attachment point of the new circulation core, and at the foot of the grand stairs, where a small fountain was redesigned to allow for an accessible path to the lobby. The latter decision brought some controversy, but on the whole, these interventions were a small price to pay for a completely transformed institution with much improved access. In this regard, the pavilion continues a series of exemplary additions to heritage buildings in Quebec City, including the Maison de la littérature (C A, June 2016) and the MNBAQ’s Pavillon Lassonde (C A, November 2016). In both its spatial experience and visuals, the project successfully creates a new contemporary narrative open to future interpretations. It also highlights some of the ongoing tensions that propel democratic life forward. For example, Demers-Stoddart points to an image representing the suffragist movement as being one of the most powerful ones along the ramp, and women’s names are also given to the new committee rooms: Marie-Claire Kirkland, first female assembly member and minister, and Pauline Marois, first female Quebec premier. Despite these acknowledgments of the importance of women in public life, the project did not include childcare spaces to support parental involvement in democratic life—although, to its credit, it does include a nursing room. While Taché’s Parliament is a strong example of traditional symbolic architecture with its imposing exterior, Provencher_Roy and GLCRM’s project is ultimately an interior-focused project. It uses this freedom to create an impressive interior volume that privileges experience over form, carefully balancing didactic elements and the expressive strengths of materials and light. Taking inspiration from Taché’s work, its uses architecture to share a story about a people and its evolution. Interestingly, the National Assembly has recognized the importance of the pavilion’s architectural design in some of its current exhibits, which highlight the role of architecture in democracy and the evolution of the architecture profession itself. Vitrines put Taché’s drawings and historic drafting tools side-by-side with the new pavilion’s models and drawings. As Demers-Stoddart points out, while symbols and meanings have changed, architecture still retains a powerful impact on the representation of democratic institutions—and on their future.
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Olivier Vallerand is Assistant Professor at The Design School, Arizona State University, and an architect with 1x1x1 Creative Lab.
CLIENT ASSEMBLÉE NATIONALE DU QUÉBEC | ARCHITECT TEAM PROVENCHER_ROY—CLAUDE PRO-
OPPOSITE TOP Windows allow visitors to see inside two committee rooms, which they could not do previously. The electronically controlled glass can be obscured if needed for certain meetings. OPPOSITE BOTTOM The province’s motto is engraved on the entry wall to the pavilion. The words first appeared as part of the carved stone decorations on the historic legislative building’s façade.
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VENCHER (FRAIC), MATTHIEU GEOFFRION (MRAIC), NICOLAS DEMERS-STODDART (MRAIC), MAXIME GIGUÈRE, MARILINA CIANCI, ÉMILIE BANVILLE, NEIL ASPNIALL, YUMENG CAI, DANIEL LEGAULT, PIERRE LUSSIER, FANETTE MONTMARTIN, SAMI BOUZOUITA, ANDRES MORENO, MAÏDA BEYLERIAN, CHARLES-ALEXANDRE LEFEBVRE. GLCRM—JANIE LACOURSIÈRE, JOSUÉ MARTINEAU, JOCELYN MARTEL, RÉAL ST-PIERRE, SUZANNE CASTONGUAY, RAPHAËL HAMELIN, MARC LETELLIER (FRAIC), FRANCOIS BÉCOTTE, SHIRLEY GAGNON, LOUIS-XAVIER GADOURY, SARAH LANDRY, MAXIME TURGEON, VINCENT LAVOIE, VALÉRIE MORIN. | STRUCTURAL WSP CANDA | MECHANICAL/ELECTRICAL CIMA+ | LANDSCAPE PROVENCHER_ROY | INTERIORS PROVENCHER_ROY | CONTRACTOR POMERLEAU | SECURITY CSP CONSULTANTS EN SÉCURITÉ | A/V GO MULTIMÉDIA | AREA 5,300 M2 | BUDGET $37.5 M (CONSTRUCTION); $65 M (OVERALL) | COMPLETION MAY 2019
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Design with Nature
An environmentally forward, curvilinear visitor’s centre gives a fresh look to Quebec’s parks system.
