Canadian Architect December 2021

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2021 CANADIAN ARCHITECT AWARDS OF EXCELLENCE

24 T wo Row Architect and KPMB Architects

ontgomery Sisam 28 M Architects

32 Revery Architecture Inc.

erkins&Will | Schmidt 36 P Hammer Lassen

JMA Architecture 40 M & Design

44 F BM architecture • interior design • planning

48 Chevalier Morales

52 M odern Office of Design + Architecture

56 Ja Architecture Studio

60 Kongats Architects

64 A telier Ping Jiang / EID Arch

68 D iamond Schmitt in association with gh3*

72 O dile Lamy, McGill University

yana Laroche, 74 T Université Laval

76 Félix Michaud

CANADIAN ARCHITECT

DECEMBER 2021 03

4 VIEWPOINT

Andrew Levitt’s legacy of designing with empathy.

9 AWARDS OF EXCELLENCE

Our jury’s comments on the pressing issues raised by this year’s award entries.

78 J acqueline Young | Stationpoint Photographic

80 Cindy Blažević

14 WINNING TEAMS

The architects, designers, students and photographers behind the winning projects.

V.66 N.09

A Resilient Duplex for Fort Severn First Nation,

by Two Row Architect and KPMB Architects.

COVER

THE NATIONAL REVIEW OF DESIGN AND PRACTICE / THE OFFICIAL MAGAZINE OF THE RAIC / THE OFFICIAL MAGAZINE OF THE AIA CANADA SOCIETY

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VIEWPOINT

REMEMBERING ANDREW LEVITT This winter, the community at the University of Waterloo School of Architecture, where I studied in the 1990s, is mourning influential Professor Emeritus Andrew Levitt, who passed away on November 7.

Levitt was a beloved design studio leader, but also worked as a Jungian-oriented psychotherapist. The meeting of these seemingly disparate realms is highlighted in his two books, The Inner Studio (2008) and Listening to Design (2018). The former asks what the modern understanding of the psyche can teach designers, while the latter considers design as a kind of therapeutic process in itself. Both books encourage designers to explore, validate, and investigate their inner worlds as an essential aspect to their work in shaping the outer world.

“It may seem odd to suggest that selfknowledge needs to become an integral part of a designer’s education,“ Levitt writes.

“Schools make every investment in the outer world […] but they do not begin to address the deeper strata of conscious and unconscious longings, needs, emotions, and desires that influence decision-makers and affect decision making. I have come to believe that the idea of declaring the role played by the psyche in the creation of the built world is the best way to guide architectural know-how and heal the environment.”

For Levitt, learning how to face design problems—rather than how to solve them—was essential. He urged students to cultivate awareness of both the inner and outer forces that shape their designs, encouraging them to be open to their physical observations of a new project site, but also to their thoughts, feelings, and intuitions. He believed this would allow them to make a personal connection to their work, and to be moved in a way that drew on their deep creative instincts and made their designs alive.

Connecting with kinaesthetic intuition—our energy levels, our physical ailments, our ‘gut’ feelings, even our need for rest—is also a skill that Levitt encouraged students to cultivate.

“As designers we typically associate creativity, intuition, and imagination exclusively with the mind, yet architecture has traditionally been built largely by hand,” writes Levitt. “It seems natural to bring our bodies’ innate capacity to create and express to the design process because it is the body, with its extraordinary sense and range of touch, that we are actually seeking to contact and satisfy.” Listening to the body’s reactions, rather than suppressing them,

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is important to the physical acts of drawing and crafting models and prototypes. But it can also help designers to understand their personal responses to designing, and open the door to choosing a path through the design process that comes from a place of wisdom.

In Jungian psychology, we all have positive and negative traits and experiences, strengths and weaknesses, talents and difficulties, light and shadow. Observing these dynamics in our inner world, wrote Levitt, helps us to understand how to act with greater empathy in designing the outer world for real people and complex problems—not just for an imagined ideal.

“Design can no longer mean ‘my design’, it must now mean ‘our design’,” he wrote.

“Our design includes awareness of and respect for climate change, the extinction of species and habitats, the management of energy and resource use, and the legitimate needs of every user. Our design includes children and the elderly, as well as people with specialized accessibility needs. Looking into the future, perhaps our designs will also include the alienated, homeless and displaced populations, with room for those who protest and those who prefer to live online.”

Levitt’s ideas were hard-won through years of teaching grounded in deep empathy and compassion. He was known for crafting design exercises that helped students access their inner resources, and mounting charrettes where they contributed to each other’s success. Early in the pandemic, Levitt held an online talk on the loss of studio, focusing on the mental health and well-being of the students forced to study remotely. The talk was one of the many ways Levitt brought meaning to the emotional experiences of individuals in an institutional setting. It was followed by nearly an hour of conversation—a microcosm of the active listening and encouragement that Levitt offered as a teacher over more than two decades.

He was a therapist to some, a mentor to many, and an inspiration to students and fellow faculty members alike.

This fall, the School launched a four-semester-long lecture series devoted to dialogues on the theme of care, dedicated to Andrew Levitt. Levitt’s own empathy and care for architecture students—and the work of architects—was deeply rooted. One hopes that its influence will continue to grow and flourish.

Elsa Lam

EDITOR ELSA LAM, FRAIC ART DIRECTOR ROY GAIOT CONTRIBUTING EDITORS ANNMARIE ADAMS, FRAIC ODILE HÉNAULT DOUGLAS MACLEOD, NCARB, FRAIC ONLINE EDITOR CHRISTIANE BEYA REGIONAL CORRESPONDENTS MONTREAL DAVID THEODORE CALGARY GRAHAM LIVESEY, FRAIC WINNIPEG LISA LANDRUM, MAA, AIA, FRAIC VANCOUVER ADELE WEDER, HON. MRAIC SUSTAINABILITY ADVISOR ANNE LISSETT, ARCHITECT AIBC, LEED BD+C VICE PRESIDENT & SENIOR PUBLISHER STEVE WILSON 416-441-2085 x3 ASSOCIATE PUBLISHER FARIA AHMED 416-441-2085 x5 CUSTOMER SERVICE / PRODUCTION LAURA MOFFATT 416-441-2085 x2 CIRCULATION CIRCULATION@CANADIANARCHITECT.COM PRESIDENT OF IQ BUSINESS MEDIA INC. ALEX PAPANOU HEAD OFFICE 126 OLD SHEPPARD AVE, TORONTO, ON M2J 3L9 TELEPHONE 416-441-2085 E-MAIL info@canadianarchitect.com WEBSITE www.canadianarchitect.com Canadian Architect is published 9 times per year 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.

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CANADIAN ARCHITECT 12/21

JURY COMMENTS 09

DESIGNING FOR CHANGE In some awards competitions, a group of submissions stands out clearly from the beginning. In others—including this year’s Canadian Architect Awards—arriving at a set of winners is a much longer process, involving detailed analysis, careful deliberation, and considerable discussion.

The complexities of judging this year’s submissions correlate, perhaps, to the experience of the pandemic. Many clients and architects were forced to pause construction for some time, spending more time masterplanning and iterating designs, and then quickly accelerate again when construction sites reopened. This, amidst growing discussions about how to achieve greater equity, diversity, and inclusion in society at large, as well as in the profession and practice of architecture.

ABOVE

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For jurors Anne Carrier, Carol Phillips, Alfred Waugh, and photo juror James Brittain, this year’s 174 professional entries, 39 student entries, and 46 photo entries reflected the difficult questions that architects have been asking throughout the pandemic: How do environmental equity, social justice, and reconciliation manifest in design?

One typology that the jury saw as directly connected to the pandemic was a number of cabin-in-the-woods residential projects. They were more interested, however, in how architects tackled the more complex challenges of living together, rather than retreating apart. The jury chose to recognize Toronto-based Ja Architecture’s multi-unit Markham project as an architecturally ambitious response to the problem of densifying

The 2021 Canadian Architect Awards jury comprised, from left to right, Anne Carrier, Alfred Waugh, James Brittain, and Carol Phillips.

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COURTESY LWPAC

JURY COMMENTS

COURTESY LWPAC

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ABOVE Designed by LWPAC, Monad Granville is a rental apartment building in Vancouver being created using an automatic manufacturing system.

The modular construction system results in high-quality, passive-house-standard residential units at an affordable cost.

urban infill sites. They also awarded FBM’s design for a new office space in Halifax, combining the use of mass timber and the inclusion of residential and urban agriculture spaces on an urban site.

A modular approach to affordable, supportive housing was at the centre of another project selected by the jury, Montgomery Sisam Architects’ Durham Modular Housing. The project builds on several

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previous modular housing developments designed by the firm, and aims to provide dignified transitional housing, in keeping with the needs of residents as well as with the local vernacular.

Although it did not receive an award, the jury was interested in the innovative approach advanced by Monad Granville, a rental mid-rise building in Vancouver by LWPAC that also uses modular construction. The firm is developing a manufacturing system that will automate much of the production of the mass timber, passive-house-standard residential units, with the aim to create high-performing apartments at an affordable cost.

While the jurors sought more resolution at the unit level, they applauded the arrangement of units around a shared courtyard, allowing for natural light, cross-ventilation, and individual front doors to apartments. “The design creates meaningful spaces on the vertical level, and it seems in tune with the need to build the missing middle,” said juror Carol Phillips.

This year’s awards had a remarkable number of submissions that referenced Indigenous cultures, whether in their clients, programs, names, or other aspects of their design. Among these, the jury singled out A Resilient Duplex for Fort Severn First Nation, by Two Row Architect with KPMB A rchitects, for recognition as a design rooted in a robust consultation process with its northern Ontario community.

Overall, the jury applauded the growing interest in Indigenous design, but were looking for many of the designs to be pushed further.

“I see a lot of projects where something is superficially added to the surface, or there’s a round room,” said juror Alfred Waugh, who leads the architectural firm Formline and who is himself Chipewayan of the Fond du Lac Band. “But I’m looking more for further integration— of maybe a sustainable idea inspired by the cultural past, a material use or organization of space—that informs the design of the building more holistically to capture Indigeneity.”

Odea, a high-rise condo building in Montreal by Lemay in collaboration with Douglas Cardinal Architect, came close to achieving this. The jury remarked on the skill with which it integrated the form of a birchbark canoe into its exterior patterning and volumetric expression, but had hoped to see the concept penetrate past the façades.

In another project, the Saugeen First Nation Visitor Centre & Cultural Centre by Brook McIlroy, the jury was impressed by the use of stone as a primary construction material—a choice predicated on the large number of skilled stonemasons in that particular community.

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The jury recognized several buildings in such contexts, including

COURTESY LEMAY

UBC Gateway by Perkins&Will | Schmidt Hammer Lassen, a univer-

Odea, a high-rise condo inspired by the birchbark canoe, is design­ ed by Lemay in collaboration with Douglas Cardinal Architect.

ABOVE

The jury gave especial care to studying submissions located in complex urban environments. “I have an appreciation for projects that are seeing a concept through, when you know that there are so many inf luences around them,” said Phillips, whose own portfolio of work at Moriyama & Teshima Architects includes a number of post-secondary education buildings.

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sity building that elegantly negotiates a complex site at the edge of the campus. Another project recognized by the jury, The Butterf ly and FBC (First Baptist Church complex), is an urban high-rise by Revery, whose initial design was led by the late architect Bing Thom.

The jury remarked on the residential tower’s open-air breezeways on each f loor—a feat to get through building approvals, resulting in an unusually strong connection to the outdoor environment for residents.

Overall, the jury was pleased to see many towers and adaptive reuse projects among the submissions, ref lecting the need for higher density in urban environments to be part of the global sustainability discussion. Although they did not award it, they noted how the Barclay Street Tower in Vancouver, by ACDF with IBI Group, included a significant number of social housing units and a solid energy performance, all within a distinctive architectural expression. Another large-scale project that came close to making the cut, Pigeonhole

by Chevalier Morales architectes, took a considered approach to its heritage context in Old Montreal. The architects made a careful study of the surrounding urban fabric to determine the proportions and detailing of its façade. “Contemporary integration into a heritage environment is a complex and delicate issue,” said juror Anne Carrier.

“This project offers an interesting ref lection on the subject.”

Two projects that were selected for awards relate closely to modern heritage. The New Academic Building at Woodsworth College,

by Kongats Architects, deftly adds to a beloved landmark on the University of Toronto’s downtown campus. FARM, by Modern Office of Design + Architecture, alludes to the Quonset hut and similar Prairie agriculture structures, adapted to accommodate commercial needs.

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JURY COMMENTS

COURTESY BROOK MCILROY

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ABOVE The Saugeen First Nation Visitor Centre & Cultural Centre, designed by Brook McIlroy, makes extensive use of stone—a strategy inspired by local materials and skills.

345 Harrison, Boston MA | architect: CBT Architects | landscape architect: Copley Wolff Design Group | photographer: Bill Horsman

The jury remarked on the large number of school designs from Quebec, and chose to recognize École Val-Martin by Chevalier Morales, which adaptively reuses a big-box grocery store as an elementary school.

Juror Anne Carrier, whose eponymous firm is based in Lévis, Quebec, noted how the Quebec government is currently supporting a large program of building and renovating the province’s schools. Inspired by the

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research of the Université Laval group Schola on the potential to trans­ form existing schools, École Val-Martin is a skilful adaptive reuse of a stan­ dard commercial building into an attractive primary school that exemplifies the application of new pedagogical thinking in K-12 environments.

The sustainability performance of buildings was also a prime consideration for the jury. This year, Canadian Architect introduced a requirement for entrants to submit energy modelling reports where available, along with key energy performance metrics. These figures were studied closely by the jurors, and several of the buildings they ultimately selected met or exceeded the current benchmark targets available in jurisdictions such as British Columbia and the City of Toronto. This is true of the Toronto Paramedic Services Multifunction Paramedic Station, by Diamond Schmitt Architects with gh3*, whose structural expression is informed by the optimal orientation of a large set of rooftop photovoltaic arrays. Another project, Western North York Community Centre by MJMA, is not only an elegant approach to placemaking in a suburban context, but also targets net-zero energy—a tremendous accomplishment for an aquatic facility, a building type that typically has high energy requirements because of the need to continuously heat swimming pool water.

