Canadian Architect August 2018

CANADIAN ARCHITECT aug/18

COMMUNITY CENTRES

The Official Magazine of the RAIC

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$6.95

aug/18 v.63 n.08

AGE IS SKIN DEEP

It’s a happy coincidence that Flynn Group of Companies helped give WSP Place in Edmonton a new lease on life just as both celebrate their 40th years.

A lot has changed since 1978. When it comes to modernizing a decades-old building envelope to LEED® Gold, we’re aiming for a higher standard than “good as new”.

Flynn’s design-assist team was involved at an early stage to advise on materials selection and design. Because however sleek the aesthetic, performance is the underlying beauty of any modern façade system.

Flynn supplied and installed curtain wall glazing, punched windows, and wall panel, all while the building was fully occupied. The insulated wall panel assembly uses thermal isoclips to help bring the building’s thermal performance into the 21st century.

Here’s to the next 40 years!

WSP PLACE EDMONTON, AB

See more photos at FlynnCompanies.com.

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COMMUNITY CENTRES

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CANADIAN ARCHITECT

AUGUST 2018

SHAI GIL

04 VIEWPOINT

Jill Bambury reflects on the new Building Equality in Architecture.

07 NEWS

New projects, announcement of jurors for Canadian Architect’s 2018 Awards of Excellence.

11 RAIC JOURNAL

President’s message, procurement, PopCanCrit, Festival pics.

21 REPORT

The International Garden Festival at Grand-Métis, Québec.

42 INSITES

COURTESY OF THE ROYAL ONTARIO MUSEUM

Architect Philip Beesley unpacks his transformation of space.

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24 HIGH WATER MARK t the University of British Columbia in Vancouver, MJMA’s Aquatic Centre A is a transparent campus landmark. TEXT Hadani Ditmars

30 UP IN THE VALLEY SHAPE Architecture’s striking new community centre in Invermere, B.C. revitalizes a recreational district. TEXT Courtney Healey

36 AHEAD OF THE CURVE

MICHAEL WACH

I n northwest Calgary, GEC Architecture’s dramatically shaped community centre enlivens the landscape. TEXT Graham Livesey

46 BOOKS

Ben Rahn’s photographic exploration of the A-frame.

48 CALENDAR

Design-related events across Canada and elsewhere.

50 BACKPAGE

John Marx reflects on Nevada’s annual Burning Man event.

COVER The Shane Homes YMCA at Rocky Ridge, by GEC Architecture in Calgary. Photo by Michael Wach.

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THE NATIONAL REVIEW OF DESIGN AND PRACTICE / THE OFFICIAL MAGAZINE OF THE RAIC

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CANADIAN ARCHITECT 08/18

VIEWPOINT

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­­EDITOR (2017-2018) ADELE WEDER, HON. MRAIC

ROD STEARS

LEFT Full force: supporters launch BEAAtlantic at the RAIC Festival in Saint John in May.

FINDING OUR PLACE IN THE FIELD TEXT

Jill Bambury

Among the many celebrations and inaugurations at May’s RAIC Festival of Architecture in Saint John, New Brunswick, one event stands out to me as particularly special: the official launch of the Atlantic chapter of Building Equality in Architecture (BEA).

The mission of BEA is to “leverage opportunities for women, men, students and practitioners to engage with women leaders and mentors in our profession.” In doing this, BEA recognizes the excellence of women professionals, but also our importance as role models.

As a fourth-generation Saint John native, I found it poignant to attend the inaugural events of BEAAtlantic in this historic city.

Although I studied architecture at Dalhousie University in Halifax and have taught for many years at the architecture school at Southern University in Baton Rouge, Louisiana, I became an architect in Saint John, completing my professional internship and writing my architectural licensing exams in the city.

Compared with other parts of the country, the Atlantic region has a meandering and less centralized geography, smaller communities and only one school of architecture. Hence the new chapter is being mentored generously in its beginning phases by its sister organization BEAToronto (BEAT), founded in 2015.

BEAT hosts public lectures, mentoring groups, networking and leadership opportunities; recognizing the importance of a multiplicity of voices, hands and minds in the design of our buildings and communities.

I heard the “origin story” of BEA on the plane between Toronto and Saint John, from Shirley Blumberg, an advisor for BEAT. Blumberg is a founding principal of KPMB architects in Toronto and the lead on many of its internationally renowned projects. Our conversation extended beyond the accomplishments of women in the profession to include the challenges we still face. In Saint John, Blumberg was joined by Brigitte Shim of Shim-Sutcliffe

Architects; Christine Macy, Dean of Architecture and Planning at Dalhousie University; and BEAT managing director Camille Mitchell —all of whom generously offered their wisdom and experience to the young organization.

The BEAAtlantic founding members are Monica Adair, Alex Weaver Crawford, Kirby Tobin, Melissa Wakefield and the Architects Association of New Brunswick. The inaugural events were located in repurposed buildings on a steep cobblestone street, effervescently releasing the energy of the event into the public realm.

BEAAtlantic is dedicated to serving, supporting and promoting women in architecture, building and design fields. In the words of the founders: “The role of women in architecture is changing. We are carving a new path for equal representation, while simultaneously unlearning the bias in ways that we were taught to think about our place in the field.” We want to address the unique challenges here in the Maritimes, and how we can overcome them in a way that sets an example for the rest of the country. We’ve already succeeded in that, since Vancouver architect Jennifer Marshall, partner with Shelley Craig at Urban Arts, has already vowed to inaugurate a BEA chapter on the west coast.

For the many whose work is dedicated to building equality, the ambitions of BEA are not new. We know how crucial it is that our cities, towns, neighbourhoods, streets and buildings be designed to enhance the lives of all who inhabit them. However, as articulated by Brigitte Shim at the Saint John planning meeting, what’s new is the desire of BEA to move beyond past grievances and focus our efforts on the present and the future. The optimism and collaborative spirit of BEAAtlantic was as refreshing as the sea air in the streets of old Saint John.

EDITOR (ON LEAVE) ELSA LAM, FRAIC ART DIRECTOR ROY GAIOT ASSISTANT EDITOR STEFAN NOVAKOVIC EDITORIAL ADVISOR IAN CHODIKOFF, OAA, FRAIC CONTRIBUTING EDITORS ANNMARIE ADAMS, FRAIC ODILE HÉNAULT DOUGLAS MACLEOD, NCARB, MRAIC REGIONAL CORRESPONDENTS HALIFAX CHRISTINE MACY, OAA REGINA BERNARD FLAMAN, SAA MONTREAL DAVID THEODORE CALGARY GRAHAM LIVESEY, MRAIC WINNIPEG LISA LANDRUM, MAA, AIA, MRAIC 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: $6.95. Students (prepaid with student ID, includes taxes): $27.00 for one year. USA: $105.95 US for one year. All other foreign: $125.95 US per year. Single copy US and foreign: $10.00 US. 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.

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Jill Bambury holds a PhD in History and Philosophy of Architecture from the University of Cambridge.

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PROJECTS Nunavik Cultural Centre opens doors

The 10,000 people living in one of Nunavik’s 14 communities can now gather in a new Cultural Centre located in the Northern Village of Kuujjuaraapik, north of the 55th parallel. Designed by Blouin Orzes architectes, the new venue lends itself to all sorts of activities, from traditional storytelling, singing, dancing, banquets and film projections, to the popular Inuit Games.

In September, the Montreal Symphony Orchestra is scheduled to perform there.

The 680-square-metre building is located at the mouth of the Great Whale River on a sand dune of exceptional beauty, a unique feature of Kuujjuaraapik. The asymmetrical one-and-a-half-storey exterior volume seems to have been shaped by the strong winter winds. A light aerial structure signals the entrance portico, facing south, echoing the porch of the nearby church, the village’s oldest structure. www.bo-a.ca

New headquarters for Sidewalk Labs Toronto

Lebel & Bouliane has re-interpreted the interior of a former fish-processing plant in Toronto’s Portlands into the new headquarters of Sidewalk Labs in Toronto. The building, dubbed “307,” will act as a testing ground for new Sidewalk Labs initiatives and an office space for their Toronto team.

Within this bare architecture, the design team has deftly used their own language: a dramatic geometric volume reminiscent of a ship’s hull, which mediates between quieter offices and busier collaborative spaces.

ABOVE

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CANADIAN ARCHITECT 08/18

NEWS

The Nunavik Cultural Centre, designed by Blouin Orzes architectes.

Construction starts on Winnipeg’s Inuit Art Centre

A groundbreaking ceremonially kicked off construction for Winnipeg’s new Inuit Art Centre. Designed by Los Angeles-based Michael Maltzan Architecture in association with Winnipeg’s Cibinel Architects Ltd., the $65-million project will house the Gallery’s celebrated collection of contemporary Inuit art and provide new facilities for an expanded studio art and educational program. www.mmaltzan.com

Studio Gang reveals design for new 48-storey Toronto tower

The design for One Delisle, a dramatic new block plan and mixed-used tower at the

southwest corner of Yonge and Delisle in Toronto, was unveiled during a community consultation session in early July.

Designed by Chicago-based Studio Gang in collaboration with Toronto-based WZMH A rchitects, the tower is rooted in the existing architecture of the neighbourhood and aligns with the city grid at its base, as well as with storefronts along Yonge Street. Moving upward from its rectilinear base, the building transforms into a compact, 16-sided tower that dramatically reduces shadows on the surrounding streets and neighbourhood.

“The proposed building at One Delisle is only one component of this project,” says Brandon Donnelly, Vice President of Development at Slate Asset Management. “Because of our holdings in the area, we’re in a unique position to take a holistic city building

www.lebelbouliane.com

Weiss/Manfredi and Teeple to design University of Toronto innovation centre

The University of Toronto has released new renderings highlighting the plans for its “Partnerships in Innovation and Entrepreneurship” complex, set to rise at the northeast corner of College Street and University Avenue in downtown Toronto. Designed

by New York-based Weiss/Manfredi Architects in collaboration with Toronto’s Teeple Architects, the 14-storey building replaces the western portion of the existing Banting and Best complex, which currently houses the “U of T Entrepreneurship” hub. www.weissmanfredi.com www.teeplearch.com

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ABOVE One Delisle will bring broad-based urban improvements to Toronto’s Yonge and St. Clair community through the injection of new residential and retail uses.

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NEWS

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approach.” The collaborating firm WZMH is assisting with the formal rezoning application and bringing local perspective to the design process.