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PROJECT The Discovery and Visitor Center of Îles-de-Boucherville National Park, Boucherville, Québec ARCHITECT Smith Vigeant architectes TEXT Odile Hénault PHOTOS Adrien Williams
For years, developers kept a close eye on Charron Island, a site of exceptional beauty a half hour’s drive from downtown Montreal. Nature lovers also watched, as the coveted land stands at the head of a unique archipelago of relatively intact islands in the middle of the St. Lawrence River. In 1975, a year before the city hosted the Olympic Games, a 130-room hotel was opened under the Sheraton banner, creating a major precedent for future development. The mid-1970s was a time of widespread enthusiasm for road infrastructure, and the Quebec government failed to see the potential for irremediable damage to the islands’ unique ecosystem. Thirty years later, however, sensibilities had changed, and when a 2,500-unit condominium project was proposed for Charron Island, there was a public uproar. The Quebec government put a hold on the project, and in 2012, bought the island with the view of integrating it with the existing Îles-de-Boucherville National Park on four of the neighbouring islands. This major commitment also included funding for a new visitor centre, to be built and run by Sépaq (Société des établissements de plein air du Québec), the organization responsible for Quebec’s extensive park network. At the time, Sépaq had already shown signs of wanting to give a fresh look to its parks as it upgraded its facilities. In 2013, it opened a visitor centre with a contemporary aesthetic in Mont-Tremblant National
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PREVIOUS SPREAD Stone gabion walls and a cedar screen made from locally harvested wood introduce natural textures that complement the soft, flowing forms of the pavilions. ABOVE The vertical patterning of the screen references the willow trees seen throughout the island landscape. OPPOSITE The structure is made of FSC-certified wood, and cedar is used extensively in the interior. In all, the use of wood sequesters 175 tonnes of CO2.
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18 DISCOVERY PAVILION 1 MAIN ENTRANCE 2 INFORMATION / RECEPTION 3 DISCOVERY SPACE 4 DINING AREA 17 5 BOUTIQUE & CONVENIENCE STORE 6 EMPLOYEE LOUNGE 7 OFFICE 8 STORAGE 9 MECHANICAL / ELECTRICAL
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Park. The architects, Smith Vigeant, had welcomed the opportunity to steer their client away from stereotypes such as the oversized log cabins often associated with Canada’s and Quebec’s parklands. For the Îles-de-Boucherville National Park, Smith Vigeant was again selected (through an RFP process) to design the facility. For the architects, however, this was an entirely different proposition from their earlier visitor centre. A far cry from Mont-Tremblant’s rugged, forested envi ronment, the flat St. Lawrence River landscape is sprinkled with beautiful mature trees, including magnificent specimens of weeping willows. These trees became a leitmotif for the architects as they started their work, informing the sweeping forms and delicate exterior screens of the final project, which recently garnered an OAQ Award of Excellence. The concept was developed through an integrated design process, which took place over the course of a three-day charette. The full-day workshops involved the client, professionals from a wide spectrum of design disciplines, and biologists from Sépaq. One of the first decisions that evolved from these meetings was to split the program into two separate components. The main pavilion—350 square metres in
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size—includes an arrival area, central reception desk, small cafeteria and family washrooms. A few staff offices, a boutique, a storage area and a mechanical room occupy the rest of the building. The second pavilion is a seasonal, 150-square-metre equipment rental facility, catering to the needs of campers, kayakers and cyclists. Both buildings are striking curvilinear objects—a presence that is simultaneously surprising and harmonious, blending in with the meadow-like landscape of the islands. From the parking area, the buildings act as a gateway to the water beyond and to the activities taking place around the wharf. This visual link—from the parking area to the St. Lawrence River—was a must for Sépaq, a requirement that was elegantly resolved with the presence of two structures on either side of a central public area. In keeping with the tree canopy narrative evoked by the architects, an overhang subtly signals the entrance to the main pavilion. Inside, the visitor’s gaze is attracted towards the ceiling, where a curvilinear shaft dominates the space. Architect Daniel Smith, who led the design of the project, recalls wanting to give the impression of “a break between trees, letting the sun in.” The more prosaic explanation is that