The jurors were also looking for buildings that had a qualitative connection to the surrounding environment. “Perhaps the biggest tool in our sustainability toolbox is to change the culture, and to have people appreciate the natural environment—then they can take that back to their communities and demand that quality of environment everywhere,” said Phillips. A project that spoke poetically to this approach was The Panda Pavilions, by Atelier Ping Jiang / EID Arch, a Shanghai-based firm led by a Canadian-trained architect. The research and educational facility takes form as a series of ring-shaped buildings that hold the landscape in a protective embrace.

The two selected student projects offer acute observations on the natural environment. For Hemlock House, Odile Lamy of McGill University undertook an in-depth study of a single material, to better understand how its particular characteristics could inform construction. The Mechanical Landscape project by Université Laval’s Tyana Laroche proposed the reuse of offshore oil rigs as food production hubs in a post-oil economy.

This year’s architectural photography submissions also reflected a certain pensive mood. “The photography of architecture is generally at quite a difficult moment, in that there’s so much of it, and it all tends to look

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COURTESY ACDF

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ABOVE Designed by ACDF with IBI Group, Vancouver’s Barclay Street Tower includes a significant number of social housing units.

the same,” commented juror James Brittain, whose architectural photography practice is based in Montreal and London, UK. “To be successful, a photograph of architecture needs to be thinking about the wider language of how we make images of buildings.” The three entries selected by the jury—L’Actrice (The Actress) by Félix Michaud, Public Safety Building: Permanently Closed by Jacqueline Young, and Tiny House: The Teenager Edition by Cindy Blažević—do more than to simply capture buildings in a flattering light, but craft a sense of mood that suggests how spaces are constructed, inhabited, and ultimately demolished.

As a group, the winning projects point to a notable shift in architectural culture. While it has long been au courant to speculate on the end of the starchitect era, as the pandemic wanes, it leaves in its wake a decisive move away from the importance of high-profile architects and iconic images, and towards architecture that sees the climate breakdown and social inequity as the most serious issues of our time.

Increasingly, there are concerted efforts to posit architecture’s role in addressing these conjoined crises.

Indigenous knowledge, and more broadly, a sense of how we connect to place in meaningful ways, will be key to advancing architecture in this direction. “We have to have a reconciliation in how we live on this earth together, and I think some of the seeds of that solution lay in bringing Indigenous knowledge together with Western knowledge,” says juror Alfred Waugh. “All of us had an Indigenous past at some point, if you go far enough back in history: we all have that interconnection to planet Earth.”

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WINNING TEAMS RARELY A SOLO ENDEAVOUR, ARCHITECTURE ALMOST ALWAYS INVOLVES THE DIVERSE PERSPECTIVES AND SUSTAINED EFFORTS OF A TEAM. THE 17 WINNING PROJECTS OF THE 2021 CANADIAN ARCHITECT AWARDS OF EXCELLENCE REPRESENT THE WORK OF SOME 139 ARCHITECTURE TEAM MEMBERS—NOT TO MENTION THE MANY CONTRIBUTIONS FROM CLIENT AND CONSULTANT GROUPS. HERE ARE THE DESIGNERS BEHIND THE WINNING ENTRIES.

A RESILIENT DUPLEX FOR FORT SEVERN FIRST NATION

Left to right: Brian Porter (MRAIC) (Two Row Architect), Shirley Blumberg, FRAIC (KPMB Architects), Bruno Weber (KPMB Architects), Laurence Holland (KPMB Architects), Rosa Newman (KPMB Architects) Two Row Architect operates as a sole proprietorship under the direction

of Brian Porter (Oneida Nation), with a main office located on the Six Nations of the Grand River territory and a satellite office located in Toronto. Since its inception in 1992, the firm has focused on providing services to projects for Indigenous clients, as well as projects that incorporate Indigenous cultural ideologies and teachings manifested in architectural form.

Two Row Architect’s eleven team members—five of whom are of Indigenous descent—assist in promoting an architectural approach that meshes local traditional knowledge (Indigenous arts/crafts/design/ knowing and being) with current building technology. The firm also promotes the creative and environmentally conscious use of building materials, and maximizes Indigenous involvement to benefit local communities, urban and rural alike.

Over the past 28 years, Two Row Architect has worked with the majority of Indigenous Groups throughout Ontario, as well as numerous service providers on- and off-reserve. It takes pride in its strong relationships with its clients that continue on long past the completion of each project.

Two Row Architect considers the diversity of its staff to be its greatest resource. It derives strength from team members who believe in and support each other. Its staff are all people who work to leave this world a better place than they found it.

Established in 1987, KPMB is an internationally recognized architectural practice. Its wide-ranging work has earned over 400 awards, including 16 Governor General’s Medals. Three of its founding partners—

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Bruce Kuwabara, Marianne McKenna and Shirley Blumberg—have all received the Order of Canada for their personal achievements and for KPMB’s collective contributions to improving people’s lives through the built environment.

For more than three decades, KPMB has evolved in response to a changing world—and worked to change it for the better. In 2021 it expanded its leadership team, through initiatives including naming seven new partners: Kevin Bridgman, Steven Casey, Phyllis Crawford, Andrew Dyke, Mitchell Hall, Paulo Rocha, and Bruno Weber.

As a full-service practice, KPMB provides expertise in building design, interior design, master planning, workplace strategy, project management, stakeholder engagement and sustainable design. KPMB has designed and delivered projects totalling more than 31 million square feet in a broad range of sectors, including education, healthcare, scientific research, arts and culture, government, corporate, hospitality, recreation and mixed-use development.

KPMB’s 130 professionals are highly collaborative, forming interdisciplinary teams to develop innovative, regenerative design solutions that meet clients’ needs and address the major challenges of our time, from the growing impact of climate change to the quest for reconciliation with Indigenous communities. In 2015, the practice founded the KPMB LAB, an incubator of ideas, skills and services aimed at solving important problems and exploring new opportunities through collaborative innovation.

Guided by its vision and anchored by its values, KPMB is committed to shaping a more equitable and sustainable future through architecture and design.

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Left to right, top to bottom: Daniel Ling (MRAIC), Enda McDonagh, Kevin Hutchison, Zheng Li, Grace Chang, Mateusz Nowacki, Sonja Storey-Fleming, Kavitha Jayakrishnan, Megan Lowes, William Tink Montgomery Sisam Architects designs buildings with the past, present, and future in mind. We respect the contexts we occupy, we advocate for our clients, and we deliver lasting architecture.

We are a group of architects, designers and technicians with diverse backgrounds, and a shared social consciousness. Our process is grounded in a sense of responsibility to the public, driven by dialogue and research, and focused on social, economic, and environmental sustaina-

bility. Since 1978, we have been creating spaces for living, learning, and healing, delivering a wide variety of projects. While our work spans multiple sectors and scales, our objective is consistent: to provide architecture that people connect with.

We believe that outstanding architecture begins with curiosity, and through a personalized and rigorous approach, we strive to generate work with a local presence and a global impact.

THE BUTTERFLY AND FBC (FIRST BAPTIST CHURCH COMPLEX)

Left to right, top to bottom: Bing Thom (FRAIC) (Deceased), Venelin Kokalov (MRAIC), Shinobu Homma (MRAIC), Amirali Javidan, Bibianka Fehr, Nicole Hu, Zhuoli Yang, Steven Schmidt, Culum Osborne, Lisa Potopsingh, Cody Loeffen, Kailey O’Farrell Revery Architecture Inc. is a Vancouver-based and internationally recog-

nized architecture, interior design, and planning practice. The firm was founded as Bing Thom Architects in 1989 by the late Bing Thom and rebranded as Revery Architecture in 2017. Its talented team comprises some 40 professionals hailing from 15 countries, bringing together a wealth of international expertise, multicultural sensitivity, and passion for creating mindful spaces and enriching experiences. The team constantly strives for excellence through holistic innovation and cohesive collaboration.

Revery has worked on a range of projects, including university cam-

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puses, performing arts and cultural facilities, public libraries, community recreation centres, commercial and mixed-use residential developments, and urban planning at all scales.

Revery is currently led by Venelin Kokalov, Thom’s protégé and the firm’s long-time design lead. Kokalov is recognized for his creative vision and for his innovative designs, conceived through his personal artistic philosophy, sensibility, and intuition. Under Kokalov’s leadership, Revery continues to deliver elegant, functional, and sophisticated buildings that become catalysts for positive change within their communities.

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WINNERS UBC GATEWAY Perkins&Will is a multi-disciplinary design firm with over 35 years

of experience in Canada and with more than 2,300 staff working out of over 20 studios globally. The firm is known for design excellence and innovation, approaching the challenges of architectural, interior and urban design with a global vision and unmatched resources.

The Vancouver studio of Perkins&Will is led by a strong leadership group which provides a range of expertise and diverse perspectives.

Founded on the belief that design has the power to transform lives and enhance society, the studio is deeply connected to its community, donating one percent of its design services to local non-profit organizations every year. Committed to the 2030 Challenge, the firm is ranked among North America’s leading green practices with an in-house research department and one of the largest portfolios of completed deeply sustainable buildings, interior spaces and urban plans.

Perkins&Will’s Vancouver studio has received more than 250 design honours, including six Governor General’s Medals in Architecture, 13 Lieutenant Governor of British Columbia Awards in Architecture and the Royal Architectural Institute of Canada’s Firm of the Year Award. Our studio is consistently recognized as one of Canada’s Greenest Employers and one of BC ’s Top Employers.

WESTERN NORTH YORK COMMUNITY CENTRE

Community engagement session for Western North York Community Centre MJMA is committed to elevating the civic experience for everyone.

We strive to rigorously analyze the unique cultural and physical context of each project, further informing and confirming our design response through community research and engagement. Our process is a direct response to the social, ethnic, and economic conditions of each community. We design clear, bold, and inclusive public spaces that strengthen communities and the environment.

Our studio of 65 is active in areas including architecture, urban design, landscape architecture, interior design, environmental graphic design, and public engagement. We fully integrate these practices to generate diverse and holistic thinking.

UBC Gateway team: Jana Foit, Kasper Heiberg Frandsen, Aaron Knorr, Sumegha Shah, Kathy Wardle, Bojana Jerinic, Jessica Kim, Sindhu Mahadevan, Ashley Perkins, Lucas Harle, Elke Latreille, Laura Gilmore, Jaime Castillo, Steve Kwak, David Mikkelsen, Manuela Londono, Maria Montgomery, Alexa Wallert, Fred Awty, Fanny Lenoble, Dorine Vos, Giancarlo Gastaldin

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Western North York Community Centre team: Ted Watson (FRAIC), Timothy Belanger, Tarisha Dolyniuk, Robert Allen (FRAIC), Viktors Jaunkalns (FRAIC), Andrew Filarski (FRAIC), Jeanne Ng, Obinna Ogunedo, Janice Lee, Sean Solowski, Xueying Zhang, John Peterson (FRAIC), Francesca Joyce, Kelvin Kung, Dylan Jonston, Zaven Titizian, Hyaeinn Lee, Sandra Cook, Jennifer Galda, Melanie Taylor, Natalia Ultremari, Patrick Kniss, Amanda Chong, Lily Watson, Claudia Cozzitorto, Sarah Hassan. Child Care Design: Tania Bortolotto (FRAIC), Alex Horber, Elaine Welsher

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CUNARD STREET LIVE/WORK/GROW

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Back row, left to right: Stavros Kondeas, Susan Fitzgerald (FRAIC), Peter Kolodziej, Rita Wang, Alicia McDowell (MRAIC) Front row, left to right: Ben Griffiths, Danny Goodz, Amber Kilborn (MRAIC)

Over the last 100 years, FBM has created buildings that enhance the quality of life within them and the communities they serve. We call this people-driven design. Based in Halifax, Nova Scotia, we are committed to designing architecture that is contextual, creative, and elegant. Produced by architects, interior designers, and planners, our work creates meaningful relationships between people, place, and building.

Our designs are inspired by landscape and climate, social and ecological responsibility, and the rhythms of everyday life. We continually strive to create spaces that bring people dignity and delight while enhancing the communities in which we work.

Collaboration is integral to all our work. We engage with people who have a limited voice in public life and facilitate their inclusion in com-

munity decision-making. In addition, the work aims to build capacity in the use of place-specific resources and local economies.

Our studio is actively engaged in teaching, research, and practice— creating a better shared future—through academia, built work, and grassroots undertakings. As a result, FBM works at multiple scales to create a range of projects from neighbourhood greenhouses to community hospitals; seaside homes to multi-use residential districts; and civic institutions to rural main streets. With a history as established as the character of downtown Halifax, FBM is looking forward to the next one hundred years in our new home.

ÉCOLE VAL-MARTIN

Left to right: Patrizia Bayer, Robin Vergobbio, Vanessa Giroux, Trevor Davies, Katrine Rivard, Sergio Morales (MIRAC), Camille Lefebvre, Stephan Chevalier (MIRAC)

Founded in 2005 by Stephan Chevalier and Sergio Morales, Chevalier Morales strives to create contemporary architecture that is both sensi-

tive and responsible. The Montreal-based practice continually re-examines its understanding of the larger context, in order to give rise to an architecture that is rooted in its specific cultural territory.

The firm is recognized for the exceptional quality of their projects.

It has been selected as a finalist in more than 15 architectural competitions and has won institutional and cultural commissions including the Saul-Bellow Public Library (Montreal, 2015), the Maison de la littérature (Quebec, 2016), the Drummondville Public Library (2018),

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the Pierrefonds Public Library (Montreal, 2019) and more recently, the Agora des Arts in Rouyn-Noranda. The firm is currently working on the design for the new Saskatoon Central Library with Formline Architecture and Architecture49.

The work of Chevalier Morales has been recognized through numerous prizes and distinctions, including the Royal Architectural Institute of Canada’s 2018 Emerging Architectural Practice Award, three Canadian Architect Awards of Excellence, two Governor General’s Medals in Architecture and two Grands Prix d’excellence from the Ordre des architectes du Québec. The firm includes more than 35 architects and collaborators.