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Toronto’s largest circulating library has re-opened after a major renovation. Diamond Schmitt Architects has revitalized the North York Central Library and reprogrammed space to support the delivery of new services to meet the changing needs and expectations of its users. The first renewal phase comprises three of the seven-storey facility, which first opened in 1987. www.dsai.ca

Architecture49 to design ‘major cultural hub’ on Halifax waterfront

Halifax-based Architecture49 has been contracted to prepare a facility plan for a cultural hub on the city’s waterfront, which will include the Nova Scotia College of Art and Design and the Art Gallery of Nova Scotia. www.architecture49.com

MEMORANDA Submissions for National Urban DesignAwards close August 15

The Royal Architectural Institute of Canada (RAIC), the Canadian Institute of Planners (CIP), and the Canadian Society of Landscape Architects (CSLA) announce that entries are now being accepted for the 2018 National Urban Design Awards. The submission deadline is August 15, 2018. www.raic.org

WHAT’S NEW Canadian Architect announces jurors for 2018 Awards of Excellence

Photo: Nick Merrick ©Hendrich Blessing

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The three jurors for the 51st annual Canadian Architect Awards of Excellence have been announced—Ted Watson, MRAIC; Monica Adair, MRAIC; and David Penner, FRAIC. Watson is a partner at Toronto-based MJMA , a 60-person Toronto-based design studio that received the 2016 RAIC Architectural Firm Award. Adair is co-founder and principal of Saint John, NB-based Acre Architects, and the recipient of the 2015 RAIC Young Architects Awards. Penner is founder and principal of David Penner Architect in Winnipeg. His Fountain Springs Housing, with h5 architecture, is the recipient of a 2018 Prairie Design Award.

The Awards recognize projects in the design or construction stages, as well as student work. Submissions are due by September 20, 2018, with more details at the link below. www.canadianarchitect.com/awards/

MONICA ADAIR

DAVID PENNER

TED WATSON

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2018-07-27 1:22 PM

Briefs En bref

RAIC Journal Journal de l’IRAC

RAIC Emerging Practitioners will offer a series of webinars in September and October in English and French on the National Building Code Parts 3 and 9. See www.raicep.ca for details.

Our interaction with these organizations as well as our long-standing participation on the Federal/Industry Real Property Advisory Council led to the development of a plenary session on procurement reform at the recent Festival of Architecture in Saint John, NB.

Les praticiens émergents de l’IRAC offriront une série de webinaires en septembre et en octobre (en anglais et en français) sur les parties 3 et 9 du Code national du bâtiment. Consultez l’adresse www.raicep.ca pour plus de détails.

The RAIC will offer continuing education courses this fall on Project Management for Architects. The courses will take place in Ottawa, Toronto, Edmonton, and Vancouver. See www. raic.org for details.

L’IRAC offrira des cours de formation continue cet automne sur la gestion de projet pour les architectes. Les cours auront lieu à Ottawa, Toronto, Edmonton et Vancouver. Consultez l’adresse www.raic.org pour plus de détails.

Get ready to submit for the RAIC’s annual awards. Deadline is January 17, 2019.

The Gold Medal is the RAIC’s highest honour. It recognizes a significant and lasting contribution to Canadian architecture. The Emerging Architectural Practice Award and the Architectural Firm Award recognize firms or practices that have consistently produced distinguished architecture. The Prix du XXe Siècle recognizes landmark buildings over 25 years old. The Young Architect Award recognizes excellence in design, leadership, and service to the profession. Get the details at www.raic.org Préparez-vous à présenter vos soumissions pour les prix annuels de l’IRAC. La date limite est le 17 janvier 2019. La médaille d’or est le plus grand honneur de l’IRAC, reconnaissant une contribution importante et durable à l’architecture canadienne. Le Prix du cabinet d’architectes de la relève et le Prix du cabinet d’architectes de l’année reconnaissent les entreprises ou les pratiques qui produisent régulièrement une architecture distinguée. Le Prix du XXe Siècle reconnaît les bâtiments historiques de plus de 25 ans.

Le Prix du jeune architecte reconnaît l’excellence dans la conception, le leadership et le service à la profession. Consultez les détails à l’adresse www.raic.org

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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President’s Message Lettre du président By/Par Michael Cox FRAIC RAIC President Président de l’IRAC

In the last edition of this journal, RAIC CEO Mike Brennan noted that for him, “Every action, every expenditure, starts with a basic question: What value does it bring to members?” What is clear to me in answering that question is that much of the work of the Royal Architectural Institute of Canada (RAIC) is of benefit to all architects in Canada, RAIC members and non-members alike.

Our quest for more responsible approaches to procurement at the federal level provides some good examples: • In the face of an increasingly risk-averse climate, our ongoing discussions with Brookfield Global Integrated Solutions are beginning to provide positive outcomes.

• Our efforts, combined with others, resulted in Public Services and Procurement Canada (PSPC) issuing a Request for Information seeking input regarding the use of Qualifications-Based Selection as a means of procurement. The results of this request are being evaluated; the RAIC is a member of the evaluation team.

• We continue to discuss with PSPC the way the 10 percent fee portion in the consultant selection process is calculated.

The RAIC also collaborates with its regulatory colleagues. Each of the members of the Canadian Architectural Licensing Authorities (CALA) can advocate on behalf of its members. However, this advocacy is limited to actions that are deemed to be “in the public interest.” The RAIC is able and willing to expand these collaborative actions beyond the limitations of regulatory legislation.

The outcomes of these actions and expenditures meet Mr. Brennan’s test.

The successes in each of these initiatives bring value to all architects practicing in Canada, not just that relatively small percentage who, through their membership in the RAIC, provide the resources necessary to do the work.

Our ability to engage in these activities, particularly our collaboration with the members of CALA, is limited only by the resources at our disposal. For those of you who help provide these resources, please accept my thanks. It is my hope that all architects practicing in Canada will see value in what we do and choose to support this important work. Membership information can be found at www.raic.org/raic/how-join.

Dans la dernière édition de cette revue, le chef de la direction de l’IRAC, Mike Brennan, a noté que pour lui « chaque action, chaque dépense commence par une question fondamentale : quelle en est la valeur pour les membres ? ». Le travail de l’Institut royal d’architecture du Canada (IRAC) profite à tous les architectes du Canada, aux membres de l’IRAC et aux non-membres.

Notre quête pour trouver des approches plus responsables pour l’approvisionne­ ment au niveau fédéral en fournit un bon exemple.

• Face à un climat de plus en plus hostile au risque, nos discussions avec Brookfield Global Integrated Solutions commencent à porter fruit. suite à la page 18

2018-07-27 10:27 AM

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RAIC Journal

Journal de l’IRAC

Procurement reform Réforme de l’approvisionnement

By/par Maria Cook

From a plenary session on procurement reform at the 2018 Festival of Architecture, two main concerns about procurement practices across Canada emerged: fees as a prime selection criterion, and contracts that unreasonably transfer risk.

About 300 delegates attended the session on May 31 in Saint John, NB, which included a panel discussion and input from the audience.

“Procurement is a major advocacy issue for the RAIC,” said RAIC Chief Executive Officer Mike Brennan, who acted as moderator. “What we hope to do is establish consensus on the top priority issues. As a follow-up, the RAIC will develop an action plan to address these issues on a national level and across the country.”

Panelist Doug McConnell, FRAIC, cited the growing problem of “one-sided” contracts.

“Often the terms are uninsurable, very onerous and crippling,” said McConnell, co-chair of the procurement and contracts committee of the Consulting Architects of Alberta. “They ask you to indemnify the client for things you are not insured for. They could put you out of business very quickly.

Many are written, so the owner has discretion whether or not to pay you.”

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Panelist John Stephenson, FRAIC, president of the Ontario Association of Architects (OAA), said the OAA advises against entering such contracts. “If an architect does, an architect can be considered potentially exposed to professional misconduct,” said Stephenson. “An example includes the broad indemnification language and clauses that are seen in almost every contract where architects are asked to indemnify all parties. The best way to address these types of contracts is not to answer the RFPs.”

vincial associations or the RAIC suggest is reasonable compensation.”

Stephenson noted that new business models are all about extreme risk transfer and project delivery methodology can impose a further hindrance. “P3 projects, for example, leave little room to meet a high standard of quality and vision for the projects,” he said. “The architect is challenged and under financial constraints and cannot allocate any effort to the delivery of this type of project in terms of quality.”

Panelist Bruce Lorimer, FRAIC explained that the federal department of Public Services Procurement Canada recently issued a Request-for-Information on QBS and has stated an intention to do pilot projects.

Another concern is clients who heavily weight fees, prompting firms to lower their prices to get contracts, said McConnell.

“The worst thing for our industry and our profession is fee cutting; people offering services for less than half of what the pro-

Stephenson said architects who respond to bad Requests-for-Proposals undermine the profession’s negotiating power with clients. “We are our own worst enemy,” he said. “It’s a race to the bottom.”

Left to right/ gauche à droite : Anne Carrier, FIRAC; Bruce Lorimer, FRAIC; Mike Brennan, Doug McConnell, FRAIC; John Stephenson, FRAIC.

As a possible solution, “there needs to be a promotion of Qualifications-Based Selection (QBS) instead of price-based selection,” he said.

Also, the RAIC and Association of Consulting Engineers of Canada are in discussion with the management of BGIS, the federal government service provider, to try to resolve complaints about the quality of procurement calls, use of unlicensed practitioners, and contract language on liability and risk.

Lorimer, a former director general in the federal department of public works, said effective advocacy would include high-level continued on pg 14

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RAIC Journal

“Procurement is a major advocacy issue.

The RAIC will develop an action plan to address these issues on a national level and across the country.” « L’approvisionnement est un enjeu majeur. Ce que nous espérons faire, c’est établir un consensus sur les questions prioritaires. À titre de suivi, l’IRAC élaborera un plan d’action pour régler ces problèmes à l’échelle nationale et d’un bout à l’autre du pays. » —Mike Brennan

Environ 300 délégués ont participé à la séance du 31 mai à Saint John, au Nouveau-Brunswick, qui comprenait une table ronde et des commentaires du public. « L’approvisionnement est un enjeu majeur pour l’IRAC », a déclaré le chef de la direction de l’IRAC, Mike Brennan, qui a agi à titre de modérateur. « Ce que nous espérons faire, c’est établir un consensus sur les questions prioritaires.