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the clerestory windows integrated in the lightwell are part of a carefully studied natural ventilation system, which cools the pavilion without mechanical air conditioning. The client’s strong ecological agenda was key to all design decisions. As the architects write, “Each move was intended to contribute to the overall aesthetics of the pavilion, yet also play a role in the project’s sustainability.” A prime example is the lace-like wood slats on the exterior of the pavilions, reminiscent of willow branches. They act as a brise-soleil in the summer, while allowing the sunrays to penetrate deep in the building during the cooler seasons. Exterior and interior finishes are mostly cedar. Various coatings were applied to the wood, according to its particular location and the effect desired. For instance, the exterior slats were treated with a coating that imitates the weathering process and will ensure a smooth transition in appearance as they age. Triple-glazed windows open up to the surroundings, while reflecting the natural beauty of the site when seen from the outside. It is to be hoped that birds won’t be fooled by the illusion. The desire to use contemporary architecture to emphasize the indi-
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SOLAR SHADING NATURAL LIGHT SUSTAINABLE MATERIALS • FSC WOOD AND STRUCTURE NATURAL VENTILATION RADIANT FLOOR HEATING ENERGY • ENERGY COST REDUCTION: 40% • ENERGY SAVINGS: 175GJ / YEAR • G REEN HOUSE GAS EMISSIONS REDUCTION: 3737 KG CO 2 • LED LIGHTING ONLY UNIVERSAL ACCESSIBILITY REDUCED HEAT ISLAND EFFECT LOW VOC MATERIALS WATER MANAGEMENT • P OTABLE WATER REDUCTION: 38% • SANITARY OUTFLOW REDUCTION: 48% • WATERLESS URINAL + HIGH EFFICIENCY FIXTURES • RAIN WATER RECUPERATION SITE • PRESERVATION OF INDIGENOUS TREES & PLANTS • REDUCTION OF SITE INTERVENTION • PROTECTION OF RIVER BANK
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ABOVE Instead of a single pavilion, the program is divided between two pavilions, one of which is only open seasonally. The two structures frame views from the parking area to the wharf, the focus of a number of visitors’ activities in the park.
vidual identity of Quebec’s parks, rather than sticking to a nostalgic stereotype, is a welcome sign of evolving mentalities. Of interest as well is the freedom enjoyed by the architects, who were able to fully explore a conceptually driven approach, rather than just accommodating a set of functions. There are a number of precedents for this creative climate in park and interpretive centre design. One of them is the Centre d’interprétation du Bourg de Pabos, built in the 1990s by Atelier Big City. Resulting from an early architectural competition, this modest, somewhat flamboyant pavilion set the tone for new directions in architecture and gave hope to generations of young architects in Quebec. Traditional procurement methods are still all too prevalent for most building types in Quebec and in Canada. The incentive to come up with creative solutions is obviously not as strong for the architects as it is when they take part in a competition. In spite of this more constrained selection process, however, the jewel-like Îles-de-Boucherville pavilions are
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proof that, with the support of trusting clients, architects of talent such as Smith Vigeant can come up with surprising, wonderful solutions. Odile Hénault is a Montreal-based architectural writer and communications consultant.
CLIENT SÉPAQ (SOCIÉTÉ DES ÉTABLISSEMENTS DE PLEIN AIR DU QUÉBEC) | ARCHITECT TEAM DAN-
IEL SMITH RAIC, STÉPHAN VIGEANT, ANIK MALDERIS, CINDY NEVEU, MARIANA SEGUI, MAXIME VARIN, KAROLINA JASTRZEBSKA, JENNIFER ASHLEY DYKE | STRUCTURAL WSP (NICOL GIRARD) | MECHANICAL BOUTHILLETTE PARIZEAU (JACQUES LAGACÉ, MICHEL PRIMEAU) | ELECTRICAL BOUTHILLETTE PARIZEAU (PAOLA BORJAS) | CIVIL WSP (SOHEIL NAKHOSTIN) | LANDSCAPE GROUPE BC2 (CAROLE LABRECQUE) | INTERIORS SMITH VIGEANT ARCHITECTES | CONTRACTOR CONSTRUCTION R. BÉLANGER | AREA 510 M2| BUDGET $4 M | COMPLETION AUGUST 2017 ENERGY USE ENERGY USE INTENSITY (PROJECTED) 238 KWH/M2/YEAR | BENCHMARK (NATURAL RESOURCES CANADA, OTHER COMMERCIAL/INSTITUTIONAL BUILDINGS FROM 2010 OR LATER) 305 KWH/M2/YEAR
|
WATER USE INTENSITY (PROJECTED) 0.38 M 3/M2/YEAR | BENCHMARK (REALPAC WATER BENCHMARK-
ING PILOT, 2012) 0.98 M3/M2/YEAR
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I. M. Pei (1917-2019) TEXT
Brian Carter Art James for Canadian Architect, unless otherwise noted
ARCHIVAL PHOTOS
the Chinese American Architect’s work made an impact on many parts of the world—including Canada.