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WINNERS

FARM

Left to right, top to bottom: Ben Klumper (MRAIC), Dustin Couzens (MRAIC), Kayla Blomquist, Gary Couzens, Emily Ware, Nicholas Tam (MRAIC), Madison Killingsworth, Tracy Liu Modern Office of Design + Architecture is a Calgary-based, internationally focused architecture firm working across multiple scales and disciplines. We approach every project without any preconceived agenda or style, but rather an attitude of calculated naiveté towards the status quo.

We seek the untapped potentials in limitation and constraint, exploiting

them as opportunities for spectacle to emerge within the everyday.

We seek to learn, to understand, to educate, and to pass along our knowledge through our actions and our collective voice. We relish conversations with like-minded thinkers, dreamers and makers that yearn to produce something bigger than any one individual could accomplish on their own.

MARKHAM

Left to right: Nima Javidi, Behnaz Assadi, Kaveh Taherizadeh, Sky Ece Ulusoy, Kyle O’Brien. Not pictured: Liam Thornewell

Ja Architecture Studio is a Toronto-based practice that combines the root-

edness of a local architecture firm with the broad interests of an international design studio. The practice simultaneously works at the opposing ends of the professional spectrum: from small residential projects that confront domestic sentiments and detail-level building constraints, to ambitious international competitions that draw upon the collective repertoire of the discipline. Taken as a whole, the studio’s work invests in larger questions of the discipline: namely, how iconographic, geometric, formal, and tectonic pursuits relate to broader contexts such as politics, construction, landscape, and urbanism.

Ja’s work has been published widely and exhibited both nationally and internationally. Its award-winning competition entries include

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fourth prize in the International Competition for the Bauhaus Museum in Dessau (2015); honorable mentions for entries to both the Guggenheim Helsinki Competition (2015) and the International Competition for the Kaunas Concert Center (2017); and three Canadian Architect Awards (2015, 2018, and 2020).

The two founding principals, architect Nima Javidi and landscape designer Behnaz Assadi, consistently combine their professional work with their academic interests. Assadi’s focus on landscape urbanism informs her teaching at the University of Toronto’s Daniels Faculty of Architecture, Landscape, and Design, while Javidi’s investigations into typological collage have become a primary interest in coordinating design studios at The Cooper Union’s Irwin S. Chanin School of Architecture in New York City.

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NEW ACADEMIC BUILDING AT WOODSWORTH COLLEGE

Toronto-based Kongats Architects has been in practice since 2001.

The firm approaches each new program of work as an entirely fresh challenge, ensuring the broadest exploration of architectural, urbanistic and sustainable design possibilities within each undertaking.

The result is a significant portfolio of award-winning educational, cultural, and community projects.

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Left to right: Alar Kongats (MRAIC), Tom Ngo (MRAIC), Amie Lee (MRAIC), Bosung Jeon, Courtney Ho, Paul Dolick. Not pictured: Fotini Pitoglou, Dane Halkiw

TORONTO PARAMEDIC SERVICES MULTIFUNCTION PARAMEDIC STATION

Diamond Schmitt (top row, left to right): Michael Leckman (MRAIC), Tristan Crawford, Martin Gauthier, Parisa Kohbodi, Amir Azadeh, Laura Hutchinson; gh3* (bottom row, left to right): Pat Hanson (FRAIC), Elise Shelley, John McKenna, Mark Kim, Richard Freeman, Arslan Abbas, Charles Kim

Diamond Schmitt is a global architecture firm designing transformative,

purpose-driven, and highly sustainable buildings from its four studios located in New York, Toronto, Calgary, and Vancouver. The firm is a boutique practice of accomplished design architects who collectively create innovative design solutions for leading cultural, academic, research, healthcare, and civic spaces worldwide. Always drawing inspiration from each site’s surrounding community, architectural, and historical contexts, Diamond Schmitt’s visionary designs can be found in more than 50 cities around the world.

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gh3* is a peer-recognized and award-winning Canadian design practice.

Our office works in the increasingly complex realm where architecture, urbanism and landscape overlap. We design with a modernist’s eye to order, beauty, and social possibility, and an environmentalist’s awareness of sustainability and long-term thinking. Our interdisciplinary team is committed to the best in creative practice. We bring a tailored, client-centred approach to every stage of the design and construction process, with the aim of achieving pragmatic, poetic, environmentally responsible, and aesthetically powerful design solutions. We believe that excellent design is an essential part of everyday life, and that spatially and visually engaging places can inspire joy and civic pride.

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Left to right, top to bottom: Ping Jiang, Michelle Bao, Sean Lu, Yunpeng Ma, Shuang Zhang, Chendi He, Di Fan, Xiaoxu Sun Atelier Ping Jiang / EID Arch is a Shanghai-based practice founded

by Chinese-Canadian architect Ping Jiang in 2015. It is founded on the belief that design can transform life, and is deeply committed to design excellence, innovation and sustainability. The practice confronts the challenges of complex urban realities in China and beyond with a port-

folio of projects across typologies and scales, including high-density urban developments and urban regeneration projects, along with civic, cultural and institutional buildings.

Ping Jiang received his M.Arch. from Dalhousie University and B.Arch. from Tsinghua University. The Atelier’s work has been recognized with multiple AIA Design Awards, The Plan Award, WAF Awards, WAN Awards, and LEAF Awards. It has been published in journals including Architectural Review, Domus, The Plan, and DETAIL. HEMLOCK HOUSE Odile Lamy is a graduate of McGill

Wind • Snow • Exhaust • Odour • Noise • Particulate • Ministry Approvals • CFD Analysis •

University. She worked as an intern architect at Atelier Big City and research assistant at McGill University before beginning her current internship at Architecture écolo­ gique in Montreal. She is interested in the ecological complexities of architectural materials, with a specific focus on wood as a vehicle of living memory and a tool for empowering communities through sustainable forestry practices. She pursues an ongoing exploration in craft, sharing her time between architecture, print media and industrial design.

MECHANICAL LANDSCAPE Tyana Laroche holds a Master’s de-

519.787. 2910 spollock@theakston.com www.theakston.com

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gree in Architecture from Université Laval, and received an RAIC Honour Roll certificate upon graduation.

For her final year in the Bachelor of Architecture program, she studied abroad at the Czech Technical University of Prague. Currently, Laroche works in the city of her childhood,

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Saguenay-Lac-St-Jean. Her multidisciplinary background is reflected in her work: prior to architecture school, she completed pre-collegial studies in an arts program, and pre-university studies in natural science.

Her approach demonstrates her interest in showing the beauty in what is unusual and undervalued in architecture.

L’ACTRICE (THE ACTRESS) Félix Michaud specializes in architectural and interior design photography that exhibits a sensitivity to space. Through his Montreal-based practice, he seeks to build on architectural concepts by offering an intimate interpretation of the places he photographs. His work alternates between commissioned work and personal projects, and his images are regularly published. Recently, the series Experience of Space— Valerio Olgiati was a finalist in the 2020 A+ Awards. His work also exhibits an interest in black-and-white photography and medium-format film. Michaud has been active in photography since 2005 and is a graduate of Cégep de Matane.

Offices for Rent

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ArtAndDesignBuilding.com

PUBLIC SAFETY BUILDING: PERMANENTLY CLOSED

MICHAEL OSIKOYA

Jacqueline Young is a Winnipeg-

based architecture and interiors photographer. She formally trained in architecture at the University of Manitoba and in photography at PrairieView. Her enthusiasm for documentation comes from her fondness for the technical nature of the photographic process, in pursuit of expressing the novel experience of light and people moving within and through the built environment.

Young chooses to focus her practice on capturing what is present, rather than chasing “the ideal.”

TINY HOUSE: THE TEENAGER EDITION Cindy Blažević is a Toronto-based architectural photographer and visual artist with an academic background in international relations.

Mostly she considers herself an unarchitectural photographer, preferring to focus on the in-between spaces architects create where people live their sometimes messy, sometimes extraordinary and sometimes ordinary lives. Her photographs have been published online and in print, in Canada and elsewhere. She lives in Toronto with three rambunctious kids and her partner. You can see her work at lxiv. ca and cindyblazevic.com

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METAL COMPOSITE MATERIALS

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AWARDS OF EXCELLENCE

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THIS YEAR’S JURY RECOGNIZED FIVE PROJECTS WITH AWARDS OF EXCELLENCE, SEVEN WITH AWARDS OF MERIT, AND TWO WITH STUDENT AWARDS OF EXCELLENCE. IN ADDITION, THEY BESTOWED A SINGLE PHOTO AWARD OF EXCELLENCE AND TWO PHOTO AWARDS OF MERIT. HERE ARE THE WINNING PROJECTS.

MJMA’s Western North York Community Centre is the winner of a 2021 Canadian Architect Award of Excellence.

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AWARD OF EXCELLENCE

A RESILIENT DUPLEX FOR FORT SEVERN FIRST NATION Fort Severn, Ontario Two Row Architect and KPMB Architects

Approximately 25 percent of Indigenous Canadians live in overcrowded conditions and 20 percent live in homes requiring major repairs.

The Assembly of First Nations estimates that by 2031, First Nations communities in Canada will need to build over 130,000 new housing units and renovate 20,000 more. The National Research Council of Canada’s Path to Healthy Homes program pairs Indigenous communities across Canada with design teams led by Indigenous architects, with the aim of producing a best practices manual for the design of affordable, resilient, culturally appropriate Indigenous housing.

As participants in this program, Two Row Architect and KPMB were paired with the West Main Cree community of Fort Severn First Nation, a member of the Nishnawbe Aski Nation and The Keewatinook Okimakanak (Northern Chiefs) Council. Located on Hudson Bay, and accessible only by air and ice road, Fort Severn is Ontario’s northernmost settlement.

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Working closely with band leaders and community members, the architects developed a housing typology that addresses two key local objectives: enabling elders to live independently in the community for longer, while also providing units for young families, who often end up sharing overcrowded homes with parents and siblings due to a lack of alternatives.

The Resilient Duplex iterative housing system allows elders and young families to live as neighbours and support each other. A singlestorey accessible elder’s apartment is attached to a two-bedroom unit with a f lexible loft space. The two units share an entry porch, encouraging interaction between neighbours, and the elder’s apartment has a private terrace off the bedroom.

The design is flexible in two important ways. First, the larger unit’s loft space, when left open, can be used for storage, or as a playroom or home office. It can also be partially enclosed to create a main bedroom with ensuite bath, or fully enclosed as a private apartment. Units could

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SITE

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H WA SA O RD (STRE E T D) M ITE H

TR AIL

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ABOVE The site plan arranges 12 units in two clusters, each connected by a network of raised walkways. The natural muskeg landscape flows through a central communal courtyard that can host larger gatherings around a fire pit, or serve as a children’s play area.

WALL DETAIL

INTERIOR

EXTERIOR

INTERIOR FINISH (DRYWALL OR PLYWOOD) 2×6 FRAMING (24” O.C.) WITH BATT INSULATION (R16) 3/4” PLYWOOD SHEATHING AIRTIGHT SELF-ADHESIVE MEMBRANE 8” COMFORT BOARD RIGID EXTERIOR INSULATION (R32) 1X3 VERTICAL STRAPPING / DRAINAGE CAVITY / 1X3 HORIZONTAL STRAPPING LOCALLY FABRICATED LARCH SHINGLE CLADDING

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ABOVE Based on site visits in June and September, along with extensive research and community consultation, the design was conceived to work in concert with daily and seasonal cycles of sun, wind, and water. BELOW The duplex includes a small barrier-free apartment designed for an elder, along with a larger family unit. The loft of the family unit can be adapted for a variety of needs, including accommodating a home office or a third bedroom.

PLAN

OPEN LOFT

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— STORAGE — PLAYROOM — HOME OFFICE / ENTERPRISE — COMMUNITY ACTIVITIES — SLEEPING LOFT

be configured differently from the start, or adapted incrementally.

Second, because it is possible to give every room in each unit a window using only the north and south façades, the two basic modules can generate configurations ranging from detached homes to large multi-unit dwellings. This includes arrangements in which multiple elders’ apartments are combined with one large unit, which provides communal space and a private apartment for a caregiver.

The team developed a site plan that arranges 12 units in two backto-back clusters, each connected by a network of raised walkways, with open space between the clusters suitable for children’s play and community gatherings. To minimize water damage caused by frozen pipes, the walkways could do double duty as insulated utilidors.

Many other design aspects address the challenges of building in the remote north. Relying on locally fabricated larch shingle cladding helps mitigate material transportation issues. The stick-frame construction techniques required are familiar to crews working in the community, and passive house strategies upgrade envelope efficiency. Due to shifting caused by muskeg ground’s annual freezing and thawing—and, increasingly, by the climate change-related thawing of permafrost below the muskeg—foundations in Port Severn require constant repair. The duplexes’ hand-adjustable space frame foundation, which sits directly on gravel, provides built-in responsiveness to this literally unsettling condition.

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MASTER BEDROOM SUITE

— PRESERVES OPEN AREA FOR PLAYROOM OR WORK SPACE

PRIVATE APARTMENT

— S ELF-CONTAINED UNIT FOR MULTI-GENERATIONAL FAMILY OR CAREGIVER

JURY COMMENT

The issue of Indigenous housing is one of crisis where architecture and design can play a direct role. This project is one of several that came out of an initiative to model a process of community engagement, led by Indigenous architects, that would result in designs tailored to the needs of particular communities.

In the case of the Fort Severn site, the resulting design recognizes the family unit as flexible and fluid and offers the possibility of evolving with the changing needs of an intergenerational family. Additionally, it integrates the needs of a cultural way of life that includes frequent trips out onto the land and outdoor communal cooking. There is the promise that many of the materials for the buildings could be harvested locally. The project also hopes to generate an opportunity to create local prefabrication facilities whose production ramps up during the long winter, in preparation for the short summer building season. The success of the design is linked directly to a meaningful and community-specific engagement process.

CLIENT NATIONAL RESEARCH COUNCIL OF CANADA / FORT SEVERN FIRST NATION | ARCHITECT

TEAM TWO ROW: BRIAN PORTER (MRAIC); KPMB ARCHITECTS: SHIRLEY BLUMBERG (FRAIC), BRUNO

WEBER, LAURENCE HOLLAND, ROSA NEWMAN | STRUCTURAL BLACKWELL | SUSTAINABILITY JMV CONSULTING | ENVELOPE RDH BUILDING SCIENCE | AREA 140 M2 | STATUS SEARCHING FOR CONSTRUCTION FUNDING

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A Section of Now Social Norms and Rituals as Sites for Architectural Intervention 13.11.21 – 01.05.22

This exhibition is part of the CCA’s one-year investigation Catching Up with Life.