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À titre de suivi, l’IRAC élaborera un plan d’action pour régler ces problèmes à l’échelle nationale et d’un bout à l’autre du pays. » Le panéliste Doug McConnell, FRAIC, a cité le problème croissant des contrats unilatéraux. « Souvent, les termes sont inassurables, très onéreux et paralysants », a déclaré McConnell, coprésident du comité de l’approvisionnement et des contrats de l’organisme Consulting Architects of Alberta. « Ils vous demandent d’indemniser le client pour des choses pour lesquelles vous n’êtes pas assuré.

Ils pourraient vous faire fermer boutique très rapidement. Plusieurs sont écrits, donc le propriétaire a la discrétion de vous payer ou non. »

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Le panéliste John Stephenson, FRAIC, président de l’Association des architectes de l’Ontario (OAA), a déclaré que l’OAA déconseille de conclure de tels contrats. « Si un architecte le fait, un architecte peut être considéré comme potentiellement exposé à l’inconduite professionnelle », a déclaré Stephenson. « Un exemple inclut le langage général de l’indemnisation et les clauses que l’on voit dans presque tous les contrats où les architectes sont invités à indemniser toutes les parties.

La meilleure façon d’aborder ces types de contrats est de ne pas répondre aux demandes de propositions. » Stephenson a noté que les nouveaux modèles d’affaires sont tous axés sur le transfert de risque extrême et la méthodologie de livraison de projet peut imposer un autre obstacle. « Les projets de PPP, par exemple, laissent peu de place à un haut niveau de qualité et de vision pour les projets », a-t-il déclaré. « L’architecte est confronté à des difficultés financières et ne peut consacrer aucun effort à l’exécution de ce type de projet en termes de qualité. » Les clients qui mettent beaucoup de valeur sur les frais et incitent les entreprises à baisser leurs tarifs pour obtenir des contrats sont une autre cause de consternation. « La pire chose pour notre industrie et notre profession est la réduction des tarifs ; les personnes offrant des services pour moins de la moitié de ce que les associations provinciales ou l’IRAC suggèrent comme une compensation raisonnable. »

Deux préoccupations majeures concernant les pratiques d’approvisionnement d’un bout à l’autre du Canada sont émergées d’une séance plénière sur la réforme de l’approvisionnement au Festival d’architecture de 2018 : les frais comme critère de sélection principal et les contrats qui transfèrent le risque de façon déraisonnable.

Journal de l’IRAC

Mike Brennan, Chief Executive Officer, RAIC

Mike Brennan, Chef de la direction, IRAC

Selon Stephenson, les architectes qui répondent à de mauvaises demandes de propositions affaiblissent le pouvoir de négociation de la profession auprès des clients. « Nous sommes notre pire ennemi », a-t-il déclaré. « C’est une course vers le bas. » Comme solution possible, « il doit y avoir une promotion de la sélection basée sur les qualifications (QBS) au lieu de la sélection basée sur les prix », a-t-il dit.

Le panéliste Bruce Lorimer, FRAIC, a expliqué que le ministère fédéral des Services publics et Approvisionnement Canada a récemment émis une demande de renseignements sur la sélection basée sur les qualifications et a déclaré son intention de réaliser des projets pilotes.

suite à la page 14

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RAIC Journal

Journal de l’IRAC

Clockwise from top left/Du coin gauche supérieur vers la droite : Doug McConnell, FRAIC; John Stephenson, FRAIC; Bruce Lorimer, FRAIC; Anne Carrier, FIRAC.

Lorimer, ancien directeur général du ministère fédéral des Travaux publics, a déclaré que des efforts efficaces de promotion comprendraient des réunions de haut niveau avec des bureaucrates, des représentants et les principaux clients institutionnels.

Pendant ce temps, au Québec, le gouvernement provincial envisage d’abandonner son recours à la sélection fondée sur les qualifications pour les projets financés par la province, a déclaré Anne Carrier, FIRAC, présidente de l’Association des architectes en pratique privée du Québec (AAPPQ).

continued from pg 12 meetings with bureaucrats, elected officials, and major institutional clients.

Meanwhile, in Quebec, the provincial government is considering moving away from its use of qualifications-based selection for provincially funded projects, said panelist Anne Carrier, FIRAC, president of Architects in Private Practice in Quebec (AAPPQ).

Carrier said there needs to be a cultural shift. The Quebec Order of Architects and the AAPPQ are lobbying for a Quebec architecture policy, a move that could be taken up at the federal level, she said. “It could define strategic directions about planning, design, construction, heritage, maintenance of public buildings and spaces.”

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McConnell said there needs to be a national body to address the issue, both for national clients and to coordinate and bolster efforts at the provincial level.

“The regulators can’t do it alone in their jurisdiction,” agreed Stephenson. “It’s important for the RAIC voice as a national voice to be strengthened.”

suite de la page 13 De plus, l’IRAC et L’Association des firmes de génie-conseil — Canada discutent avec la direction de BGIS, le fournisseur de services du gouvernement fédéral, pour tenter de régler les plaintes concernant la qualité des appels d’offres, l’utilisation de praticiens non autorisés et les termes des contrats en matière de responsabilité et de risque.

Carrier a dit qu’il doit y avoir un changement culturel. L’Ordre des architectes du Québec et l’AAPPQ militent en faveur d’une politique d’architecture au Québec, une mesure qui pourrait être prise au niveau fédéral, a-t-elle dit. « La mesure pourrait définir des orientations stratégiques sur la planification, la conception, la construction, le patrimoine et l’entretien des bâtiments publics et des espaces. » McConnell a dit qu’il doit y avoir un orga­ nisme national pour aborder la question, à la fois pour les clients nationaux et pour coordonner et soutenir les efforts au niveau provincial. « Les organismes de régulation ne peuvent pas le faire seuls dans leur juridiction », a reconnu Stephenson. « Il est important que la voix de l’IRAC soit renforcée en tant que voix nationale. »

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RAIC Journal

Journal de l’IRAC

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The Art of the Business of Architecture A national symposium in Vancouver this fall explores this recriprocal subject

Les affaires en architecture Un symposium national se penchera sur l’art des affaires dans l’architecture au Canada

Le sujet de la pratique de l’architecture en tant qu’entreprise, à la fois liée et séparée de sa compréhension en tant qu’art, a été un débat essentiel et persistent au sein de la profession. Les architectes sont à la pointe et aux intersections de l’art, de l’ingénierie, de l’innovation et de la vocation depuis des siècles, comblant souvent le fossé entre l’abstrait et le rationnel, et la beauté et les affaires de notre univers construit.

En tant que tel, l’affaire de l’art de l’archi­ tecture, et inversement, l’art des affaires en architecture, seront l’objet de POP // CAN // CRIT 2018: The Business of Architecture in Canada. Le troisième symposium national annuel aura lieu le 19 octobre à Vancouver, en Colombie-Britannique. Il est présenté en partenariat avec l’Institut royal d’architec­ ture du Canada (IRAC), l’école d’architec­ture et d’urbanisme Azrieli de l’Université Carleton et le magazine Spacing.

By/par Ulduz Maschaykh

The subject of the practice of architecture as a business, both related to and separate from its understanding as an art, has been a key and lasting debate within the profession. Architects have been at the cutting edge and intersections of artistry, engineering, innovation, and vocation for centuries, often bridging the divide between the abstract and the rational, and the beauty and the business of our built realm.

As such, the business of the art of architecture, and conversely, the art of the business of architecture, will be the focus of POP // CAN // CRIT 2018: The Business of Architecture in Canada. The third annual national symposium will take place on October 19 in Vancouver, BC. It is presented in partnership with the Royal Architectural Institute of Canada (RAIC), Carleton University’s Azrieli School of Architecture & Urbanism, and Spacing Magazine.

Founded in 2016, POP // CAN // CRIT focused on the current conditions in architectural criticism and the marketing and promotion of architecture during its first two events. This year’s gathering will explore how architects must increasingly find their niche and voice within an increasingly competitive business and design market.

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For example, “The Art of Business in Architecture” panel will examine how the practice of architecture must balance the art of its creative capacity, with the logistics, practices, and sustainability of a business model.

“Architecture Speak” panelist Naomi Kriss says that it’s not only how the field communicates its value to potential clients but also to the public that matters. “The focus is shifting to how architects are addressing difficult but significant issues such as affordable housing, climate change, gender equality and universal design,” she says. “This means that architecture isn’t such an easy household topic. Hopefully, the general perception of architects will continued on pg 16

Fondé en 2016, POP // CAN // CRIT a discuté des conditions actuelles de la critique de l’architecture ainsi que du marketing et de la promotion de l’architecture lors de ses deux premiers événements. Le rassemblement de cette année explorera comment les architectes doivent, de plus en plus, trouver leur place et leur voix dans un marché d’affaires et de design de plus en plus concurrentiel.

Par exemple, le panel The Art of Business in Architecture examinera comment la pratique de l’architecture doit équilibrer l’art de sa capacité créative avec la logistique, les pratiques et la durabilité d’un modèle d’affaires. suite à la page 16

WHAT: POP // CAN // CRIT 2018: The Business of Architecture in Canada WHERE: Simon Fraser University, Djavad Mowafaghian World Art Centre, Room 2555, Vancouver, BC WHEN: Friday, October 19, 2018, 8:30 a.m. to 5:00 p.m.

COST: RAIC Members: $85, General: $100. Students: $75

(Lunch and refreshments provided) REGISTRATION: Registration for POP // CAN // CRIT 2018 is now open.

Tickets can be purchased at spacing.ca/popcancrit.

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RAIC Journal

Journal de l’IRAC

KTCHN Photography

Clockwise from top left/Du coin gauche supérieur vers la droite : PopCanCrit 2017 — Matthew Blackett, Susan Algie, Johanna Hurme, FRAIC, Alex Bozikovic, Shelley True, Toon Dreessen, FRAIC.

QUOI : POP // CAN // CRIT 2018:

continued from pg 15

book “The Changing Image of Affordable Housing –

evolve from indulgent aesthetes to deep problem-solvers.”

Design, Gentrification and Community in Canada

The “Women in Architecture/Women in Business” panel will look at issues of gender diversity. While equal numbers of women and men graduate from architecture schools across Canada, fewer than 30 percent of registered architects are women. Panelist Megan Torza believes mentorship programs such as Building Equality in Architecture or Women in Architecture are a good starting point, but how can this progress go further, faster?

Mentorship and the progress from student to intern to licensed architect is closely tied to education and training. The “Education > Internship > Practice” panel will inquire into how universities can better prepare their graduates for the business components of professional practice.

The symposium will conclude with a roundtable discussion on “The Future of Architecture Practice” by addressing the interdisciplinary nature of the field.