Bing Crosby is rarely cited in histories of 20th-century architecture, yet he had a significant role in shaping it. Ieoh Ming Pei—born in China in 1917 to Lien Kwun, an accomplished flute player, and Tsuyee, a bank manager—was inspired by the crooner’s dulcet tones and captivated by American college life as portrayed in his films. Consequently, an opportunity to study at Oxford was abandoned for the New World. Pei left Shanghai for San Francisco and took a train to Philadelphia, where he had been offered a place to study architecture at Penn. However, intimidated by the beaux arts renderings and attitudes discovered there, he quickly moved north to Boston and enrolled at MIT, where he received an undergraduate degree. In 1940 he moved again—albeit a shorter distance this time—to enrol in the graduate program in architecture at Harvard. Pei flourished under the supervision of Walter Gropius and Marcel Breuer, both of whom valued his reconsiderations of tradition. Pei’s thesis design for a Museum for Chinese Art in Shanghai was subsequently published in Progressive Architecture, accompanied
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by an essay written by Gropius, and in 1948, in L’Architecture d’Aujourd’hui. Perhaps surprisingly, after graduation Pei worked for William Zeckendorf, a prominent American developer. Driven to build, and with an interest in design, Zeckendorf acquired Webb and Knapp, a real estate development company, in 1949, and went on to initiate large urban projects throughout North America. Pei worked for Zeckendorf for eight years and during that time played a role alongside colleagues (including Henry Cobb) in the design of commercial developments such as Place Ville Marie in Montreal. The complex encompassed more than three million square feet and was, on its completion in 1963, reputed to be the largest development in the world. Pei also collaborated on the design of residential schemes for the Federal Housing Agency in cities across America and other large office developments. That experience was to inform the subsequent design for the Canadian Imperial Bank of Commerce in Toronto, which was completed in 1972. These were hectic, yet rewarding times that enabled the
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DIK NYE, REPRINTED FROM THE CANADIAN ARCHITECT, FEBRUARY 1963
LANGFORD STUDIOS, REPRINTED FROM THE CANADIAN ARCHITECT, FEBRUARY 1963
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PREVIOUS PAGE Commerce Court West and East in Toronto were designed by Pei Cobb Freed & Partners with Page and Steele. At 57 storeys, the west tower was the tallest building in Canada until 1976. ABOVE Designed by I. M. Pei & Associates with associate architects Affleck, Desbarats, Dimakopoulos, Lebensold, Michaud & Sise, Place Ville Marie sits atop an elevated plaza in downtown Montreal. The 40 floors of office space are composed of four wings that radiate out from a central service core, cantilevering beyond their column supports.
newly graduated architect to realise major buildings and become familiar with different clients, building costs, deal-making and construction. Unable to return to China because of war, Pei became an American citizen and, in 1955, established his own practice in New York. He would build it into one of the most influential architectural offices in the world. Pei designed many notable projects, and his work was consistently contemporary while responding thoughtfully to different settings—whether the spectacular backdrop of the Rockies that defined the site of the National Center for Atmospheric Research in Colorado, or the axial vistas which informed the design of the East Building at the National Gallery in Washington, DC. While Pei was to remain an exile, he was invited to design a new hotel at Fragrant Hills in Beijing shortly after the “opening” of China to the West. The building was completed in 1982, and in that same year he was commissioned to plan a new headquarters for the Bank of China—his father’s former employer—on a prominent site in Hong
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Kong. The commission for an extension to the Grand Louvre in Paris in 1983 presented Pei with different challenges. However, the glassy pyramid that he designed, at first decried as Disneyland architecture, has subsequently become a widely admired contemporary addition to a set of significant historic buildings, and a landmark that now defines the museum and its city. When he was awarded the Pritzker Prize for Architecture in 1983 the citation noted that “I. M. Pei has refused to limit himself to a narrow range of architectural problems. His work over the past forty years includes not only palaces of industry, government and culture, but also some of the best moderate and low-income housing. Through his skill he has elevated the use of materials to an art.” Brian Carter, a registered architect in the U.K., is a graduate of the University of Toronto. He was Chair of Architecture at the University of Michigan and is currently Professor of Architecture at the School of Architecture & Planning at the University at Buffalo.