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cca.qc.ca/asectionofnow

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AWARD OF EXCELLENCE

DURHAM MODULAR SUPPORTIVE HOUSING Beaverton, Ontario Montgomery Sisam Architects

In 2019, Ontario’s Durham Region committed to creating one thousand new affordable dwellings by 2024. Part of this initiative, Durham Modular Supportive Housing, will provide 47 transitional housing units for unhoused individuals, as well as on-site access to counsellors, nurses, and personal support workers, and facilitated access to a wider range of off-site services and training opportunities. Reflecting the pressing need for this type of accommodation, the team used modular construction to accelerate project delivery.

Situated in the 3,000-person town of Beaverton, Ontario, the project has a low-rise, pitched-roof massing inspired by the architecture of this agrarian region. Two linked volumes—one private, one public—comprise the building. The three-storey private volume contains the 47 studio apartments, along with lounges, washroom facilities, a laundry, and administrative service areas. The more public, two-storey volume houses the dining room, kitchen and servery, a reading room, meeting and administrative space, and support rooms. The public volume’s sub-

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division into one section with a single-sloped roof that rises on its northward trajectory from the dining room to the reading room and an adjacent section with a double-pitched roof makes this part of the building ‘read’ at a neighbourly, human scale. A recessed connective link between the private and public volumes serves as the main entrance lobby and opens onto a landscaped courtyard.

Prefabricated modular construction can be completed in less time than conventional on-site construction, while also offering high quality assurance and predictability. Tailored to the size of a standard flatbed, each 66-by-14-foot module for this project’s residential volume is kitted out with two studio apartments flanking a landing. When all modules have been craned into place and secured, work begins on utility connections, interior furnishings, and interior and exterior finishes. Site works, paving and landscaping are also carried out at this stage.

The development is designed to run on solar energy and electric power to reduce its greenhouse gas emissions. Three hundred solar photovoltaic

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OPPOSITE Although factory constructed out of regularized modules, the housing uses materials such as board-and-batten cedar siding to contribute to a warmth and sense of place. Sloped roofs are designed to fit in with neighbouring residential buildings. ABOVE The two-storey community hub includes a communal dining room and social support rooms.

TYPICAL RESIDENTIAL FLOOR

18 1 READING ROOM 2 DINING ROOM 3 KITCHEN & SERVERY 4 DINING TERRACE 5 MEETING 6 WASHROOM 7 ADMIN 8 SUPPORT ROOM 9 MECHANICAL/

11 INTAKE 12 FIRST AID 13 STAFF LOUNGE 14 LOUNGE 15 MEN’S SUITE 16 WOMEN’S SUITE 17 STAFF DESK 18 BARRIER FREE SUITE 19 SUITE 20 ELEVATOR LOBBY 21 WINDOW SEAT

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5M

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ABOVE The development includes rooftop solar photovoltaic panels and is designed to run solely on electric power. BELOW Modular construction results in a superior building envelope and reduced construction waste. Each 66-by-14-foot module includes two studio apartments flanking a landing, and is tailored to the size of a standard flatbed truck.

MODULAR DIAGRAM

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TYPICAL MODULE

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panels integrated into the design of the roof will supply energy to the entirely electric heating and cooling system. Key contributors to operational energy efficiency are the airtightness of the prefabricated modules and a window-to-wall radio of only 15.1 percent. (Carefully considered window placement will nonetheless optimize views to the outside.)

The overarching goal of Durham Modular Supportive Housing is to assist vulnerable persons on a journey toward independence.

The project strives for design excellence through basic means: human scale, a consistent language, pleasant landscape views. The warm, tactile and plain-spoken materials palette, which includes board-and-batten cedar siding, tongue-and-groove wood siding, and corrugated metal roofs, echoes the rural context. While modular construction can help speed the delivery of supportive housing to people who urgently need it, design that affirms residents’ dignity and value is a vital part of the infrastructure that can help them thrive.

JURY COMMENT

At a time where homelessness, along with the lack of affordable and transitional housing, is visibly present in communities throughout Canada, this proposal seeks solutions that can be rapidly implemented and seamlessly knitted into existing neighbourhoods. This project aims to destigmatize

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supportive housing and to give a sense of dignity to its residents. It includes communal spaces that are about trying to live and share together. The fact that it is modular will help with extending the construction season, making it affordable and filling demand, while also ensuring quality control and minimizing the disturbance of the construction for neighbours.

Depending on what individuals are going through as they get on their feet again, the building offers different levels of social engagement, by including program areas such as a lounge, a more social dining facility, and courtyards that engage the land. It’s a thoughtful plan on a number of levels, resulting in a dynamic environment with a village-like typology and a sense of supportive community.

CLIENT REGION OF DURHAM & NRB MODULAR SOLUTIONS | ARCHITECT TEAM DANIEL LING

(MRAIC), ENDA MCDONAGH, KEVIN HUTCHISON, ZHENG LI, GRACE CHANG, MATEUSZ NOWACKI, SONJA STOREY-FLEMING, KAVITHA JAYAKRISHNAN, MEGAN LOWES, WILLIAM TINK | DESIGNBUILDER NRB | STRUCTURAL/MECHANICAL/ELECTRICAL DESIGN WORKS | LANDSCAPE BAKER TURNER | AREA 3,463 M2 | BUDGET WITHHELD | STATUS 100% CONSTRUCTION DOCUMENTATION | ANTICIPATED COMPLETION TBD PROJECTED ENERGY USE • POWER GENERATION 89,732 KWH/YEAR | TOTAL ENERGY USE INTENSITY

(TEUI) 132.49 KWH/M2/YEAR | THERMAL ENERGY DEMAND INTENSITY (TEDI) 60.94 KWH/M2/YEAR GREENHOUSE GAS EMISSIONS INTENSITY (GHGI) 6.62 KG CO2E/M2

|

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This building façade is made with Dekton®. Blanc Concrete in large format with 12 mm of thickness used for ventilated façade applications

The Grey 3639 W 16th Ave, Vancouver, BC V6R 3C3 IBI Group

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AWARD OF EXCELLENCE

THE BUTTERFLY AND FBC (FIRST BAPTIST CHURCH COMPLEX)

Burrard & Nelson Streets, Vancouver, British Columbia Revery Architecture Inc.

Old downtown churches and new luxury condominium towers may sound like strange bedfellows, but in this case, each has something to offer the other—and the community benefits as well. The Butterfly and First Baptist Church (FBC) development is the symbiotic union of a 1911 church on prime Vancouver real estate and a new 57-storey luxury residential tower.

An expanded podium level, landscaped areas, and galleria spaces are closely integrated with FBC ’s heritage building. Along with seismic and code upgrades, the restoration of its sanctuary interior and the rehabilitation of other parts of the church, what FBC gets out of the partnership is a new multi-level space for a 37-space daycare facility; community support spaces offering counselling, meals, emergency care and shelter programs; and café, administrative, and multi-purpose community spaces, including a new gymnasium. Additionally, FBC will operate a new seven-storey affordable rental/social housing building that will be incorporated into the development, doubling its previous rental capacity; it will include rooftop community gardens, an outdoor kitchen, and landscaped playgrounds.

The architects state that the tower is named The Butterfly to reflect the spirit of transformation and to “celebrate the constant nature of change and the passage of time.” They add that the undulating forms of the façade’s insulated precast concrete panels are inspired by ephemeral clouds, while the f luted chamfers of the tower’s base carve out public realm space in shapes recalling the pipes of First Baptist Church’s historic organ.

Outdoor sky gardens on each level of The Butterfly provide semi-private space where neighbours on each floor can socialize and connect

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TYPICAL 8-UNIT FLOOR PLAN

TYPICAL WALL SECTION

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OPPOSITE Inspired by the shapes of clouds, the 57-storey Butterfly tower includes a weave of residential units, deep-set balconies, and outdoor sky gardens on each floor. BELOW The semi-private sky gardens invite residents to reconnect with nature high above the ground plane, and encourage neighbourliness and social interaction.

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CANADIAN ARCHITECT 12/21

34 PROGRAM AXONOMETRIC 1 PINDER HALL 2 SANCTUARY 3 GALLERIA 4 EXPANDED CHURCH FACILITIES 5 DAYCARE 6 CONDO POOL 7 NON-MARKET BUILDING 8 CONDO TOWER 9 PARKING/MECHANICAL 8

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ABOVE The Butterfly’s Olympic-length pool is crowned by a sculptural arched roof, created from modular prefabricated structural ribs to reduce costs and construction time.

with nature, without leaving the building. In addition to promoting neighbourliness in a building typology that typically functions more like a series of silos than a hive, these sky gardens improve opportunities for natural cooling, ventilation, and daylighting. In comparison with conventional enclosed corridors, they can reduce overall energy demands while enhancing occupant comfort.

Inside the suites, spaces suitable for use as either second bedrooms or dens are enclosed with curtained, fully glazed partitions, offer­ing flexible use while optimizing views and natural light within.

The show-stopping shared amenity for The Butterf ly’s residents is a two-lane, 50-metre-long pool that bridges the podium roof and the tower’s main amenity space. The structural ribs of the pool’s sculptural vault—made of modular prefabricated precast concrete—conceal mechanical and sprinkler services for air supply, condensation control, and fire protection.

All new construction is designed to meet LEED Gold standards and the project will include an on-site low-carbon district energy plant.

The Butterfly and FBC aims to meet or exceed City of Vancouver requirements for building and energy performance, sustainable site design, access to nature, green mobility, water efficiency and stormwater management, zero waste planning, and affordable housing.

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JURY COMMENT

How do we bring biophilic design into towers? This 57-storey building essentially eliminates interior corridor space, instead including an outdoor breezeway that extends vertically to a very tall height. This brings natural ventilation and a communal connection to the outdoors through the core of the building, and introduces the possibility of cross-ventilation at higher elevations. It’s an innovative move that pushes the envelope of the tower typology.

CLIENT WESTBANK CORP. AND FBC (FIRST BAPTIST CHURCH) | ARCHITECT TEAM BING THOM (DECEASED), VENELIN KOKALOV (MRAIC), SHINOBU HOMMA (MRAIC), AMIRALI JAVIDAN, BIBIANKA FEHR, NICOLE HU, ZHUOLI YANG, STEVEN SCHMIDT, CULUM OSBORNE, LISA POTOPSINGH, CODY LOEFFEN, KAILEY O’FARRELL | STRUCTURAL GLOTMAN SIMPSON CONSULTING ENGINEERS | MECHANICAL INTEGRAL GROUP INC. | ELECTRICAL NEMETZ (S/A) & ASSOCIATES LTD. | LANDSCAPE GAUTHIER + ASSOCIATES LANDSCAPE ARCHITECTURE INC. WITH SWA GROUP AND CORNELIA HAHN OBERLANDER | ENERGY MODELLING INTEGRAL GROUP INC. | AREA 56,206 M2 | BUDGET WITHHELD | STATUS UNDER CONSTRUCTION | ANTICIPATED COMPLETION WINTER 2023

PROJECTED ENERGY USE 45% ENERGY USE REDUCTION (WHEN COMPARED TO ASHRAE 90.1-2010)

| 22% ENERGY COST REDUCTION (WHEN COMPARED TO ASHRAE 90.1-2010) | 68% GREENHOUSE GAS (GHG) REDUCTION (WHEN COMPARED TO ASHRAE 90.1-2010) | TARGETING LEED GOLD CERTIFICATION FOR NEW CONSTRUCTION

2021-11-17 12:43 PM

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C R E ATO R

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AWARD OF EXCELLENCE

UBC GATEWAY University of British Columbia, Vancouver, British Columbia Perkins&Will | Schmidt Hammer Lassen

At the principal point of entry to the University of British Columbia’s Vancouver campus, the Gateway project will create a place for learning, research, and community outreach through the co-location of the schools of Nursing, Kinesiology, Language Science and UBC health clinics.

Conversations with representatives of the Musqueam First Nation were fundamental to co-creating a contemporary design vision aligned with traditional Musqueam values. The site strategy evokes the lost forest, long stewarded by the Musqueam, where the university now stands.

The architecture, which makes extensive use of local wood in its hybrid wood-concrete-steel structural system and the cladding throughout the

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public spaces, reflects the project’s Pacific Northwest setting and the immediate campus context.

The site response began with a ‘re-wilding’—a recognition of the importance of landscape and open space to the Musqueam Host Nation and a desire to reconceptualize the site in its forest state. The design team mapped desire lines onto the site to understand how UBC’s campus community would want to move through this building en route to and from surrounding destinations, and used this information to determine the placement of public-facing program blocks within the ground f loor. The main entry is from the south, where the two bar-shaped

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OPPOSITE Through engagement with the Musqueam, the design introduces a significant landscape presence along University Boulevard.

RIGHT The use of local wood is celebrated through an expressed timber structure and cladding throughout the public spaces of the building.

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38 SUSTAINABLE BUILDING STRATAGIES

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volumes flanking the atrium terminate at angles that frame the Gateway’s forest-evoking plaza upon arrival to campus.

A skylit atrium is the social heart of the building and its ground plane is a porous extension of the surrounding landscape. The use of wood and expressed timber structure reflects the Musqueam tradition of building and extends the ‘forest landscape’ experience into the interior. In keeping with the health and wellness focus of the schools co-locating in the Gateway, the wood feature stair that winds through all atrium levels encourages physical activity as well as social interaction between different disciplines.

Prefabrication will play an important role in expediting construction and creating open, flexible space that can accommodate future programming changes. Long-span composite timber floor panels will be pre-assembled off site and craned in, and the building envelope will be fully prefabricated off site as three-metre-wide panels that align and tie into the timber structural module at the building perimeter.

Gold certification through the Rick Hansen Foundation Accessibility Certification program is targeted for this project. Due to a change in grade of 1.3 metres between the south and north sides of the building, a sloped surface is incorporated into the atrium’s ground floor to allow uninterrupted movement for all building occupants. Grading throughout the landscape and interior has been kept to minimal slopes and hardscape paving provides ease of use for people of all abilities. Sustainability objectives include Canada Green Building Council Zero Carbon Building certification, with a focus on reducing both operational and embodied carbon.