Attendees will be eligible to receive structured continuing education learning hours.

Continuing education Certificates of Attendance will be issued by the RAIC. For more information, see www.spacing. ca/popcancrit

Ulduz Maschaykh is an art/urban historian with interest in architecture, design and the impact of cities on people’s lives. She is the author of the

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and Europe.” She lives in Vancouver, BC.

suite de la page 15 Selon Naomi Kriss, panéliste d’Architec­ture Speak, ce n’est pas seulement la façon par laquelle le secteur communique sa valeur aux clients potentiels qui importe, c’est aussi comment il le communique au public qui compte. « L’accent se concentre de plus en plus sur la façon dont les architectes s’attaquent à des problèmes difficiles mais importants, tels que le logement à loyer modique, le changement climatique, l’égalité entre les sexes et la conception universelle », dit-elle. « Cela signifie que l’architecture n’est pas un sujet de ménage très facile.

Espérons que la perception générale des architectes évoluera d’esthètes indulgents à celle de profonds résolveurs de problèmes. »

The Business of Architecture in Canada EMPLACEMENT : Université Simon

Fraser, Djavad Mowafaghian World Art Centre, Salle 2555, Vancouver, C.-B. QUAND : Vendredi 19 octobre 2018,

de 8 h 30 à 17 h 00 COÛT : Membres de l’IRAC: 85 $, Admission générale : 100 $. Étudiants: 75 $ (Casse-croûte et rafraîchissements inclus) INSCRIPTION : Vous pouvez actuellement vous inscrire pour POP // CAN // CRIT 2018. Les billets peuvent être achetés à l’adresse spacing.ca/popcancrit.

Le panel Women in Architecture/Women in Business se penchera sur les questions de mixité des sexes. Bien qu’un nombre égal d’hommes et de femmes obtienne des diplômes des écoles d’architecture au Canada, moins de 30 pour cent des architectes membres de l’Ordre sont des femmes. La panéliste Megan Torza croit que les programmes de mentorat comme Building Equality in Architecture Toronto ou Women in Architecture constituent un bon point de départ, mais comment ces progrès peuvent-ils en faire davantage, plus rapidement?

Left/ À gauche : 2018 Panelist/ Panéliste Naomi Kriss.

Le mentorat et la progression de l’étudiant au stagiaire à l’architecte agréé sont étroitement liés à l’enseignement et à la formation. Le panel Education > Internship

2018-07-27 10:27 AM

RAIC Journal

1 A ndrew Dejneka, MRAIC

2 Don Ardiel, MRAIC 1

3 Stephen Fai

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4 A ndrew King, FRAIC

Pour de plus amples renseignements, visitez l’adresse www.spacing.ca/popcancrit

5 Farida Abu-Bakare

Ulduz Maschaykh est une historienne urbaine / de l’art qui s’intéresse à l’architecture, au design et à

6 Veronica Gillies, FRAIC

l’impact des villes sur la vie des gens. Elle est l’auteure du livre “The Changing Image of Affordable Housing – Design, Gentrification and Community in

7 Ema Peter

Canada and Europe” Elle vit à Vancouver, en Colombie-Britannique.

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Panelists Panélistes : PopCanCrit 2018

> Practice se penchera sur comment les universités peuvent mieux préparer leurs diplômés aux aspects de la pratique professionnelle reliés aux affaires.

Le symposium se terminera par une table ronde sur L’avenir de la pratique de l’architecture en abordant la nature interdisciplinaire du domaine. Les participants seront admissibles à recevoir des heures d’apprentissage structurées de formation continue. Des certificats de participation à la formation continue seront émis par l’IRAC.

Journal de l’IRAC

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8 Shirley Blumberg, FRAIC

9 Susan Gushe, FRAIC

10 Inge Roecker 11 D arryl Condon, FRAIC

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12 G regory Henriquez,

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FRAIC

13 Toon Dreessen, FRAIC

14 A dele Weder, Hon. MRAIC

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RAIC Journal

Journal de l’IRAC

2018 Festival of Architecture 2018 Festival d’architecture

suite de la page 11

1 Karen Chantler, Hon. MRAIC; Donald Sterritt, FRAIC; Michael Cox, FRAIC, Ann Germani; Chantal Charbonneau, Hon. MRAIC.

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2 Festival delegates mingle at the opening reception, held in the Market Square at New Brunswick’s Festival Place.

Des délégués du Festival à la cérémonie d’ouverture, Place du marché de la Place des festivals du Nouveau-Brunswick.

3 Delegates enjoyed many tours of historic downtown Saint John.

Les délégués ont bien aimé les nombreuses visites du centreville historique de Saint John.

4 Music of the Eye: Architectural Drawings of Saint John and its Region, 1822-1914, Exhibition at the New Brunswick Museum.

Musique pour les yeux, dessins d’architecture de Saint John et de la région, 18221914, exposition présentée au Musée du Nouveau-Brunswick.

• Nos efforts, conjugués à d’autres, ont incité Services publics et Approvisionnement Canada (SPAC) à publier une demande de renseignements afin d’obtenir des commentaires sur l’utilisation de la sélection basée sur les compétences comme moyen pour l’approvisionnement.

Les résultats de cette demande sont en cours d’évaluation. L’IRAC est membre de l’équipe d’évaluation.

• Nous continuons de discuter avec Services publics et Approvisionnement Canada de la méthode utilisée pour calculer le 10% dans le processus de sélection des consultants.

Notre interaction avec ces organismes ainsi que notre participation de longue date au Conseil consultatif sur les biens immobiliers du gouvernement fédéral et de l’industrie (FIRPAC) ont mené à l’organisation d’une séance plénière sur la réforme des approvisionnements au récent Festival d’architecture à Saint John, au Nouveau-Brunswick.

L’IRAC collabore également avec ses collègues en matière de réglementation. Chacun des membres du Regroupement des ordres d’architectes du Canada (ROAC) peut défendre les droits et les intérêts de ses membres. Cependant, cette défense se limite à des actions jugées d’être dans l’intérêt public. L’IRAC serait intéressée à étendre ces actions de collaboration audelà des limites de la loi de réglementation.

Les résultats de ces actions et de ces dépenses répondent au test de M. Brennan. Les réussites de chacune de ces initiatives apportent de la valeur à tous les architectes qui pratiquent au Canada, et non seulement au pourcentage relativement faible qui fournissent les ressources nécessaires pour effectuer ce travail grâce à leur adhésion à l’IRAC. Notre capacité à participer à ces activités (notre collaboration avec les membres du Regroupement des ordres d’architectes du Canada en particulier) n’est limitée que par les ressources à notre disposition.

Pour ceux d’entre vous qui aident à fournir ces ressources, veuillez accepter mes remerciements. J’espère que tous les architectes qui pratiquent au Canada verront la valeur de nos efforts et choisiront de soutenir ce travail important. Vous pouvez trouver des renseignements à propos de l’adhésion à l’adresse www.raic. org/fr/raic/comment-adherer.

2018-07-27 10:36 AM

MAPEI solutions help modernize recreation centre

The new Delbrook Community Recreation Centre has replaced two of North Vancouver’s aging recreation facilities, consolidating the services of the old William Griffin and Delbrook facilities into one modern recreation centre. The new facility consists of three floors of recreation, cultural and community spaces, including an aquatic facility that features a six-lane swimming pool; a large gymnasium and fitness studio; two convertible squash/racquetball courts; multi-use rooms for community programs and rental space; arts and crafts studios; and administration offices.

Several MAPEI tile installation products and waterproofing materials were used in the swimming pool, leisure pool, sauna, steam room and changing rooms, as well as in the elevator cabs, office washrooms, public washrooms and staff lunchroom areas.

MAPEI Canada

CA Aug 18.indd 19

2018-07-27 9:41 AM

Building Barriers.

Advancing Education.

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BRINGING DESIGN INTO PLAY TEXT

Shannon Moore Martin Bond

PHOTOS

THE INTERNATIONAL GARDEN FESTIVAL IN GRAND-MÉTIS, QUÉBEC, CONTINUES ITS CHILD-CENTRIC APPROACH

At its annual installation site at the Reford Gardens/Jardins de Métis, the International Garden Festival is presenting seven new landscape designs that build upon the concept of play that was established during the Festival last year (see Canadian Architect, August 2017). Chosen from 148 submissions by over 700 architects, landscape architects, artists and designers, these installations highlight the beauty of Elsie Reford’s historic gardens while bringing contemporary forms into focus.

Imaginative and interactive, the installations follow a theme that encourages visitors to “Go Outside and Play!” aMAIZEing This installation, designed by Spanish architects Marta Milà Pascual and Marc Torrellas Arnedo, emphasizes three aspects of play–shapes, movement and change. The installation features a cornfield maze that grows and adapts over time. As visitors interact with circular objects on the plot of land, such as a trampoline, they discover different perspectives of the same elements—an “amazing” and unique experience for all.

ABOVE LEFT Rendering of “Les hélicoptères”

by Carson Isenor and Anna Thomas.

ABOVE RIGHT The “aMAIZEing” installation by Marta Milà Pascual and Marc Torrellas Arnedo.

Les hélicoptères Vancouver-based landscape designer Carson Isenor and landscape architecture graduate student Anna Thomas have created thousands of colourful samara seed replicas frozen in time, evoking nostalgia for visitors who played helicopter with them as children. Calling attention to the lifecycle of the maple tree from which these samara seeds are born, the project seeks to spark interest in and appreciation for its natural beauty and form.

Assemble This project is by landscape designer Katie Strang, artist/carpenter Christine Dewancker and designer Craig Van Ravens, all Torontobased. The installation invites people to gather small wooden sticks and assemble them into brightly painted structures to form bush huts.

When combined, the branches and vibrant bases create a beautiful and striking composition, bringing the organic and abstract into play in this natural garden setting.

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REPORT

“Le rocher très percé,” by Stéphanie Cardinal, Olivier Laplante-Goulet, Lorelei L’Affeter, and Vincent Lemay; “L’origine de la colonne,” by Josep Congost and Louis Sicard; “La ligne de 100 ans,” by Étienne Bernier, Marianne Charbonneau, Mélanie Dereymez, Théo Jarrand and Steeven Bérubé.

CLOCKWISE FROM TOP LEFT

La ligne de 100 ans The team of Étienne Bernier, Marianne Charbonneau, Mélanie Dereymez, Théo Jarrand and Steeven Bérubé—all from the Quebec City-based design firm Hatem+D—has built an allegory.