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Vancouver and Victoria
10/17—10/18
—09/02
Architectural Walking Tours Throughout the summer, the AIBC offers architectural walking tours exploring neighbourhoods in Vancouver and Victoria. www.aibc.ca
Toronto 09/25—26
Technology Built Innovation CanBIM’s two-day event includes presentations by Katerra, Sidewalk Labs, PCL Agile and Tucker HiRise.
Emerging Technologies in Architectural Design Ryerson hosts an international conference for architects, engineers, designers and researchers. www.icetad2019.com
10/26—10/30
RAIC Festival of Architecture This year’s Festival of Architecture includes the presentation of the RAIC International Prize, the POP//CAN//CRIT symposium, con-ed opportunities, and awards. www.raic.org
www.canbim.com
Gatineau
—10/06
—03/22/2020
Toronto Architecture Tours Every weekend, the Toronto Society of Architects runs six walking tours, with themes ranging from waterfront redevelopment to the art and architecture of the new Spadina subway extension. www.torontosocietyofarchitects.ca
Unceded—Voices of the Land Created to represent Canada at the 2018 Venice Architecture Biennale, this exhibition features the work of 18 Indigenous architects and designers from across Turtle Island. www.historymuseum.ca
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Montreal
Quebec City
—09/08
09/30—10/04
Material Thinking: Gordon Matta-Clark Selected by Yann Chateigné An examination of the architect’s idiosyncratic personal library is used to reflect on his creative process.
Woodrise Conference This conference on mid-rise and high-rise wood-building is co-organized by FPInnovations and France’s FCBA. www.woodrise2019.ca
www.cca.qc.ca
Halifax
—10/13
09/30
www.cca.qc.ca
www.cagbc.org
Our Happy Life The CCA’s current exhibit interrogates architecture and wellbeing in the age of emotional capitalism. See review, page 17.
BuildGreen Atlantic This event focuses on three education streams: retrofits, energy benchmarking and accelerating to zero.
Repentigny
New Brunswick
—09/29
09/27—09/29
www.ville.repentigny.qc.ca
www.beaatlantic.com
Taillibert: Volumes et Lumière This exhibition showcases the paintings and drawings of Roger Taillibert, architect of the Montreal Olympic Stadium.
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BEA Atlantic Retreat BEA Atlantic holds its inaugural retreat at the Algonquin Resort in St. Andrews-by-the-Sea, with a program of talks and tours.
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BACKPAGE
PHOTO BY RON MILEWSKI 1971, COURTESY CCA - FONDS PHYLLIS LAMBERT
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CITY DREAMERS TEXT
Jocelyn Lambert Squires
A DOCUMENTARY LOOKS AT THE CITY-BUILDING CONTRIBUTIONS OF FOUR EXTRAORDINARY NORTH AMERICAN WOMEN. A young Phyllis Lambert sits at the centre of a room filled from wall to wall with older men. Lambert has forcefully convinced her father to choose Ludwig Mies van der Rohe as architect for the Seagram Building. She gazes directly at the camera—professional, poised, and in control. This remarkable still from City Dreamers captures the intense drive that characterizes four of the most decorated women in architecture and landscape architecture in North America: Phyllis Lambert, Denise Scott Brown, Cornelia Hahn Oberlander, and Blanche Lemco van Ginkel. The film is an exploration of the nature of cities through these women’s eyes. It unfolds as a series of conversations with them, punctuated by rich visual meditations on the life of a city and imagery from their homes in Montreal, Vancouver, Philadelphia and Toronto. The filmmaker Joseph Hillel lets them tell their own stories, supporting their narration with architectural drawings and models. Archival footage stitches together time periods; stills, interviews, and film clips give depth to their long careers and lives. Lambert, founder of the Canadian Centre for Architecture, recalls breaking free of a stifling Montreal childhood in which “tout était pour les garçons”—everything was for the boys.