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JURY COMMENT

This building has a clarity in plan despite its multifaceted occupancy of public-facing, university community-facing and faculty-specific activities. An atrium brings light and activity into the densely packed academic building. As a result, it does not feel crowded, but rather feels like a dignified, warm place that is well resolved at the human scale. Located at the entry to the university campus, it has an engaged ground level plan and lushly planted forecourts, as well as fluid circulation throughout.

There’s a lot of thought put into its sustainability strategies and material choices, from its mass timber structure to its prefabricated wall panels and terracotta cladding. The quality of its materiality, rational planning and expression result in an endurance-oriented design befitting of a gateway.

It is targeting an exceptional level of performance, with a GHGI of 1.4—a significant achievement, especially given that it includes a kinesiology department with a wet lab.

CLIENT UNIVERSITY OF BRITISH COLUMBIA | ARCHITECT TEAM PERKINS&WILL—JAIME CASTILLO,

JANA FOIT, LAURA GILMORE, LUCAS HARLE, BOJANA JERINIC, JESSICA KIM, AARON KNORR, STEVE KWAK, ELKE LATREILLE, MANUELA LONDONO, SINDHU MAHADEVAN, DAVID MIKKELSEN, MARIA MONTGOMERY, ASHLEY PERKINS, SUMEGHA SHAH, ALEXA WALLERT, KATHY WARDLE. SCHMIDT HAMMER LASSEN—FRED AWTY, GIANCARLO GASTALDIN, KASPER HEIBERG FRANDSEN, FANNY LENOBLE, DORINE VOS | STRUCTURAL RJC ENGINEERS | MECHANICAL STANTEC | ELECTRICAL SMITH + ANDERSEN | CODE GHL | LANDSCAPE HAPA COLLABORATIVE | AREA 24,716 M2 | BUDGET $125 M | STATUS CONSTRUCTION DOCUMENTATION | ANTICIPATED COMPLETION 2024 PROJECTED ENERGY USE • TOTAL ENERGY USE INTENSITY (TEUI) 86.1 KWH/M2/YEAR | THERMAL ENERGY DEMAND INTENSITY (TEDI) 15.6 KWH/M2/YEAR | GREENHOUSE GAS EMISSIONS INTENSITY (GHGI) 1.43 KG CO2E/M2 | WATER USE INTENSITY (WUI) 0.04 M3/M2/YEAR |

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AWARD OF EXCELLENCE

SECTIONAL PARTI DIAGRAMS

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WESTERN NORTH YORK COMMUNITY AND CHILD CARE CENTRE North York, Toronto, Ontario MJMA Architecture & Design

Although community centres are by their nature large consumers of energy and water, Western North York Community and Child Care Centre ( WNYCC) aims to be a net zero energy building containing Canada’s first net zero energy aquatic facility. But wait, there’s more: this project’s urban design agenda is just as compelling as its sustainability targets.

This ‘conduit for community’ is situated between two infrastructurally divided suburban neighbourhoods. The WNYCC links them together through the creation of a new linear urban park.

The community centre will comprise an aquatic hall, a gymnasium, fitness studios, community rooms, and a child care. South of the Humbermede neighbourhood and north of Pelmo-Humberlea, the facil-

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ity has a narrow street address off Starview Lane to the south. A large printing plant that formerly occupied the site limited how the residential neighbourhood could be developed around it. Demolished a few decades ago, the plant bequeathed dead-end sidewalks and a faceless perimeter to the WNYCC. The original footprint for the 7,250-square-metre program and zoning-mandated parking lot would have taken up the entire site.

However, early site configuration analysis and traffic studies, combined with a discussion between the City and school board to share the neighbouring high school’s existing driveway and parking lot, freed up space for an outdoor multi-sport court and fitness area.

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OPPOSITE To optimize the connectivity of the site, the community centre is designed as a long, narrow volume flanked by an outdoor multisport court and fitness area. ABOVE Feedback from the community directly influenced the redesign of the original minimal reception space into a large community “living room.”

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ABOVE All of the building’s major public spaces are lit by linear skylights which also organize the main circulation spine of the plan. The skylights are operable to allow for passive ventilation when the outside temperature permits.

Each major interior space opens onto a similarly proportioned outdoor room, with large sliding doors connecting them and allowing them to be used as one. Views through the building to the park reinforce the connectedness of the indoor facilities to the landscape.

Conventional energy modelling indicated that the most compact envelope, with program organized over three storeys, would be the most energy efficient—but instead the design team successfully made a case for a triple-bottom-line approach, arguing that the social benefits of high-quality outdoor public spaces and more permeable surfaces for storm-water management outweighed the penalty of energy loss.

This project is the first Toronto Parks, Forestry and Recreation facility mandated to meet the newest version of the Toronto Green Standard, which stipulates that 100 percent of the building’s energy use be offset by site-sourced renewable energy and that near-zero greenhouse gas emissions are achieved. A building envelope with a maximum air leakage rate 50 percent below the National Energy Code, waste water heat recovery, and an extensive site- and building-integrated photovoltaic system are but a few of the project’s interlinked sustainability strategies. Early site investigations revealed that a buried river valley and aquifer run under the site, with geothermal heat exchange capacity to handle the building’s peak heating and cooling loads, thereby reduc­ ing the energy utilization index by 47 percent.

Feedback collected through an extensive community engagement process resulted in the inclusion of a community ‘living room’—a central gathering space and the main circulation route from which other spaces are accessed. Its program includes a community-organized snack counter, a gallery wall for display­ing work by a local amateur

CA Dec 21.indd 42

artist group, and a gaming garage that will focus on bringing people of different ages together through play.

JURY COMMENT

There’s a clarity to the architecture of this large-scale recreation centre.

The building is structured around a linear street which unites a sequence of activity spaces, leading fluidly from one function to the other. The site planning offers a high degree of attention and planting; paired with the internalized street, these design decisions redefine the building’s suburban context. There’s a robust net zero strategy, which is especially challenging in a building with an aquatic centre that requires continuous energy use to heat the pools. The architects also described a convincing community engagement strategy.

CLIENT CITY OF TORONTO, PARKS, FORESTRY & RECREATION; CITY OF TORONTO, CHILDREN SERVI-

CES | ARCHITECT TEAM PARTNER-IN-CHARGE / DESIGN PARTNER: TED WATSON (FRAIC); SUPPORTING PARTNERS: TIMOTHY BELANGER, TARISHA DOLYNIUK, ROBERT ALLEN (FRAIC), VIKTORS JAUNKALNS (FRAIC), ANDREW FILARSKI (FRAIC); PROJECT MANAGER / PROJECT ARCHITECT: JEANNE NG; DESIGN TEAM: OBINNA OGUNEDO, JANICE LEE, SEAN SOLOWSKI, XUEYING ZHANG, JOHN PETERSON (FRAIC), FRANCESCA JOYCE, KELVIN KUNG, DYLAN JONSTON, ZAVEN TITIZIAN; LANDSCAPE ARCHITECTURE: HYAEINN LEE, SANDRA COOK; PUBLIC ENGAGEMENT: JENNIFER GALDA, MELANIE TAYLOR, NATALIA ULTREMARI, PATRICK KNISS, AMANDA CHONG, LILY WATSON; COMPUTATIONAL ANALYSIS: CLAUDIA COZZITORTO, SARAH HASSAN; CHILD CARE DESIGN: TANIA BORTOLOTTO (FRAIC), ALEX HORBER, ELAINE WELSHER | CHILD CARE ARCHITECTURE AND DESIGN BORTOLOTTO DESIGN LTD. | LANDSCAPE MJMA LANDSCAPE ARCHITECTURE | STRUCTURAL BLACKWELL | MECHANICAL/ELECTRICAL SMITH+ANDERSEN | SUSTAINABILITY FOOTPRINT | CIVIL EMC GROUP | GEOTECHNICAL BEATTY GEOTHERMAL CONSULTING | TRIPLE-BOTTOM-LINE COST BENEFIT ANALYSIS AUTOCASE | AREA 7,460 M2 | BUDGET WITHHELD | STATUS CONTRACT DOCUMENTS | ANTICIPATED COMPLETION 2026 THERMAL ENERGY DEMAND INTENSITY (TEDI) 112 KWH/M2/YEAR | GREENHOUSE GAS EMISSIONS

INTENSITY (GHGI) 0 KG CO2E/M2 | TOTAL ENERGY USE INTENSITY (TEUI) 0 KWH/M2/YEAR

2021-11-17 12:43 PM

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AWARD OF MERIT

CUNARD STREET LIVE/WORK/GROW Halifax, Nova Scotia FBM architecture • interior design • planning

Covid-19 has radically changed work culture. Many architects will return to design studios and some will continue to work from home, but most people desire the flexibility of both worlds. The collaboration, socialization, and serendipity of a group environment, as well as the concentration enabled by solo work, are all vital to creativity—a balance that has been difficult to achieve during the past year.

Halifax architecture firm FBM is taking these lessons to heart in the design of its new studio. Its post-pandemic office is shaped by multiple breakout spaces, private rooms for Zoom calls, and gathering spots both indoors and outdoors. Fresh air, daylight, and access to nature are central to the design.

The project, named Live/Work/Grow, contains office space, residential units, a courtyard, and a roof garden. It is constructed on a brownfield site in the North End of Halifax, close to the city’s Commons.

The architecture aims to embody the values of the studio, as a place for “people-driven design.”

Social, economic, and ecological sustainability are important to the studio’s values. Wanting to study mass timber construction, but unable to pursue it with client-based work, FBM made its office design a research project, allowing the firm to explore glulam and nail-laminated timber floor assemblies within a five-storey wood structure. Such assemblies have been used for more than a century, particularly in large-span warehouses where solid, sturdy floors were required.

Beyond reducing the building’s embodied carbon, studies have shown that wood buildings increase occupant attention and productivity, while reducing stress levels and fatigue. Wood is a lighter material than steel, allowing for a simpler foundation. The use of mass timber also facilitates a shorter construction schedule, smaller laydown

ABOVE FBM’s new design studio is a mass timber building constructed on a brownfield site in the North End of Halifax. A rooftop garden provides an opportunity to grow food for—and in partnership with—the studio’s neighbour, Souls Harbour Rescue Mission.

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ABOVE Providing a model for mixed-use development in Atlantic Canada, the building includes three levels of office space, two residential levels with a total of seven units, and a rooftop garden terrace. Its structure includes glulam columns and beams, as well as a nail-laminated timber floor assembly. Concrete is used for the building’s foundation walls, shear walls, floor topping, slab-on-grade, and car-port slab.

area, and reduced construction noise and debris. Finally, because wood is a natural material that feels warm and soft to the touch, it creates a space that helps to reconnect people with nature.

The studio’s neighbour to the west is the Souls Harbour Rescue Mission, an organization that provides services for those facing hunger, homelessness, poverty, abuse, and addiction. The mission serves nutritious lunches every weekday to local families and seniors from affordable housing blocks in the area. The studio strives to be a community ally by growing food on its roof for, and in partnership with, its neighbours. A community art project completed with local daycares adorns the construction hoarding wall facing the street.

A permanent art project will be developed with the community on the wall facing the adjacent building—Souls Harbour Rescue Mission.

Both standing out and fitting in, this building’s design is a study of the lived relationships between form, function, and the everyday rhythms of the neighbourhood. In its attention to the specificities of its context, as well as in its use of mass timber, it aims to serve as an example of the possibilities for future projects in Atlantic Canada.

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JURY COMMENT

This building includes an open shared workspace downstairs, and a residential space upstairs, combined with an urban agriculture component. The jury found the design to be well executed, and was excited to see an architecture firm taking the initiative to experiment with this mix of programs on an urban infill site in Halifax. This architect could not find a willing developer to explore an infill solution using mass timber, so became their own client. The urban agriculture is important to consider for its sustainability features but also as an inclusivity measure. These gardens can contribute positively to issues of food security and provide a means to grow uncommon produce that is specific to immigrant and newly arrived communities.

L w M h

CLIENT FBM ARCHITECTURE - INTERIOR DESIGN - PLANNING | ARCHITECT TEAM SUSAN FITZGER-

ALD (FRAIC), ALICIA MCDOWELL (MRAIC), DANNY GOODZ, BEN GRIFFITHS, PETER KOLODZIEJ, AMBER KILBORN (MRAIC), RITA WANG, STAVROS KONDEAS | CIVIL SERVANT DUNBRACK MCKENZIE & MACDONALD LTD. | STRUCTURAL CAMPBELL COMEAU ENGINEERING | MECHANICAL CBCL LIMITED | ELECTRICAL CBCL LIMITED | GEOTECHNICAL & ENVIRONMENTAL STANTEC | CONTRACTOR AITCHISON FITZGERALD BUILDERS | AREA 1,706 M2 | BUDGET WITHHELD | STATUS UNDER CONSTRUCTION | ANTICIPATED COMPLETION FALL 2022

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AWARD OF MERIT

ÉCOLE VAL-MARTIN Laval, Québec Chevalier Morales

Located at the centre of a resource-poor neighbourhood in Laval, a city north of Montreal, École Val-Martin transforms an abandoned big-box grocery store into a playful centre of learning for primary school children.

This project takes a stance on the ever-relevant issue of suburban sprawl by proposing an alternate to new construction. It tackles several important questions: How can architects and their clients actively participate in remodelling the existing urban fabric, instead of contributing to the growing ecological footprint of the suburbs? Can we recycle and adapt

existing structures to imagine progressive schools for young children?

How could this impact the education system in Quebec and beyond?

The project is inspired by Schola, a Quebec research initiative that aims to give a second life to existing schools. This project, too, proposes to give a second life to an existing structure—but in a novel way.

The first main design question was how to bring light to the centre of a building with a large, square footprint. A courtyard was introduced to bring light to key spaces including the library, as well as to create a tranquil outdoor space in the middle of the building.

Peaked forms lend a playful touch to the exterior and courtyard elevations of the new primary school, which adaptively reuses an abandoned big-box grocery store. The courtyard brings daylight to the adjacent library and kindergarten classrooms; all of the school’s learning and activity spaces include windows or skylights.