On this site, a catastrophic flood is reimagined as a happy childhood dream, inspiring visitors to experience the pleasure of floating freely atop rising waters and sunken houses. Individual paddle boats can be used to explore submerged cabins from Deborah Nagan’s 2009 installation Every garden needs a shed and a lawn, giving new life to this original work.

L’origine de la colonne Inspired by Vitruvius’ principle that architecture imitates nature, Spanish artist-architects Josep Congost and Louis Sicard used columns to emulate trees–a base as a root, stem as a trunk, capital as a branch, and groove as bark. When combined, the columns form a unique forest or temple, bringing architecture into conversation with its natural surroundings.

Le rocher très percé In Percé, Quebec, a gigantic rock juts out over the ocean. Dangerous

to access but beautiful to see, the rock is one of the world’s largest natural arches in water. Here, a reinterpretation is deposited in the garden landscape, inviting people to touch, climb, circle and observe. The mysterious icon is experienced up close, with its symbolism visible for all to see. Stéphanie Cardinal, Olivier Laplante-Goulet and Lorelei L’Affeter of HUMÀ Design and landscape architect Vincent Lemay, all Montreal-based, brought this project to fruition.

Carousel Based on the concept of a landscape in motion, the Vancouver architecture firm ISO has reinterpreted the classic merry-go-round for the modern visitor. Here, an endless loop invites users to immerse themselves in the surrounding trees and vegetation and experience an intimate connection to the expansive forest. The ISO team includes Nuala O’Donnell, Maxwell Schnutgen and Etienne Issa.

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The International Garden Festival runs until October 7.

Shannon Moore is a staff writer with the National Gallery of Canada, and a contributor

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to art and design journals across the country.

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Canadia

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SHAI GIL

THE UBC AQUATIC CENTRE IS A TRANSPARENT NEW CAMPUS LANDMARK

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University of British Columbia Aquatic Centre, Vancouver MJMA with Acton Ostry Architects TEXT Hadani Ditmars PHOTOS Ema Peter, except as indicated PROJECT

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The new UBC Aquatic Centre is more than just a swimming pool: it’s a device for viewing the shifting architectural landscape at the University of British Columbia. Designed by MJMA with Acton Ostry Architects, it features a continuous ribbon of glass around the tessellated, all-white, sloped structure. Swimming in its 50-metre-long pool feels like being inside a giant oculus, where “see and be seen” takes on new meaning: you are not just an end-user but also an active participant in the broader visual environment.

Inside, that competition pool is delineated from the family and recreational areas by a giant, translucent Barrisol screen. As I paddle along its north-south axis, framed views of the surrounding built environment unfold before me. Historical context is writ large—from the still-handsome midcentury War Memorial Gym to the south, to the mid-90s Student Recreation Centre to the north, with the edges of adjacent new student housing under construction and even an Edwardian mansion further on the horizon, peeking through the eastern skyline.

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The Aquatic Centre’s central Y-shaped bank of columns splits the structural roof span with a 6.5-metre-wide glazed slot down its centre, delivering light into the core. To help control reverberation and reduce noise, the ceiling is sloped downward to its minimum functional heights. The entire ceiling surface, including the sides which tessellate downward to meet the glazed walls, is made up of highly absorptive Hunter Douglas fiberglass acoustic paneling system designed for humid environments.

While the new 7,897-square-metre Aquatic Centre was designed to meet the needs of both UBC ’s Olympian-level swim team and those of the burgeoning community of young families in the surrounding area, campus planners also envisioned it as a new anchor for the University Boulevard precinct, which is essentially the gateway to the campus.

“Pools and rinks don’t get as much attention as important civic spaces like concert houses or city halls,” says MJMA principal Ted Watson, “but they are very important community spaces.” It’s a program that’s becoming something of a specialty for MJMA: the firm helped transform Regent Park in Toronto with a new Aquatic Centre and is currently working on a pool in Longbridge Park, near the Pentagon in Washington, D.C. UBC ’s campus is a mish-mash of styles and era, with the 2010 campus plan generating what Watson likens to a “giant chessboard” with moving pieces. The Aquatic Centre sits on the site that was once used as a field for sports and ceremonies. At its southwest corner is a giant hole—the site of the old 1978 aquatic centre that I knew and loved from my time here as a student in the 1980s—that will soon become a new recreational greenfield. Also surrounding it are the original and the

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new Student Union Building (SUB), one a bunker-like hangout that now provides student orientation and services, and the other—officially called the Nest—an outward-looking contemporary building.

The element that promises to draw all these diverse buildings together is the enlightened landscape architecture done by MJMA’s in-house team in collaboration with PFS Studio. Their scheme features an “Athlete’s Way” pedestrian greenway between the old SUB and new Aquatic Centre planned to capitalize on existing old growth trees, and newly planted ones on the Aquatic Centre’s southern edge, mitigating the industrial feel of the new bus loop.

In such an architecturally busy environment, the elegant simplicity and restrained palette of the new Aquatic Centre makes sense. With the exception of speckled blue and occasional yellow interior elements referencing UBC colours, it is a mostly white, purist environment.

And just as its design speaks to the balance between public and private space, and between Olympian and community needs, so too does it play with the contrasting solidity and transparency of the surrounding environment. With the brutalist Buchanan Tower to the far northwest, the

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SITE PLAN 1 NEW AQUATIC CENTRE 2 EXISTING RECREATION CENTRE 3 RENOVATED S.U.B. 4 NEW S.U.B. 5 NEW STUDENT PLAZA 6 NEW ALUMNI CENTRE 7 PROPOSED RECREATION FIELD & U/G PARKING BELOW (FORMER AQUATIC HALL SITE) 8 EXISTING WAR MEMORIAL GYM 9 NEW BUS LOOP 10 PROPOSED STUDENT HOUSING

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Brock Commons Tallwood House nearby and especially the adjacent Student Recreation Centre whose glazed north façade offers an unexpected viewing platform into the pool, there is a sense of dialogue rather than distance. This is a building that plays well with others.

Despite its neighbourly congeniality, the Aquatic Centre has a distinctive design that makes it a bright star in the current campus constellation. Its origami-like faceted standing-seam metal roof—designed for rain protection, solar shelter and the controlled admittance of daylight—generates the formal aspects of the design scheme. And yet the dramatically sloping shape is partly the result of financial constraints.

“The triangular form of the building was inspired by the fact that we had no budget for a second floor or elevators,” says Watson. “So the internal topography and triangulated shape were part of our plan to make a reduced and simple building workable.”

The rooftop-façade is constructed of powder-coated metal, a humble material elevated to a higher use. “We started with a porcelain façade, which would have been really nice,” says Watson, “but through the valueengineering process, we ended up with the standing-seam metal, which

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is a more basic approach. By using the tessellated segments, with different orientations of the standing seam, we were capturing shadow and light at different times of day, which gives it a more interesting character.”

The result is a building largely defined by its sculptural roof—whose seams, to be sure, are noticeably not aligned. That was a conscious decision, says Watson—in keeping with the project’s contrapuntal motif.

“We felt that this dynamic kind of movement was pretty interesting, visually.” What’s more, to line up the seams would require a level of contractor-subcontractor coordination that would kick its budget off-kilter.

“We wanted to make the clearest, most legible building possible,” adds MJMA partner and co-designer Viktors Jaunkalns with the goal of “removing as many barriers to participation, and getting as many people swimming and using the building as possible.”

Another distinctive element is the use of light. At the juncture delineating the family and recreational area to the west and the competition area to the east, a series of Y-shaped structural columns support a sixmetre-wide skylight. The shifting sun casts patterns on the Barrisol screen, offering a textural element that helps mitigate any sense of ster-

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ility in the super white environment. The textile like feel of the material, as well as the humidity resistant large-scale tegular acoustic panelling system help to reduce noise and glare.

The entire building is effectively a tabula rasa, a screen reflecting the surrounding environment, and at night its interior illumination—especially its suspended, indirect LED lighting—transforms it into an architectural lantern. Indeed, the Aquatic Centre is a suitable beacon for the re-invigorated University Boulevard precinct. But one hopes that the mildly antiseptic feel will be softened as burgeoning green space develops and landscape trees mature.

Although the fabric-like Barrisol screen and acoustic paneling can lend a tent-like vibe to the space, at off-peak hours, when it’s relatively devoid of swimmers, its cavernous space evokes an aquatic airport.

This approach to transitions extends to the mix of gender-specific and universal change rooms, which feature see-through glass walls with strategic mottled patterning. “We wanted to make the clearest, most legible building possible,” says MJMA partner and co-designer Viktors Jaunkal­ns with the goal of “removing as many barriers to participation, getting as many people swimming and using the building as possible.” It’s an approach that he says is about “cultural openness and democracy of space.”

There was something undeniably cozy about the old aquatic centre, whose brutalism was mitigated by strategic glazing and tropical indoor plantings that lent its interior an aura of sky-lit arboretum,

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and whose bleachers became a popular student napping spot called “the womb.” It’s hard to imagine that the sheer transparency and openness of the MJMA Aquatic Centre would encourage any napping. The ghost of the former aquatic centre still evokes nostalgia for its relative intimacy; this writer, for one, appreciated its snug sense of enclosure.

Still, the birth of this brave, new LEED-Gold aquatic centre is a happy one. And for those who might yearn for a semiotic of the original aquatic centre, the giant diving board from the late, great outdoor pool, completed in 1954 for the British Empire Games, will soon become an installation piece in the new Athlete’s Way greenspace.

What the new and more extroverted Aquatic Centre lacks in intimacy, it makes up for in outreach. “The more spaces are transparent, clear and open,” observes Jaunkalns, “the more inviting they are as public spaces.”

Hadani Ditmars is a Vancouver-based journalist, author and photographer.

CLIENT UNIVERSITY OF BRITISH COLUMBIA/ UBC PROPERTIES TRUST | ARCHITECT TEAM MJMA: TED WATSON, VIKTORS JAUNKALNS, ANDREW FILARKSI, ROBERT ALLEN, TROY WRIGHT, RICARDO DUQUE, TARISHA DOLYNIUK, KRISTIN ROSS, JANICE LEE, DARLENE MONTGOMERY, TIMOTHY BELANGER, AIDA VATANY, DANIELLE LAM-KULCZAK, LUIS ARREDONDO. AOA: RUSSELL ACTON, MARK OSTY, ADAM JAMES | STRUCTURAL EQUILIBRIUM CONSULTING INC. | MECHANICAL AME CONSULTING GROUP | ELECTRICAL APPLIED ENGINEERING SOLUTIONS | CIVIC KAMPS ENGINERING LTD. | LANDSCAPE MJMA LANDSCAPE + PFS STUDIO | INTERIORS MJMA INTERIORS + AOA | CONTRACTOR HEATHERBRAE BUILDERS CO LTD. | LEED / SUSTAINABLE RECOLLECTIVE CONSULTING | AQUATIC WATER TECHNOLOGY INC. | AREA 85,000 SF | BUDGET 33.4 M | COMPLETION 2016

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ABOVE “Topping-up� of evaporative losses in the basins is done with rainwater being processed through a powerful filtration system. A cistern gathers stormwater runoff from the roof and adjacent transit plaza, also using it for greywater flushing and site irrigation.