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In contrast, Scott Brown asks, “What are all these men doing here?” when she starts architecture school in South Africa. Her own mother was an architect, so she expected the profession to be dominated by women. Both Scott Brown and Lambert have been prolific photographers, and extensive use of their photography underscores the importance of observation as a cornerstone of their work. Most notably, a philosophy of examining the overlooked with “wayward eyes” guided Scott Brown and partner Robert Venturi to develop the critical study Learning from Las Vegas. We trace Lemco van Ginkel’s participation in the discourse of cities from her involvement with Team 10 and CIAM through to her appointment as dean of the faculty of architecture at the University of Toronto; she was the first woman in Canada to hold such a position. She muses on the mixed success of her efforts to save Old Montreal from a new expressway. While these actions preserved the historical city, she disdains the “fashionable” era of historic preservation which followed: “one has to know what is really valuable… and what ought to change.” Hahn Oberlander’s work is shown through her vivid drawings and illuminating tours through Robson Square and the Museum
ABOVE Phyllis Lambert trained as an architect and played a pivotal role in securing Mies van der Rohe’s first commission in North America.
of Anthropology. Adapting the visual tools of architecture to film, Hillel shows the Vancouver skyline growing in the 50 years from 1969 to today, underscoring the value of Oberlander’s lifelong advocacy for green space in planning. In the end, what is a city? We are left with nuanced ideas about heritage, the complexities of empowering the under-represented, the tension between public benefit and money. Context, community, and observation are powerful themes which resonate throughout each practitioner’s work. We are shown hints of missed opportunities— Lemco van Ginkel was barred from a scholarship at Harvard only open to men, and Scott Brown did not share in the Pritzker Prize that went to her partner—but the film is, at its heart, a celebration of these women’s tremendous accomplishments. It is a film about listening. Carefully researched, deep with archival imagery, it deftly uses the language of architecture to tell a story about the cities that surround us and the women who wrought them. Researcher, writer and editor Jocelyn Lambert Squires manages communications and marketing at Brook McIlroy. For screenings, visit www.citydreamersfilm.com.
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CANADIAN MODERN ARCHITECTURE COMING THIS FALL! Preorder now from your favourite bookseller! Canada’s most distinguished architectural critics and scholars–including George Baird, Larry Wayne Richards, and Adele Weder–offer fresh insights into the country’s unique modern and contemporary architecture. Beginning with the nation’s centennial and Expo 67 in Montreal, this fifty-year retrospective covers the defining of national institutions and movements, how Canadian architects interpreted major external trends, regional and indigenous architectural tendencies, and the influence of architects in Canada’s three largest cities–Toronto, Montreal, and Vancouver. “This fascinating and much-needed compendium will certainly be welcome universally, and particularly in Canada, where it will raise the consciousness of a country that has respected, but not celebrated, the wide origins of its populations and its culturally as well as physically different regions.” — PHYLLIS LAMBERT, FOUNDING DIRECTOR EMERITUS, CANADIAN CENTRE FOR ARCHITECTURE
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CYAN YELLOW MAGENTA BLACK / OAA LOGO
1. Residence for the Sisters of Saint Joseph, Toronto, Ontario. Shim-Sutcliffe Architects, 2013. Credit: James Dow, Courtesy Shim-Sutcliffe Architects 2. Aanischaaukamikw Cree Cultural Institute, Oujé-Bougoumou, Quebec. Rubin & Rotman Architects in collaboration with Douglas Cardinal, 2011. Credit: Mitch Lenet Photography & Digital Arts, with the permission of Aanischaaukamikw Cree Cultural Institute 3. Coronation Pool, Edmonton, Alberta. Hemingway and Laubenthal Architects, 1970. Credit: Courtesy James Dow 4. Perimeter Institute for Theoretical Physics, Waterloo, Ontario. Saucier + Perrotte architectes, 2006. Credit: Marc Cramer, Courtesy Saucier+Perrotte Architectes
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