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An addition to the main façade of the former grocery store creates two new wings of classrooms, forming a U-shape that benefits from ample sunlight.

Next, the architects tackled the challenge of working within an existing grid that was entirely irregular. To solve this, an irregular-sized gym was placed within the largest bay. This gym, along with accompanying changerooms, storage, and mechanical areas, becomes the nucleus of the project. Circulation unfolds around the gym and the library courtyard, creating a double ring of corridors. The resulting f low is functional and efficient, and the circulation divides the school into zones accessed by groups of children at different times of the day.

The existing building’s tall ceilings—just shy of two storeys—became an opportunity to bring a playful identity to the primary school. The design introduces house-like forms in the multi-purpose room, library, and kindergarten classrooms. In these spaces, peaked ceilings extend from the interior to the exterior façade, their geometry derived from the existing grid structure. On the exterior, varying façade depths and textures are used to accentuate the triangular forms, hinting at the existing building in an otherwise seamless transition from old to new.

A new model of adaptive reuse is necessary for the future health of our cities and society. The design for École Val-Martin suggests how adaptive reuse can also represent an investment in progressive education for our children.

ABOVE House-like forms are carved out from the existing building envelope, giving a sense of place to the kindergarten classrooms, multipurpose room and library.

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JURY COMMENT

There are grocery and big-box stores across Canada. Many that are centrally located are emptying out as delivery options become more popular, and retailers take advantage of opportunities to warehouse on more affordable land. To take a building that occupies a prime location at the centre of a community and repurpose it for an essential community institution is an innovative approach. In this project, the resulting design is whimsical and intelligent at the same time. The scale of the building is broken up by creating house-like elements that present an interesting environment for children and respond to the surrounding residential buildings; the project also enlivens the site around it, replacing the parking lots with sports fields and play areas.

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1 PRIMARY CLASSROOM 2 KINDERGARTEN 3 SPECIAL NEEDS CLASSROOMS 4 LIBRARY 5 GYM 6 GYM SERVICES 7 ADMINISTRATION

8 MULTI-PURPOSE ROOM 9 ARTS & MUSIC 10 DAYCARE CENTRE 11 NON-TEACHING

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CLIENT CENTRE DE SERVICES SCOLAIRE DE LAVAL | ARCHITECT TEAM STEPHAN CHEVALIER (MIRAC), SERGIO MORALES (MIRAC), TREVOR DAVIES, KATRINE RIVARD, VANESSA GIROUX, PATRIZIA BAYER, CAMILLE LEFEBVRE, ROBIN VERGOBBIO | MECHANICAL/ELECTRICAL STANTEC | STRUCTURAL GBI | LANDSCAPE BMA | AREA 5,870 M2 | BUDGET $18 M | STATUS DESIGN DEVELOPMENT | ANTICIPATED COMPLETION 2024

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Edmonton, Alberta Modern Office of Design + Architecture

Traditionally, architecture is thought of as a monumental art, creating buildings that last unchanged for decades or longer. But in reality, many of the places where we live, work and play come and go. We’re constantly remodelling, renovating and replacing buildings as styles and needs change.

To act sustainably in the face of these complexities, the architects at Calgary-based Modern Office of Design + Architecture have been increasingly interested in the idea of circular design. This points to a cradle-to-cradle approach to construction, designing buildings that can be disassembled at the end of their use, and repurposed into new buildings.

A circular design approach was a perfect fit for FARM. Modern Office’s client for the project is a developer who asked for a 1,100-squaremetre building to temporarily occupy a downtown Edmonton site.

In response, Modern Office designed a structure that could be used temporarily, then dismantled into its component parts and upcycled.

The design is inspired by the Quonset hut, a prefabricated structure roofed with a curved sheet of corrugated galvanized steel that was first manufactured in the 1940s for the United States Navy. The lightweight buildings became used for many non-military purposes, including

ABOVE The building, composed of several Quonset huts ganged together, temporarily occupies a site in downtown Edmonton, and can be entirely disassembled for reuse. OPPOSITE An inherent spatial flexibility allows for tenants to occupy one, several, or all of the bays.

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MEZZANINE

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1 CORRUGATED GALVANIZED STEEL HALF-ROUND PANEL* 2 PRE-CAST CONCRETE GRADE BEAMS. INDIVIDUALLY REMOVEABLE TO PERMIT FUTURE REUSE AND LOCALIZED ACCESS TO THE FOUNDATION 3 STEEL BASE PLATE* 4 INTERIOR-FACING POLYMER SHEET CONCEALS INBOARD INSULATION 5 INSULATION 6 CORRUGATED GALVANIZED STEEL STRAIGHT PANEL* 7 SCREW PILES ALLOW FOR REUSE OF FOUNDATIONS AND LEAVE SITE INTACT FOR FUTURE USE 8 MODULAR GLAZING UNITS 9 L AYOUT INHERENTLY FLEXIBLE DUE TO ‘KNOCK-OUT’ (NONSTRUCTURAL) PARTITIONS BETWEEN ADJACENT SPACES

1 YOGA STUDIO 2 OFFICE 3 ART GALLERY 4 BAR 5 BREW PUB 6 PLATFORM 7 EXTERIOR COURTYARD 8 DISPLAY SHELF 9 SHARED LOADING 10 W/C 11 MECHANICAL/ ELECTRICAL

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ABOVE, TOP TO BOTTOM Initial tenants include a yoga studio, office, art gallery, bar and brew pub; the modular approach allows the bars to protrude and recede, producing public entryways, secret gardens, and courtyards.

as outbuildings in the Canadian prairies. Its semicircular form has resonances with other vernacular agricultural buildings, including metal storage sheds, cylindrical silos, and dome-roofed greenhouses.

For FARM, Modern Office ganged several Quonset huts together, creating a spatially flexible arrangement that allows a tenant to occupy one, several, or all of the bays. The modular approach allows for the forms to pull apart, creating secret gardens and courtyards that introduce daylight deep into the interiors of the barrel-vaulted forms.

In order for the building to be upcycled, every major component is designed to be removable for reuse. This includes a screw-pile foundation system, a modular, structural steel rib envelope, insulative “pillows” that are mechanically fastened back to the structure, panelized interior finishing, interior concrete block walls that are mortared together using dissolvable, cementitious grout, and modular glazing units. Ninety percent of the components used in the building will be indexed using QR codes, producing a database kit of parts. This will aid in the future re-assembly of the building as a whole structure— or the repurposing of its parts into new structures.

JURY COMMENT

This project begins with a vernacular reference to Prairie silos, and transforms it into something that is quite lovely in spatial terms. For a commercial development, the jury found it to be both playful and to add rhythm to the street. Because of its modularity, they imagined how a building like this could transform uses over time—if a large tenant pulled out, their space could be adaptively reused into a series of smaller shops. Overall, this is quite an innovative prefabricated design with a lot of potential.

CLIENT LPY DEVELOPMENTS INC. (HON LEONG ) | ARCHITECT TEAM DUSTIN COUZENS (MRAIC),

BEN KLUMPER (MRAIC), NICHOLAS TAM (MRAIC) | CONTRACTOR CREATE CONSTRUCTION MANAGEMENT | QUONSET HUT SUPPLIER ROCKET STEEL CANADA | STRUCTURAL WOLSEY ENGINEERING | MECHANICAL/ELECTRICAL ARROW ENGINEERING | CIVIL EPCOR ENGINEERING | AREA 1,155M2 | BUDGET WITHHELD | STATUS DESIGN DEVELOPMENT | ANTICIPATED COMPLETION SPRING 2023

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MARKHAM Toronto, Ontario Ja Architecture Studio

Older, low-rise urban neighbourhoods are under tremendous pressure to increase their density. A common mid-20th-century answer to this chronically recurring supply-and-demand problem was to plunk down new mid-rise or high-rise multi-unit buildings wherever a sufficient quantity of small, older lots could be bought up, without much regard for what this rough patchwork did to the urban fabric. Since then, zoning has become more attuned to context, and ‘gentle densification’ has become a hot topic.

This project argues that there is more to successful gentle densification getting the grain and height right: it also hinges on a willingness to embrace new typologies, along with styles that cannot be classified as either ‘modern’ or ‘heritage’. Ja Architecture describes Toronto’s Markham Street as a thoroughfare “where anomalies are the norm.” Adding to the street’s already-heterogenous mix of low-rise housing types, Ja proposes replacing an end unit in a series of old

Markham’s barrel-vaulted form contrasts with the peaked roofs of other houses on the street and provides a slightly larger amount of inhabitable space. Six interlocking residential units—including three two-storey units, two bachelor studios, and a live-work laneway suite—are carved into the vaulted volume. The units are individually accessed, mostly from the public laneway running alongside the site.

ABOVE

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ABOVE

The laneway suite’s loft bedroom and kitchen are on its upper level, crowned by a barrel-vaulted roof.

rowhouses with a new multi-unit housing development that capitalizes on one of Markham Street’s anomalies: a narrow public laneway running the length of the site.

Five interlocking units of varying type are carved into the four-level main volume. With services nested along the party wall and the entries along the easement, a scissor stair negotiates between the two, sometimes channelling people upwards, sometimes pulling light into the building. At the rear of the site is one additional unit: a vaulted, twostorey laneway live/work suite.

Clad in brick veneer, the main building is connected by its material and form to a laneway suite accessed from the rear yard. The continuity of the two volumes is reinforced along the public thoroughfare through double wythe brick garden walls. While the wall provides a spatial separation between public and private, openings in the wall mark access to each of the units along the pathway.

The main building leverages the efficiency of the scissor stair to fit two studio units and three two-storey units within a volume that has only three fully above-grade storeys. Spaces within each unit are not stacked in a typical fashion. Instead, the scissor stair provides a dedicated circulation system within each of the main building’s two-storey units, connecting the sleeping spaces on the lower level to the living space above. Deep walkouts with full-height glazing connect the main building’s lower-level units to the ground.

Projects ranging from a 16th-century barrel vault in Venice’s Arsenale to the walk-up entries to the units in Alvaro Siza’s SAAL Bouça social

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housing complex in Porto, Portugal, inf luenced Ja Architecture’s approach to the Markham project. In a neighbourhood of pitched roofs, this project’s vaulted roofs are at first glance yet another Markham Street anomaly. But this is at the same time a contextual densification, harmonious in scale and material with its surroundings, and even echoing the arched dormers of the adjoining old row houses.

This project’s ingenious interlocking volumes are pieces that could help solve the gentle densification puzzle.

JURY COMMENT

This house has a sculptural expression that is fascinating. While the intricate brick and barrel vaults would make for an expensive build, there is a lot of design effort that has gone into this interesting interlocking of multiple units on a narrow Toronto infill site. More projects are needed that fill the “missing middle” and bring increased density to downtown neighbourhoods in the city; this project takes an architecturally ambitious approach to tackling that issue.

CLIENT HOUYAN HOMES | ARCHITECT TEAM NIMA JAVIDI, BEHNAZ ASSADI, LIAM THORNEWELL,

KYLE O’BRIEN | STRUCTURAL MOSES STRUCTURAL ENGINEERING | PLANNING SEAN GALBRAITH & ASSOCIATES | MEP SUSTAINGLOBE | LANDSCAPE BEHNAZ ASSADI (JA STUDIO) | AREA 330 M2 | BUDGET WITHHELD | STATUS DESIGN DEVELOPMENT | ANTICIPATED COMPLETION 2024

2021-11-17 12:43 PM

Carpen

Training to Clad it Right the First Time Carpenters and Allied Workers Local 27, United Brotherhood of Carpenters and Joiners of America, in conjunction with our contractor partners and field leaders, and with the assistance of the College of Carpenters, has developed a premier Exterior Cladding training program to provide real-world hands-on training to installers and industry professionals. This course was developed to address an increasing demand in the industry for skilled workers to install these products.

This course will provide training to our broader membership on how to properly install various architectural panels/exterior cladding, including Insulated Metal Panels (IMPs) and Aluminum Composite Materials (ACMs), using the most up-to-date technologies and techniques.

The six-day course will include a two-day certification course for Elevated Work Platforms and swing stages and a four-day course teaching the best practices for the installation of exterior cladding.

For our inaugural session in March of 2021, four journeymen instructors were provided training on how to install exterior cladding, including IMPs and ACMs. The materials were generously donated by Riverside Group Ltd. These instructors will now travel to the Carpenters’ Union Training Centres across the province to ensure that each training centre will be teaching this course to UBCJA members.

If you have any questions about this exciting course, please contact Paul Daly (Local 27 Coordinator) or Darren Sharpe (UBCJA Cladding Coordinator) at 905-652-4140.

222 Rowntree Dairy Rd Woodbridge, ON L4L 9T2 | T: 905-652-4140 | www.ubc27.ca

Follow us on social media!

CA Dec 21.indd 59 1 Carpenters ad.indd

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NEW ACADEMIC BUILDING AT WOODSWORTH COLLEGE

University of Toronto, Toronto, Ontario Kongats Architects

With their historical pedigree and romantic charm, inward-facing, quadrangle-enclosing buildings have been the default setting for collegiate architecture for centuries. At Woodsworth College, an internal arcade surrounding the quadrangle is a key place for encounter and engagement within the academic community.

The New Academic Building at Woodsworth College posits that the 21st-century pedagogical shift toward outreach and engagement requires educational environments that are more permeable to their surroundings. This ‘contemporary cloister’ for one of the seven colleges comprising the University of Toronto’s urban St. George campus takes the success of its existing context as a precedent, serving up the arcade as a vertical organizing element. The result is an academic and social

hub that provides an environment conducive to sustained concentration, while connecting scholars to the world beyond its walls.

Woodsworth College is home to both the Centre for Industrial Relations and Human Resources (CIRHR) and the Centre for Criminology and Sociolegal Studies (CRIM). Its existing, interconnected buildings include the 1892 Alexander McArthur House and the acclaimed 1992 Woodsworth College addition by Barton Myers Associates and KPMB; both are on the City of Toronto’s Heritage Register. Another part of the college, Kruger Hall (also known as the Drill Hall) will be demolished to make way for this 3,767-square-metre project, which will more than double the current space for the CIRHR and CRIM programs and consolidate them under one roof. The outdoor Peter. F. Bronfman Court-

Reinterpreting the traditional academic cloister, the New Academic Building at Woodsworth College centres on shared social spaces for interacting, studying, and collaborating. OPPOSITE The glazing’s frit pattern evokes the rhythm of an arcade, creating a light sense of enclosure for the spaces within, while also connecting students to the larger campus surroundings.