RIGHT The universal change-rooms feature strategically mottled glass walls, with optional private cubicles inside.

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UP IN THE VALLEY A NEW COMMUNITY CENTRE REVITALIZES A BRITISH COLUMBIA RECREATIONAL DISTRICT ARCHITECTS

PROJECT Columbia Valley Centre Shape Architecture with Hindle Architects TEXT Courtney Healey PHOTOS Ema Peter

Roadways and railways carve long, sharp cuts through the vast Canadian landscape and are often the only mark of modern human occupation.

For Vancouver-based Shape Architecture, working with Calgary-based Hindle Architects, a sliver of such infrastructure would serve as the conceptual touchstone throughout their design process for the Columbia Valley Centre in Invermere, British Columbia. A compact rusty-steel rail bridge just south of town echoes the hard line of the new building; both bridge and building presents a counterpoint in colour and form to the fortified mountains beyond.

Opened in the fall of 2017, the Columbia Valley Centre is an 1,672square-metre multi-purpose hall and library for a district of roughly 3,000 people nestled between the Rocky and Purcell Mountains in the East Kootenays, 100 kilometres west of the Alberta border. The Centre replaces an aging community hall on a new site. Since 1947, the old hall had hosted theatre productions, weddings, ski swaps, Christmas concerts and craft fairs. It was long loved and well worn, lately suffering from structural problems and a failing roof. Practically, it offered little more than a heated room and a stage. A new hall would have to do much more. As one of the largest public buildings ever undertaken in Invermere, the Centre needed to function both as a resource for the local community and as a magnet for larger regional conferences and events.

The Centre has also become a benchmark for Shape Architecture, which, since its founding in 2007, has quietly built up a portfolio of community and recreation work across British Columbia. Beginning with the tiny renovation of the Pender Harbour Aquatic Centre, Shape has now completed nine municipal buildings of increasing scale, including the North Delta Recreation Centre and others in Surrey, Burnaby,

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SITE PLAN 1 COMMUNITY HALL 2 LIBRARY 3 PARKING 4 DRIVE ACCESS RAMP 5 CIVIC PLAZA 6 WEST ENTRY COURT 7 EAST ENTRY COURT 8 FIREHALL 9 SCHOOL BOARD OFFICE 10 AMPHITHEATRE 11 LAWN 12 SERVICE VEHICLE ACCESS

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and North Vancouver. Most have been renovations of additions to existing buildings. The Columbia Valley Centre is one of Shape’s first standalone community building and exhibits some of the firm’s most finely wrought and fully realized work in this type. This accomplishment, in joint venure with Hindle Architect was recognized with a 2018 AIBC Lieutenant Governor Medal of Excellence.

Designing community facilities requires managing high social aspirations within tight budget constraints. Spaces have to be comfortable but bulletproof, flexible yet specific, in other words, esoteric architectural ideas about rusty rail bridges can easily fall by the wayside. Shape succeeds in delivering a coherent and generous piece of architecture in Invermere.

This is a building that is modern and yet rooted in place, a contemporary form that draws specificity through its siting and formal expression.

From the rail bridge, a logical linear plan evolved with a library at one end and multipurpose hall at the other, the lobby holds them together in the middle. A commercial kitchen, storage, and offices surround three sides of the hall. A bank of washrooms is tucked into a berm underneath the library and a roof deck takes in sweeping mountain views from

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OPENING PAGE The Columbia Valley Community Facility includes a community hall and village library with back of house spaces including a commercial kitchen, storage areas, theatre control room, dressing areas, administrative and technical spaces. The building is sited at the terminus of the village main street forming an urban ensemble. The long slender volume acts as a counterpoint to the mountain’s wandering horizon in the distance.

above. The scheme makes clever use of both landscape and building form to manage the jump in scale between the hall and library.

In plan, the west building skin is tweaked and stretched to connect a corner of the small single-storey library to that of the large doubleheight hall. Here, timber fins pull away from the envelope to create a deep sun shade and a covered west entry court. In section, the library sits on top of a berm, its narrow volume extends northward and, as the ground falls away to reveal a dark lower volume, the articulated upper

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ABOVE The new Community Centre, with a flexible auditorium space and library, forms a civic destination that reinforces the pedestrian route through the town. Shape principal Alec Smith led an extensive public consultation process including stakeholder workshops, town hall meetings with presentations to Mayor and Council, and open discussions with the public-at-large.

floor appears to reach out across the site.

While a simple building, the designers employed plenty of invention through the procession and interplay between spaces and the modulation of light and views. The lobby forms the heart of the building.

From an easy circulation flow down the stairs from the library to the large skylight that washes the doors of the main hall with light, it’s apparent that much care was taken in the design of this space. Functionally, the lobby acts as a plenum receiving exhaust air from the flanking hall and library. Opening large sliding glass doors naturally ventilates the building through an active fan at the roof.

Deft large-scale planning and the thoughtful resolution of details helps the project prevail against some unfortunate material decisions.

At the best of times, given a half-decent budget and a game client, it can be difficult to realize poetic architectural ideas. Public clients can be laser-focused on the practicalities of building management, on eliminating unknowns and minimizing risk in an attempt to deliver the mythic no-maintenance building. At the beginning, the designers proposed a cedar cladding set off by fiery feature walls of weathered steel set on top of a char blackened base. In the end, the cedar was replaced with an orange-brown resin panel printed with the image of wood. The blackened base is finished in the same resin panel printed in grey.

These are pale substitutes for natural materials and less forgiving at the detail level. Where vertical wood fins intersect the resin panel, a fussy trim piece is fit on either side of each fin to conceal the joint. Corten accent walls are overwhelmed by the plastic sheen of the panels.

Cladding quibbles aside, this is an accomplished small building in its overall form, the generosity of spaces and its subtle programmatic support. The flexible hall is stocked with just enough specific infrastructure to facilitate its transformation between a judo dojo, banquet hall and performance space. There are movable dividers and a large-scale theatrical curtain system that swings out to form a stage. Retractable

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theatre seating and a professional A/V booth complete the package.

Even the library might easily transition easily into a youth centre, arts organization or cafe sometime in the future.

Whatever the next 70 years brings to Invermere, the Columbia Valley Centre is poised to absorb it. For Shape, the project advances their standing among the ranks of Canadian firms making good architecture from humble beginnings.

Courtney Healey is an architect and writer based in Vancouver.

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CLIENT DISTRICT OF INVERMERE/COLUMBIA VALLEY REGIONAL DISTRICT | ARCHITECT TEAM ALEC SMITH, LORETTA KONG, SCOTT KECK, DWAYNE SMYTH, DEA KNIGHT, DAVID GUENTER, JESSE HINDLE, KATE BUSBY, BEN FISHER | STRUCTURAL READ JONES CHRISTOFFERSEN LTD | MECHANICAL ROCKY POINT ENGINEERING | ELECTRICAL APPLIED ENGINEERING SOLUTIONS | LANDSCAPE NAVAGRAH LANDSCAPE ARCHITECTURE + URBAN DESIGN | CONTRACTOR TA RENDEK AND ASSOCIATES | ENVELOPE CONSULTANT ENTUITIVE | THEATRE CONSULTANT SCHICK SHINER AND ASSOCIATES | ACOUSTIC CONSULTANT BAP ACOUSTICS | AREA 17,900 SF | BUDGET $8 M | COMPLETION JULY 2017

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ELEVATION

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AHEAD OF THE CURVE

MICHAEL WACH

A DRAMATICALLY SHAPED CALGARY COMMUNITY CENTRE ENLIVENS THE LANDSCAPE

Shane Homes YMCA at Rocky Ridge, Calgary, Alta.

GEC Architecture Graham Livesey

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In recent years, Alberta has built a number of large multi-purpose recreation and community centres in suburban communities, typically in partnership with a multitude of agencies. The latest iteration is the recently opened Shane Homes YMCA at Rocky Ridge, by GEC Architecture, on the outskirts of northwest Calgary: a spectacular curvilinear building inspired by the surrounding foothills landscape.

Calgary-based GEC Architecture has a long history of designing sports and recreation facilities going back to the 1983 Saddledome and the 1987 Olympic Speed Skating Oval. The Shane Homes YMCA, programmed and built by the City of Calgary, sits on a 2.6-hectare site between a wetland and a hill that is the highest point in the city. The

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YMCA is the operator and long-term leaseholder; the Calgary Public Library, physio clinic, and vendors hold sub-leases with the YMCA. (The adjacent wetland and hill are outside of the YMCA lease, and maintained

by the city’s Parks and Recreation department.) As key stakeholders, the YMCA and Public Library were part of the design process.

Like the Genesis Centre of Community Wellness in northeast Calgary (by Gibbs Gage with Quinn Young Associates) and the Remington YMCA at Quarry Park in the southeast (by GEC Architecture), the projects are often sponsor-named after local developers and home builders. Shane Homes, the building’s main sponsor, is one of the largest home-builders in Calgary.

As a form in the landscape, the building presents a myriad of compositions unveiling themselves as one moves around the building. The architects successfully created a shape that responds to both internal and external elements, and found appropriate ways to structure and

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LEVEL 1

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fenestrate the form. The complex shape of the building is covered mainly in brass tiles that will weather to a warm brown; the skin covers a very large structural system that employs long span glulam beams supported on steel. Reportedly the largest YMCA in the world, with the largest roof of its kind in North America, the structure boasts a form created through parametric design. Benefits of this approach resulted in many design efficiencies, including using only one jig for shaping the large glulam beams.

“We used the Grasshopper plug-in for Rhino3D to parametrically develop the design, optimise the curvature deviation between each beam length, and control the amount of sacrificial lamination required for the glulam beam manufacturing,” says GEC associate Adrian Benoit. “The parametric modelling also allowed for real time exterior envelope calculations to run parallel to the design process to ensure we maintained as low

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an area as possible. These tools were extremely beneficial to the design process but also played a large role in delivering 3D geometric controls to the glulam and steel fabricators. The project was documented and delivered in Revit, with the parametric model information translated into the BIM model to produced the contract documents.”

This project thus represents the use of very up-to-date parametric and BIM software in the design and delivery of a large multi-functional building. These tools enabled the architects to optimise a shape to cover the disparate elements of the program, allowing for a building that can be largely experienced as one big space.

The ability to work directly with the Penticton-based Structurlam, the manufacturer of the glulam beams, also allowed for the successful construction of an unconventional design. In describing the building, GEC A rchitecture partners David Edmunds and Andrew

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LEFT The faรงade is made up of large curving expanses of high-performance glazing, which offers key views from within the facility while selectively revealing the interior activities to passers-by.

BELOW All program elements are set beneath the undulating glulam timber roof structure that links the spaces together and responds to their individual height requirements.

ADAM MORK

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Tankard are justifiably enthusiastic about the process and completed building. The project has already won a number of design awards, including a 2013 Mayor’s Urban Design Award from the City of Calgary, and a 2018 Prairie Design Award of Excellence.

The result is a community facility that is strikingly different from a formal point-of-view, and already intensely busy with users. The building is accessed through two major entrances, and several secondary ones. The aquatic centre, fitness area, running track, hockey rink, leisure ice, outdoor paths, play areas, three gymnasia, and skatepark provide recreational uses. While the library/gallery, theatre, gathering spaces, art studios, youth centre, and meeting rooms support a range of community activities. Finally, a daycare, physio centre, and food services complement the rest of the program. Like other such complexes in Alberta, it is effectively the town centre for the surrounding neighbourhoods, a served population of 100,000 residents.

Despite a number of minor challenges resolving the numerous connections and the complex geometries of the design, the building is ultimately a remarkable work of architecture. The design features a surface topography that corresponds with the context and successfully houses a broad range of functions. The use of advanced software

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allowed the architects to rationalize the design in terms of volume and surface, and to resolve the structuring and technical aspects of the concept. The building is intended to meet LEED Gold requirements, and employs a co-generation system that also utilises waste heat.

As clients increasingly demand higher performing buildings, architects will have to be adept at using both industry-specific software packages, but also those that compliment and enhance the design of buildings. In the case of the Shane Homes YMCA the architects were able to demonstrate at an early stage in the process that they could design and deliver a unique project within the typical budget and constraints of a complex community project.

Graham Livesey, MRAIC is a professor in the Master of Architecture program at the University of Calgary.

CLIENT CITY OF CALGARY | ARCHITECT TEAM DAVID EDMUNDS, FRAIC; ANDREW TANKARD, MRAIC; ADRIAN BENOIT, MRAIC; DAVID MINKE | STRUCTURAL RJC ENGINEERS| MECHANICAL SNC LAVALIN | ELECTRICAL SMP ENGINEERING | LANDSCAPE SCATLIFFE+MILLER+MURRAY | INTERIORS GEC ARCHITECTURE | CONTRACTOR PLC CONSTRUCTION | AREA 280,000 F 2 | BUDGET $140 M | COMPLETION OCTOBER 2017

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The natatorium, like other main programmatic elements, can be viewed from the main concourse as well as from outside.

The facility’s mass-timber glulam roof is the largest in Western Canada and one of the largest in North America.

OPPOSITE

ADAM MORK

BELOW

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INSITES

PHILIP BEESLEY: TRANSFORMING SPACE

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TRANSFORMING SPACE TEXT

Philip Beesley

ARCHITECT PHILIP BEESLEY UNPACKS THE SCIENCE BEHIND HIS CURRENT ROYAL ONTARIO MUSEUM EXHIBITION Transforming Space is an experimental installation drawing upon taxonomies found in organic living systems that are merged with the latest digital and synthetic scientific developments. This exploration emerged through an integrated collaboration with Amsterdam-based 4D SOUND and the Waterloo-based Living Architecture Systems Group (LAS) consisting of engineers, scientists, designers, and artists. The environment is an experiential, futuristic forest with hovering canopies, tangled thickets, and soaring clouds created from 3D fabricated forms that are assembled manually and embedded with artificial intelligence that can learn, adapt and even show curiosity as it evolves.

Aegis consists of an artificial forest and clouds designed with CAD software and created with 3D fabricated material. Thousands of parts form six component assemblies that contain tiny interlinked microprocessors organized in dense meshes. Suspended inside this intricate web are custom glasswork manifolds that are known as prototype cells (protocells) which contain a combination of oil, inorganic chemicals, and other solutions to form a chemical skin (opposite page, right).

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Sphere-shaped skeletons emulating the hollow bone structures of birds and mammals are lined with bubbling prototype cells filled with selfrenewing chemistry; these hovering, lightweight meshes create delicate canopies with floating, quivering, and pulsing mechanisms. The sculpture also contains Breathing Pores, which are identified by their featherlike frond attached to a long tongue (Sensor Scouts). When actuated, they curl up, with the force generated by a Shape Memory Alloy (SMA) wire as it heats up under the effect of electrical current (opposite page, left). They are also composed of glass vessels with an LED that lights up when IR motion sensors are triggered by human interaction.

If an IR sensor is triggered from the surrounding environment, the local SMA reflect their behaviour causing adjacent SMA Breathing Pores to activate and curl up in the same ring along the canopy.

Noosphere comprises a spherical structural mesh of conical stemshaped cells that possess extraordinary strength using minimal amounts of material. It is equipped with microprocessors, prototype cells, and Mylar fronds. It contains 300,000 components including thermally-formed acrylic, 3D printed light housing, inorganic chem-

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BREATHING PORE ASSEMBLY DIAGRAM

PROTOCELL DIAGRAM

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10 1 BREATHING PORE ASSEMBLY ACCUATED POSITION 2 BREATHING PORE ASSEMBLY REST POSITION 3 ADJUSTABLE BMA CLIP 4 BMA 5 LEVER 6 TENSIONED TENDON 7 STRENGTHENING GUSSETFOR MAIN SPINE 8 GLAN CLIP 9 COPOLYESTER TONGUE 10 TONGUE CLIP 11 ARM UNITS FOR ATTACHMENT TO MESH 12 TONGUE STRUTS 13 FEATHER

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The Dome Dress, a collaboration by Iris van Herpen and Philip Beesley, surrounded by the Beesley-designed canopy “Aegis” by installation at the Royal Ontario Museum.

OPPOSITE PAGE

icals, custom glasswork, and actuators that react to gallery visitors.

The sculpture’s synesthetic system resembles a resilient central nervous system that can support varying forces and shifting motions responding to viewers’ movements with patterns of light, vibration and multichannel sound. It connects chemistry, artificial intelligence, and an immersive soundscape produced with 4DSOUND to create a living piece of architecture.

This exploration of the question of whether buildings could “know” us, “talk” to us, and even “care” about us allows us to suggest what next-century architecture—our future environment—might be like.

Philip Beesley: Transforming Space, currently exhibiting at the Royal Ontario Museum in Toronto, is an integratation of architecture, science, engineering and visual arts; part of Beesley’s ongoing work with Dutch haute couture fashion designer Iris van Herpen, whose concurrent ROM exhibition includes some of their collaborations.

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CO2

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ARCHITECTS

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THEAKSTON ENVIRONMENTAL

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Flynn Group of Companies Total Building Envelope When the building envelope concept calls for size, complexity, or an uncompromised aesthetic, North Americaís top architects count on Flynn.

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Schöck Isokorb® Type CM Structural Thermal Break The Isokorb® Type CM structural thermal break is a load-bearing thermal insulation element for cantilever concrete balconies and slabs that reduces heat loss at penetrations up to 90 percent, prevents mold formation and increases interior floor temperatures up to 27° F (15°C). Ties into reinforcement of the slab and cantilever. www.schock-na.com

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Metl-Span insulated metal panels (IMPs) feature a joint system that provides double protection against leakage and preserves R-value over the life of the building. With impermeable faces and completely encapsulated insulation, the panels provide a weathertight membrane to enhance the performance of the building, allowing occupants to live and work safely inside. Learn more at: www.metlspan.com/performance

The Belden Brick Company offers more options than any other brick manufacturer in the world. Belden Brick is the industry leader in delivering the largest selection of more than 500 colors, 20 sizes, 13 textures and unlimited shapes.

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BOOKS

THE MODERN A-FRAME Photography by Ben Rahn; Introduction by Chad Randl; Gibbs Smith, 2018 REVIEW Laura Lind

Interior of 2016 A-frame cabin in Whistler, British Columbia, designed by Scott & Scott Architects. ABOVE A-frame in Mill Valley, California; built in 1953 by Wally Reemelin and renovated in 2011

by Michael Sands.

TOP

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On the cover of The Modern A-Frame, Ben Rahn’s photograph renders light like a Magritte painting. A tungsten yellow triangle cloaked in a cerulean blue sky, it evokes both the protective security of the home and the expansiveness of the universe. But to be pedantic, the A-frame model featured is lopped off at the peak to meet local building requirements. Technically this A-frame has a mansard/hip roof line.

Which begs the question, what exactly defines an A-frame?

For clarification, The Modern A-Frame is introduced by Chad Randl, the architectural historian who wrote an earlier treatise on the subject: A-frame (Princeton Architectural Press, 2004), in which he traced the A-frame’s evolution from prehistoric Japan through its mid-century high point. In this new book, Randl sums up its history and notes how A-frames have always accommodated a great variety of forms. This, he argues, is part of their success.

The collection of 17 residential A-frame restorations/new builds featured in Rahn’s work attest to this variety. One interior hallway of exposed six-metre beams in a new-build Whistler chalet recalls Calatrava’s Oculus in New York City. Other care-worn but well-loved New Hampshire artist’s retreats veer closer to traditional saltbox houses. All the photos are lovely enough to spawn another generation of A-frame escapists.

Rahn’s patience for light is evident in every shot. However, there’s a confounding lack of detail, say, floor plans to reveal how, or if, these modern adaptations resolved the space shortages inherent in the design.

And he does not sufficiently address any owner’s resolution to thermal loss problems that made first-wave A-frame homes unviable after the 1973 oil crisis. With these questions unaddressed, The Modern A-Frame is more for ogling than for construction guidance. But that’s all right.

As Randl writes, the A-frame’s original cachet was diluted due to their mass propagation. Perhaps A-frames were always best from the voyeur’s point of view—a surrealistic dream of an unattainable life.