ABOVE

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An elegant stair weaves the movement of students through the building, framing a Student Commons area on the ground floor and circling a third-floor event space.

ABOVE

yard—created by the 1992 addition—will be preserved, with setbacks incorporated into the new building to minimize its cast shadows.

Program areas include a triple-height learning commons and other student and event spaces, offices and hoteling stations, six new classrooms, food services, and a library. Spaces are defined by circulation and interconnected horizontally and vertically to facilitate encounter and engagement.

A driving concept shaping The New Academic Building at Woodsworth College is the continuation and reimagining of the traditional cloister formation provided by the 1992 wing. Extending and ‘pulling’ the cloister vertically through the new building organizes the spaces within, creating a multi-level arcade with ‘courtyards’ for interacting, studying, and collaborating. Circulation is exposed, allowing Woodsworth students, faculty, and staff to see and be seen, as they are connected to the city and to each other.

A frit pattern developed over six repeating panes wraps the perimeter, combining access to natural light with a sense of traditional cloister-like enclosure. At points of termination or directional change, the frit disappears to provide uninterrupted, framed views of the urban campus.

This is the first University of Toronto building designed to meet a projected annual energy consumption performance target 40 percent better than Performance Path defined in ASHRAE Standard 90.1-2013,

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Section 11. Key sustainable strategies include 40 percent maximum window-to-wall ratio, R-25 wall assemblies, R-40 roof insulation, and a dedicated outdoor air system (chilled beams/radiant slabs) with improved air-side heat recovery and demand control ventilation.

JURY COMMENT

This is a sensitive addition to a storied Toronto building on the University of Toronto campus. It’s an elegant building rendered with a deft architectural hand, that is working with an iconic piece of Toronto architecture in a lovely way.

CLIENT UNIVERSITY OF TORONTO | ARCHITECT TEAM ALAR KONGATS (MRAIC), TOM NGO (MRAIC), AMIE LEE (MRAIC), BOSUNG JEON, COURTNEY HO, PAUL DOLICK, FOTINI PITOGLOU, DANE HALKIW | STRUCTURAL/ENVELOPE (BUILDING SCIENCE) ENTUITIVE | MECHANICAL/ELECTRICAL/SECURITY/IT/ DATA/AV SMITH + ANDERSEN | SUSTAINABILITY/ENERGY MODELLING FOOTPRINT | LANDSCAPE NORTH DESIGN OFFICE | CIVIL MGM CONSULTING INC.| SHORING TERRAPROBE | COST ALTUS GROUP | BUILDING CODE/LIFE SAFETY/ACCESSIBILITY ARENCON | ACOUSTICS/NOISE AND WIND RWDI | HERITAGE ERA ARCHITECTS | FOOD SERVICES CINI-LITTLE | VERTICAL TRANSPORTATION NATIONAL ELEVATOR CONSULTING | TRAFFIC LEA CONSULTING | URBAN PLANNING BOUSFIELDS INC. | AREA 4,620M2 | BUDGET WITHHELD | STATUS TENDER & AWARD | ANTICIPATED COMPLETION 2024

PROJECTED ENERGY USE • ENERGY REDUCTION 40.6% | TOTAL ENERGY USE 2,036 MMBTU | ENERGY

USE INTENSITY (EUI) 141.3 KWH/M2/YEAR | GREENHOUSE GAS EMISSIONS INTENSITY (GHGI) 15.3 KG

CO2E/M2

2021-11-17 12:43 PM

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CASE STUDY

PromoWest Pavilion at Ovation | Newport, KY

Indoor/Outdoor Music Center Improves Safety With BILCO Smoke Vents Newport, Kentucky has reinvented its image in the past 75 years. Once known as “Sin City” for its history of gambling and bootlegging, the community of slightly more than 15,000 residents just across the Ohio River in Cincinnati is now a highly-regarded entertainment and cultural district.

A new project that will swing open in September 2021 will enhance that reputation. The PromoWest Pavilion at Ovation is an indoor/ outdoor concert venue that will host nearly 180 events a year, bringing up to 400,000 music fans to the site.

The $40 million pavilion is part of Phase I of the Ovation project, which also includes a parking garage, office building and a hotel.

While Corporex, the master developer, completes elements of Phase I, it is commencing work on the 1,600-car parking garage that will support the entire Phase II structure. Phase II includes a pedestrian walkway, structured parking, residential units, office space, retail, entertainment, hotels and an amenity club.

Designed by ATA Beilharz Architects of Cincinnati, the pavilion includes a structural steel frame with interior mezzanine and two raised stages. The project includes a 24,000 square foot roof over the steel frame. The stages cover about 42,000 square feet.

Below the pavilion is a 550-car parking garage with a bus dock for touring performers and their teams.

The indoor/outdoor venue is the third such concert venue by PromoWest, and features state-of-the-art lighting, acoustical systems, and an innovative reversible movable stage. It is divided into three independent concert spaces – an indoor music hall, indoor club and outdoor amphitheater.

One of the most distinctive features of the project is the roof that sweeps over the pavilion. “If you’re standing on the top it looks like a ski jump overlooking Cincinnati,’’ said Aaron Presar of TruCraft Roofing.

The project includes three double-leaf smoke vents manufactured

by BILCO. The 4-foot x 6-foot vents allow firefighters to bring a fire under control by removing smoke, heat and gasses from a burning building. The units include a Thermolatch® positive hold/ release mechanism that ensures reliable vent operation when a fire occurs. BILCO’s double leaf vents are engineered with gas spring operators to open covers in snow and wind conditions.

Double leaf automatic smoke vents are the most economical way to add fire venting protection in large areas, and are available in steel or aluminum construction. The curb-mounted fusible link housing allows the latch to be quickly and easily re-set from the roof level.

“When given a choice for smoke or roof access hatches we tend to go with BILCO,’’ Presar said. “We’ve never had any issues with latches or mechanical issues on a new product. They have great accessible literature online for their products and our reps in this case, Chris Graves with Mueller Roofing and Joe DeFrain with Welling, are always helpful in finding any specific nuances required from project to project.”

Concerts are scheduled to begin in September, offering another clear sign that the Northern Kentucky town is now a cultural destination to behold.

Keep up with the latest news from The BILCO Company by following us on Facebook and LinkedIn. For over 90 years, The BILCO Company has been a building industry pioneer in the design and development of specialty access products. Over these years, the company has built a reputation among architects, and engineers for products that are unequaled in design and workmanship. BILCO – an ISO 9001 certified company – offers commercial and residential specialty access products.

BILCO is a wholly owned subsidiary of AmesburyTruth, a division of Tyman Plc. For more information, visit www.bilco.com.

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THE PANDA PAVILIONS Chengdu, China Atelier Ping Jiang / EID Arch

Projects that aim to preserve endangered wildlife often involve providing public access to animals in captivity. Not all that long ago, people considered it acceptable to confine beasts in small cages and stare at them from all sides. Thankfully, that doesn’t happen so much anymore.

Today the challenge is to provide the animals with as natural, generously sized, and undisturbed an environment as possible, while still allowing humans to get close enough to be captivated by the captives, for that is how we become stakeholders in the survival of a species.

The new Panda Pavilions designed for China’s Chengdu Research Base of Giant Panda Breeding (also known as Panda Base) meet this delicate balancing act with insight, ingenuity, and no small amount of poetry.

Located in Sichuan Province in a national forest park about 10 km from downtown Chengdu, Panda Base was established in the 1980s by a handful of researcher/preservationists with six rescued giant pandas. Without capturing a single giant panda from the wild, the Base has increased its captive population of the species to well over 200.

The centre combines scientific research and panda breeding with public education and environmental tourism, and is a Global 500 of the United Nations Environment Programme destination.

A convergence of architecture, landscape, and land art, the four ring-shaped pavilions nestle into park’s woodland slopes, enclosing terraced outdoor space for pandas. Connecting pathways and bermed

ABOVE The design of the research and educational facility is organized around four open-air circular courtyards, which serve as outdoor playgrounds for the pandas, while providing researchers and visitors with a continuous connection with nature. OPPOSITE Inside, the ring-shaped pavilions include observation areas, indoor living quarters for the pandas, administrative offices, and support spaces.

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FLOOR PLAN

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ABOVE Nestled into the natural topography, the pavilions prioritize the creation of an animal-friendly environment, while also providing outdoor pandaobservation platforms for visitors.

viewing galleries provide visitors with varied vantage points for observing pandas at relatively close range, but always with physical boundaries separating panda space and human space. Rising above the topography in places and sinking into it in others, the pavilions’ rings house panda indoor activity spaces and living quarters, along with staff administrative areas and support spaces such as rooms for preserving and storing the bamboo shoots that are central to the panda diet.

For the visitors, the project is designed to create an immersive experience of exploration and discovery. As people move through the site, they can enjoy the interaction between the stunning scenery and the gentle dynamism of the pavilions’ looping, cedar-clad forms. Water nozzles producing a fine mist for panda-friendly temperature and humidity will doubtless add to the impression of being in a dreamlike place.

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JURY COMMENT

This is a beautiful project in its integration of building form with landscape. The round forms nest in the landscape in a compelling way and speak to the need to value and conserve our natural environments.

The jury applauded the efforts towards the protection and rehabilitation of panda populations, and the project’s elevation of the importance of nature in Asian culture.

CLIENT CHENGDU TIANFU GREENWAY CONSTRUCTION INVESTMENT CO., LTD. / CHENGDU

RESEARCH BASE OF GIANT PANDA BREEDING | ARCHITECT TEAM PING JIANG, MICHELLE BAO, SEAN LU, YUNPENG MA, SHUANG ZHANG, CHENDI HE, DI FAN, XIAOXU SUN | COLLABORATING LOCAL DESIGN INSTITUTE CHENGDU ARCHITECTURAL DESIGN & RESEARCH INSTITUTE | AREA 13,398 M2 | BUDGET $6.5 M (USD) | STATUS UNDER CONSTRUCTION | ANTICIPATED COMPLETION DECEMBER 2021

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AWARD OF MERIT

TORONTO PARAMEDIC SERVICES MULTIFUNCTION PARAMEDIC STATION Scarborough, Ontario Diamond Schmitt in association with gh3*

As the climate crisis accelerates, buildings need to meet increasingly stringent energy performance and embodied energy criteria. How can architects meet these targets, while still delivering architecturally compelling buildings that accommodate complex programs?

By developing a strong architectural idea derived from net zero strategies, Diamond Schmitt Architects and gh3*’s design aims to create a distinctive building with exceptional environmental performance. The boldly angular Multifunction Paramedic Station contains emergency vehicle bays, adjoined by an administrative and educational block, and topped with a dramatic sawtooth roof. The roof is covered with photovoltaic panels, and each bay is optimally angled and rotated

for maximum solar capture. A mass timber structure reduces the building’s embodied energy. Overall, the Paramedic Station exceeds the city’s zero emissions mandate, aiming to achieve both zero emissions and net zero energy.

Reaching these targets means going beyond the use of mass timber and photovoltaic arrays. The building is equipped with a high-performance envelope, triple glazing, a well-calibrated window-to-wall ratio, decoupled ventilation, and hydronic floors that heat and cool the building through geothermal wells. The design must also address heat losses through the 12 overhead vehicle doors, and the heat required to temper the large volumes of make-up air for the vehicle bays.

The building’s roofs are sloped to optimize the positioning of rooftop photovoltaic panels, while a tilted southern solar wall conserves 15 percent of the building’s energy. OPPOSITE The tilted roofscape allows for generous clerestory windows throughout the facility, including in a linear atrium that spans between the vehicle bays to the north and the education and administration block to the south.

ABOVE

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MAIN LEVEL

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SECOND LEVEL

AMBULANCE BAYS & LOGISTICS

PARAMEDICS & DISTRICT 2 HUB

SUPERVISOR VEHICLE BAYS & LOGISTICS

EDUCATION & ADMINISTRATION

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10M

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CANADIAN ARCHITECT 12/21

70 SITE PLAN

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VENTILATORS

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MAIN BUILDING ENTRANCE PEDESTRIAN ACCESS BICYCLE PARKING A MBULANCE RETURN (UNDER CANOPY) 12 SOLAR PV CANOPY 13 AMBULANCE EXITS

MAIN SITE ACCESS SOUTHERN ACCESS ROAD AMBULANCE RETURN RAMP LOWER PARKING LOT UPPER PARKING LOT RAIN GARDEN BASIN ENTRANCE COURT

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AMBULANCE EXIT RAMP PARAMEDICS’ PATIO PERIMETER WOODLAND MAIN BUILDING HIGHWAY 401

BUILDING SECTION - ENERGY SYSTEM

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THROUGH CLERESTORIES 2 DECOUPLED VENTILATION

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AND COOL THE BUILDING FROM GEOTHERMAL WELLS

4 DISPLACEMENT VENTILATION

THROUGHOUT 5 SOUTH-FACING SOLAR WALL

For the overhead doors, interior vestibules were introduced on both sides of the vehicle bay—making this the first ambulance facility in Canada to do so. This design feature conserves 15 percent of the entire building’s energy.

A tilted south-facing solar wall conserves a further 15 percent of the entire building’s energy. Fresh air is warmed by the south sun on the dark metal cladding, rising into energy recovery ventilators (ERVs) on the roof.

The ERVs deliver the heated air to the vehicle bays through low-level displacement ventilation cabinets. High-level return air ducts draw air back to the rooftop ERVs, using latent heat to further preheat incoming air.

The dramatic roof, too, does more than generating solar energy: the form also allows for clerestory windows to bring natural light to the building’s interior spaces. Daylit spaces include the vehicle bays for 40 ambulances and 20 supervisor vehicles, locker areas for 700 staff and visitors, fitness facilities, along with classrooms, seminar rooms, and a lounge for limited-duty first responders.

On the exterior, the geometry of the angled roof lines extends into the landscape, with roof drainage feeding into large rain garden detention basins that punctuate the site with swaths of native trees and shrubs in shapes that complement the building’s massing.