Laura Lind is a Toronto writer on design and culture.

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CA Awa

CANADIAN ARCHITECT INVITES ARCHITECTS REGISTERED IN CANADA AND ARCHITECTURAL GRADUATES TO ENTER THE MAGAZINE’S 2018 AWARDS OF EXCELLENCE. Submission Portal is Now Open!

Deadline: September 20th, 2018 ($175 + applicable taxes) Projects must be in the design stage, scheduled for construction or under construction but not substantially complete by September 20, 2018. All projects must be commissioned by a client with the intention to build the submitted proposal. All building types and concisely presented urban design schemes are eligible.

Awards are given for architectural design excellence.

Jurors will consider the project’s physical organization and form, response to context, innovation, and demonstration of exemplary environmental or social awareness.

Winners will be published in a special issue of Canadian Architect in December 2018.

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.

For more details and to submit your entry, visit:

www.canadianarchitect.com/awards/ * PluS APPliCAble TAxeS

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CALENDAR ACROSS CANADA

Winnipeg

Vancouver

10/11

Offsite: Shigeru Ban Shigeru Ban’s innovative use of low-cost materials to house victims of natural disasters. Organized by the Vancouver Art Gallery’s Institute of Asian Art.

Manitoba Design Exposition The one-day trade show for the design community of Manitoba, presented by the Professional Interior Designers Institute of Manitoba (PIDIM). This event provides a snapshot of the latest design products and services.

—09/30

Toronto

—10/08

www.vanartgallery.bc.ca

Cabin Fever The exhibition traces the tradition of the cabin in Canada and the United States, showing how this humble architectural form has been appropriated for its symbolic value and helped shape a larger cultural identity.

www.pidim.ca

—07/31

Revisited: Habitat 76 Photographer James Brittain’s large-scale colour photographs documenting the present state of Montreal’s Habitat 67.

10/11

—10/06

www.sbcanada.org

www.scotiabankcontactphoto.com

www.vanartgallery.bc.ca

09/20—09/23

IDS Vancouver The Interior Design Show Vancouver is the Pacific platform for all things design and is a leading showcase of new products and furniture, designers and avantgarde concepts from North America and beyond.

www.vancouver.interiordesignshow.com

Know Your City: Heritage Toronto Walking Tours Heritage Toronto presents the 2018 Tours program sponsored

by TD Bank Group. This year, the walks will take in Toronto’s waterfront, ravines, over 88 acres of parkland, and the city’s rapidly changing neighbourhoods. www.heritagetoronto.org

10/19

PopCanCrit: The Business of Architecture This national symposium brings together leading voices in architecture practice, academia and related fields, who are changing the way we see and understand architecture. Panelists include Darryl Condon, Ema Peter, Adele Weder, Shirley Blumberg, Gregory Henriquez, Naomi Kriss, Veronica Gillies et al. www.spacing.ca/popcancrit

Calgary 11/07—11/08

BUILDEX Calgary 2018 BUILDEX Calgary is Alberta’s largest tradeshow & conference for the Construction, Renovation, Architecture, Interior Design and Property Management industries. www.buildingscanada.com

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Alessandro Poli (Superstudio), Autostrada Terra-Luna, Architettura interplanetaria, 1970-1971, from Utopie Radicali: Florence 1966-1976, Canadian Centre for Architecture.

ABOVE

09/17—09/18

IDC Symposium: Value of Design Thinking Over three days, Interior Designers of Canada (IDC) offers education, expert panel discussions, guided design tours, awards galas, and programs for emerging professionals and provocative conference keynotes. www.idcanada.org

2018 Green Building Festival This festival explores how sustainable buildings and cities are designed, constructed and managed.

10/28—10/30

The Buildings Show The Buildings Show is the leader in sourcing, networking and education for the North American design, architecture, construction and real estate communities. The Show is home to Construct Canada, HomeBuilder & Renovator Expo, PM Expo and World of Concrete Pavilion.

The Toronto Real Estate Forum also happens concurrently. www.thebuildingsshow.com

01/17—01/2019

IDS Toronto Now in its 21st year, the Interior Design Show showcases new products, trends and ideas in the industry for the year to come, in North America and beyond. www.toronto.interiordesignshow.com

—10/08

Philip Beesley: Transforming Space An immersive experience that merges chemistry, artificial intelligence and encompassing soundscapes into a visually immersive, interactive environment. See “The Science of Transforming Space”, on pp. 42-43 of this issue of Canadian Architect. www.rom.on.ca

Ottawa

Montreal —09/02

Lab Cult At the Canadian Centre for Architecture, historic case studies reveal the connection of science and the laboratory with architecture’s social mandate. www.cca.qc.ca

—10/07

Utopie Radicali: Florence 1966–1976 This CCA exhibition brings together the work of Archizoom, Superstudio, 9999, UFO, Zzigurat, Remo Buti, and Gianni Pettena—iconoclasts who made Florence a focal point in architectural thought. www.cca.qc.ca

—09/09

Unstable Presence: LozanoHemmer Rafael Lozano-Hemmer creates large-scale, participatory “antimonument” installations that incorporate technology, light and the architecture of public spaces. www.macm.org

10/04—10/05

50 Years of Architecture at Carleton University Fall 2018 marks the 50th anniversary of architectural education at Carleton University. Alumni, faculty and current students will confer about the spirit of the past and the shape of things to come. www.carleton.ca/architecture/forward50

Grand-Métis —10/07

International Garden Festival The leading contemporary garden festival in North America.

See “Insites” on pp. 39-40 of this issue of Canadian Architect. www.refordgardens.com

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INTERNATIONAL

New York

London

Paris

Venice

—01/13/19

—10/07

09/07—09/11

Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980 Situated between the capitalist West and the socialist East, Yugoslavia’s architects developed a postwar architecture both in line with and distinct from the design approaches seen elsewhere in Europe and beyond.

Serpentine Pavilion Architect Frida Escobedo draws on the domestic architecture of both Mexico and Britain.

Maison & Objet Lifestyle show offering of decoration, design, furniture, accessories, textiles, fragrances, etc.

09/04—09/23

Valencia

—11/25

La Biennale di Venezia Yvonne Farrell and Shelley McNamara curate the 16th installations of the legendary international architecture exhibition, on the grounds of the Giardini in Venice. The Biennale Architettura 2018 will be titled Freespace, evoking a generosity of spiting and a sense of humanity at the core of architecture’s agenda.

This year, the Canadian entry to the biennale is UNCEDED: Voices of the Land . Led by Douglas Cardinal, FRAIC, the exhibit celebrates the work of Indigenous architects and designers throughout Turtle Island. And is grounded in the legacy of the Calls to Action of the Truth and Reconciliation Commission (TRC) Report. www.labiennale.org/en www.unceded.ca

www.moma.org

Washington

London Design Biennale At Somerset House, entries from more than 35 countries showcase how design affects our daily life, emotions and sense of experience. www.londondesignbiennale.com

www.maison-objet.com

09/18—09/21

Feria Hábitat Valencia Trade fair showcases Spanish design: furniture, lighting, kitchen, decoration and home textiles. www.feriahabitatvalencia.com

—09/03

Fun House The National Building Museum and Snarkitecture design the 2018 Summer Block Party exhibition for the Museum’s Great Hall. The temporary structure, Fun House, is the fifth in the Museum’s annual summer series. www.nbm.org

MADE IN TORONTO, CANADA SINCE 2003.

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www.serpentinegalleries.org

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09/15/2018—01/20/2019

Renzo Piano: The Art of Making Buildings At the Royal Academy, this exhibition will explore how the Renzo Piano Building Workshop makes deft use of form, material and engineering to achieve a precise and yet poetic elegance. www.royalacademy.org.uk

Tokyo 10/19—10/28

DesignArt Tokyo This exhibition bridges the worlds of design, art and technology, with a focus on highquality traditional industries and contemporary craftsmanship. www.designart.jp

416 910 5892 | INFO@BROTHERSDRESSLER.COM

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JOHN MARX

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DESERT CITY, CULTURE OF POSSIBILITY TEXT

John Marx

AN ARCHITECT REFLECTS ON NEVADA’S ANNUAL “BURNING MAN,” WHICH INVITES PARTICIPANTS TO CREATE A TEMPORARY METROPOLIS

I went for the Art, for a vague sense of the “hip-cool” countercultural presence there.

The sun rises over a cold and dusty Playa ... we are riding hard against the wind, which kicks up the ever present dust, and we have to put our goggles and bandanas on.

It is an extremely harsh environment of epic proportions.

The dust is like a poetic mist, wherein surrealistic objects appear out of nowhere then disappear just as quickly.

One might ask what this has to do with architecture?

As architects, we strive to create buildings and cities that have a high degree of vibrancy, authenticity, and a strong sense of community. We desire an engaged population that not only loves their environment, but also participates in its creation, and in its ongoing evolution. Ideally this vibrancy

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extends across the full range of socio-economic strata, so that every-one participates and enjoys these benefits.

As architects, we contribute the physical structures that contain the workings of humanity, but more importantly we contribute our own creativity and imagination to imbue emotional meaning, which in turn adds to the energy and excitement of the community.

This is our goal set, a lofty and noble dream.

When we broadly look at what gets built by architects, we can sometimes fall short of these objectives. Burning Man, on the other hand, succeeds on at a level, we can only admire in wonderment.

From my personal experience, Burning Man serves to teach us about community and kindness, through participatory art. From the first moment you cross that line drawn literally in the dust, you can’t help but be overwhelmed by the quality and intensity of your experience on the Playa—the sheer range of self expression.

From an architectural object or project standpoint, range includes the way we judge

ABOVE The Catacomb of Veils, a large and lyrical art piece built in the Nevada desert during Burning Man 2016, from the artistic vision of architect Dan Sullivan.

the value of the work that is created. The aspect of range is well illustrated at Burning Man: more than 300 artworks are set out on the Playa ranging from museum-calibre sculpture to The Jedi Dog Temple, designed by a five-year-old boy. The participants recognize that everything within this range has a deep value to them, because, in the case of Burning Man, each art piece is a gift, created from the heart. However, they also embrace the idea that the nature of each piece is different and adds value, each in its own special way.

As architects and as citizens, we might benefit from embracing the concept of design value across a much broader spectrum than we currently permit. If we ignore this, we may find ourselves to be irrelevant to the people we have pledged to serve.

John Marx is the founder and principal of Form4 Architecture in San Francisco.

Burning Man 2018 takes place from August 26September 3, in the Black Rock Desert of Nevada.

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