The Paramedic Station adjoins Highway 401, and its distinct form will be identifiable even to drivers travelling at high speeds. It aims to act as a signal to the rest of the emergency divisions—and to the city at large—that stringent energy and program objectives can be achieved in tandem with an aesthetically sophisticated design.

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10M

JURY COMMENT

This project elevates the architecture of a service building. The building is largely designed to house vehicles for essential services, and offsets the energy and carbon in the vehicles’ use with its net zero carbon and net zero energy targets. The building shape is sculptural and purposeful, most notably the photovoltaic roof that unifies the individual sheds of the building, providing optimal angles for solar energy capture and clerestories to the occupied interior spaces. A mass timber structure is used to reduce embodied carbon, helping the project target net zero carbon certification. There’s something seductive and attractive about the resulting form that is a site-specific response to capturing solar energy.

CLIENT CITY OF TORONTO / TORONTO PARAMEDIC SERVICES | ARCHITECT TEAM DIAMOND SCHMITT—MICHAEL LECKMAN (MRAIC), TRISTAN CRAWFORD, MARTIN GAUTHIER, PARISA KOHBODI, AMIR AZADEH, LAURA HUTCHINSON. GH3*—PAT HANSON (FRAIC), ELISE SHELLEY, JOHN MCKENNA, MARK KIM, RICHARD FREEMAN, ARSLAN ABBAS, CHARLES KIM | STRUCTURAL/ENVELOPE RJC ENGINEERS | MECHANICAL/ELECTRICAL/AV/IT/ENERGY MODELLING INTEGRAL GROUP | LANDSCAPE GH3* | CIVIL MORRISON HERSHFIELD | TRANSPORTATION BA CONSULTING GROUP LTD. | COST TURNER TOWNSEND | AREA 8,175M2 | BUDGET $49.7 M | STATUS CONSTRUCTION DOCUMENTATION | ANTICIPATED COMPLETION 2024

PROJECTED ENERGY USE • ENERGY USE INTENSITY (EUI) 139 KWH/M2/YEAR | THERMAL ENERGY

DEMAND INTENSITY (TEDI) 39.4 KWH/M2/YEAR | GREENHOUSE GAS EMISSIONS INTENSITY (GHGI) 5.6

KG CO2E/M2 | WATER USE INTENSITY (WUI) 0.5 M3/M2/YEAR

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e l y t s d n a r o i r “When inte ” . y t i l i b a n i a t s u s meet

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STUDENT AWARD OF EXCELLENCE

HEMLOCK HOUSE

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ENGRAVINGS BY ODILE LAMY, PRINTED AT L’IMPRIMERIE CENTRE D’ARTISTES, MONTREAL

Parc municipal de Frelighsburg, Quebec Odile Lamy, McGill University Advised by Martin Bressani

A tiny, aphid-like insect is felling the towering eastern hemlock forests of the northeastern United States and southeastern Canada. Native to East Asia, and first detected in North America in the 1950s, the hemlock woolly adelgid was likely transported to the continent in nursery stock from Japan. This invasive species has transformed hemlock forests into ghostly landscapes of dead and dying trees along the eastern U.S. coast and is now making inroads in Canada.

Hemlock House pays tribute at a critical moment to the threatened eastern hemlock. “There is no current global strategy to utilize wood from dead or dying eastern hemlocks and most trees are left to rot,” Odile Lamy writes in her thesis. “This project proposes to capitalize on this naturally available wood to construct a building that will celebrate the tree.”

The project is sited in Quebec’s Eastern Townships in the Parc municipal de Frelighsburg, where eastern hemlocks are still thriving. The municipality is currently designing a 10-year forest management program to improve the vitality of this undermanaged site. Hemlock House aims to increase landscape connectivity for the region’s residents and tourists, while accommodating forest management activities such as lumber and bark drying. It celebrates the shaded atmosphere of eastern hemlock groves; the building is “a temple in the half-light.”

Wood, Lamy writes, is “an archive of the environment in which the tree has lived; its growth rings, knots and grain bear witness to the geological and physical past of the forest.” The project draws from the traditional pièce sur pièce construction of log cabin-style buildings, more specifically from Métis folk houses, and inverts a typical construction

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detail to expose the full cross section of logs in the interior. Hemlock trunks are conical, tapering as they climb. Timber for Hemlock House preserves this tapering. Local eastern hemlocks, harvested while still alive, form the columns that create a crib frame for the dead trees, decimated by the adelgid, that are stacked horizontally between them, with thick and tapered ends alternating in each row.

Due to the pandemic, the execution of the project ended up being very different from the design-build approach Lamy had originally envisioned. Holed up in a small urban apartment, she turned to etching, which in some ways parallels Hemlock House itself. The project conceives building as a process extending from the growth of a tree to its reconfiguration as a dwelling. In etching, the act of drawing is transmuted into the physical processes of carving and printing.

“When the adelgid reaches Frelighsburg, no more live hemlocks will watch over the Hemlock House, but the memory it encloses will endure,” writes Lamy.

JURY COMMENT

This is an attempt to really understand a material. It has principles that are reminiscent of Indigenous ways of knowing, in its desire to develop a deep understanding of a material as a foundation for a later architectural exploration in built form. While the architectural application of this research could be more fully developed, the project’s sensitive nature, graphic presentation, and reflection on the traditional technique of stacked timber construction are all commendable.

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STUDENT AWARD OF EXCELLENCE

MECHANICAL LANDSCAPE

Gulf of Mexico Tyana Laroche, Université Laval Advised by Jean Verville

First fact: hundreds of the approximately 1,862 oil platforms in the Gulf of Mexico have been abandoned. Second fact: Between 1932 and 2020, Louisiana lost 5,000 km2 of coastal agricultural land. Idea: Relocate and consolidate some of the abandoned platforms off the Louisiana coast and repurpose them as food production hubs and experiential islands in a place where previously cultivated land has eroded into the sea.

The Mechanical Landscape thesis envisions the transformation of structures designed to extract the natural resource of oil into islands that simultaneously produce a wide range of crops and stimulate the economy by providing a series of new day-trip visitors’ destinations. Floating platforms are moved, anchored, and in some cases stacked; in others, juxtaposing multiple hulls creates larger surface areas. Three ‘islands’ are established in proximity: one for mariculture and one for agriculture, with a desalination plant situated between them and serving both of them.

The Maricultural Island’s farming operations include an algae development basin, rice cultivation, and a fish hatchery, with a chute for releasing mature fish into the sea. On a lower level, tourists can buy fresh ocean produce in a market and visit a diving pool before reboarding the vessel that ferried them to this destination.

Agricultural Uplands, the second island, has two plateau-like levels, with programming areas for intensive culture as well as a seasonal market, kitchen and food processing area on the lower level and passive mar-

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ket gardening on the deck above. Laboratories are concentrated on smaller platforms elevated above and offset from the market gardening fields.

The third island, the Desalination Plant, offers visitors an opportunity to do more than gawk at labs and machinery: its top deck houses fruit tree gardens and an open-air swimming pool with expansive views.

In her thesis, Tyana Laroche describes abandoned oil platforms as “marine carcasses” and resists the idea that these megastructures deserve the “revalorization” of being allowed to deteriorate into offshore industrial ruins. Far better to repurpose them as more positive models of production, consumerism, and distribution—without enlisting design to obscure their environmentally problematic past lives. Mechanical Landscape, she writes, is “a condensation of layers in constant relation to one another, formalizing a balance between life, death and the rebirth of a neglected structure.”

JURY COMMENT

This project offers a reflection on the reuse of abandoned offshore oil rigs, as well as an architectural solution that is well developed at different scales of experience. The duality between the industrial and natural landscapes—as well as the potential of a repeated typology for the rehabilitation of this type of infrastructure—are topics that are especially pertinent to our present times as we abandon fossil fuels and leave the infrastructure of extraction behind.

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MARICULTURE LABORATORIES

RICE CULTIVATION IN FLOOD SEA MARKET

WORKER’S DOCK

VISITOR’S DOCK

MARICULTURAL ISLAND

UNDERWATER IMMERSION INTENSIVE CULTURE VERTICAL LABORATORY VEGETATION

MARKET GARDENING FIELDS

MARKET WORKER’S DOCK

INTENSIVE CULTIVATION HULL

VISITOR’S DOCK

AGRICULTURAL UPLANDS

WATER DESALINATION LABORATORY

FRUIT TREES AND IMMERSIVE POOL

VERTICAL TRANSIT OF SEAWATER DOCK

DESALINATION PLANT

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PUMPING SEAWATER AND DESALINATION

OPPOSITE This thesis proposes the adaptive reuse of abandoned oil platforms in the Gulf of Mexico. Strategically grouping and repurposing some of the nearly 2,000 moveable jack-up rig platforms transforms them into tools for restoring—rather than exploiting—the Gulf as a productive landscape. ABOVE, TOP TO BOTTOM One of three proposed reuses is as a Maricultural Island, including spawning areas, fish basins, a sea market, and a restaurant; the Agricultural Uplands island would include large indoor and outdoor market gardening plots, as well as a seasonal market and eating areas.

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PHOTO AWARD OF EXCELLENCE

OUR FOURTH ANNUAL PHOTO AWARDS OF EXCELLENCE SHOWCASES THE BEST PHOTOGRAPHY OF CANADIAN ARCHITECTURE FROM THE PAST YEAR. TOGETHER WITH THE CORE AWARDS OF EXCELLENCE, THE TWO PROGRAMS BOOKEND THE PROCESS OF MAKING ARCHITECTURE. THE MAIN AWARDS EXAMINE BUILDINGS WHILE THEY ARE IN THE DESIGN PHASE; THE PHOTO AWARDS CAPTURE THEM AFTER THEIR COMPLETION. THE BEST PHOTOGRAPHY, LIKE THE BEST DESIGN, IS ALWAYS MORE THAN A STRAIGHTFORWARD ACT OF DOCUMENTATION. JUST AS AN OUTSTANDING DESIGN INCLUDES A CLEAR VISION APPARENT IN ALL OF A PROJECT’S DETAILS; A STELLAR PHOTO CONSCIOUSLY CREATES A CERTAIN ATMOSPHERE, NARRATIVE, OR MOOD. BOTH ARCHITECTS AND PHOTOGRAPHERS DRAW ON A WEALTH OF EXPERIENCE AND TECHNICAL EXPERTISE TO CREATE PLACES—AND IMAGES—THAT TRANSCEND THE ORDINARY. IN BOTH PROJECTS AND PHOTOS, A CLEAR VISION OF ARCHITECTURE’S POTENTIAL EMERGES.

L’ACTRICE (THE ACTRESS) Jean Verville, MSO Play/Pause Space, 2020, Montreal, Quebec Félix Michaud

This photo was taken in the house of an actor-director couple, designed by architect Jean Verville. The setting—mixing architecture, mystery, and theatricality—was perfect for the actress Sophie Cadieux, who played along for the photo session. An active participant throughout the course of the day, she strolls naturally into the frame of the photo, composed to highlight the verticality of the dwelling. While the photo only hints at the play of natural light in the house, it is marked by Cadieux’s ease of movement through the space, and the sense of a f leeting moment captured on camera.

Is this a staged image with nostalgic accents, or the natural poise of a woman in her home? Perhaps a bit of both at the same time.

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JURY COMMENT

This image is really deliberate in the way it is staged, and confident in its tight frame, setting itself apart from the way you might expect an architectural interior to be captured. It reminds the jury of how, at the cusp of medieval and Renaissance imagery, certain images presented the beginning of an understanding of depth and perspective within an otherwise flat image. This photo arrests you with the detail and short perspective in the foreground, and simultaneously draws you deeper into the image. It has playfulness, and an element of mystery.

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PHOTO AWARD OF MERIT

PUBLIC SAFETY BUILDING: PERMANENTLY CLOSED Libling Michener with lead architect Les Stechesen, Public Safety Building, 1966, Winnipeg, Manitoba Jacqueline Young | Stationpoint Photographic

Once a very fine example of Brutalist Architecture in Winnipeg, the Public Safety Building, designed by Les Stechesen while working for Libling Michener, was completed in 1966 and served as a jail and police headquarters. In 2006, after decades of enduring Winnipeg’s intense freeze/ thaw cycles, failure in the limestone cladding necessitated the installation of a plywood covered walkway to protect pedestrians from falling debris.

Ultimately, the City of Winnipeg decided that repairing and upgrading the building would not provide value to the community or contribute to revitalization initiatives. The building was demolished in 2020.

This image is one of a series made during the beginning of the Covid19 pandemic when my commissioned work came to a grinding halt.

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JURY COMMENT

This is a courageous shot because it includes all the street furniture in its full glory. Nothing has been photoshopped or cleaned up—there’s the garbage truck, the fire hydrant, the pylons, the man in a brown coat, some graffiti in the back; rather than detracting, these elements work together in a cohesive colour palette, contributing to the richness of the image. It captures the character of a real-life moment and allows for different kinds of readings that cohere with the multiple ways that Brutalist architecture is seen. It definitely elicits a reaction.

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PHOTO AWARD OF MERIT

TINY HOUSE: THE TEENAGER EDITION Ila Martel, Tiny House, 2020, Mulmur, Ontario Cindy Blažević

15-year-old Ila Martel built this Tiny House as a reprieve from her family of five when pandemic lockdowns persisted in 2020. When her family moved to their small farmhouse to escape the Covid-y city air, Ila had the idea to build a space of her own where she could go to write and be creative and occasionally sleep away from her family.

So she engaged the help of her engineer dad. Together they sourced lumber from the hardware store and gathered pallets and windows left by farmers on the side of the road. She designed the windows to swing out for ventilation, learned to roof and to use board and batten.

Altogether, the build took between three and four months, mostly on weekends and relying heavily on a trial-and-error approach. Thrilled to have a place of her own, she lived out of her Tiny House for an entire summer. The inside boasts a canvas sleeping hammock, a tiny

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desk and stool, books, a typewriter, a string of fairy lights, wallpaper comprised of pages torn from hip magazines, and teenage ennui.

A rain barrel and solar generator keep things functional. But, because the structure sits on pallets and because she forgot to anchor it, one day last fall the wind huffed and puffed and blew her little house down. She’s since fixed it.

JURY COMMENT

This photo has a quaintness and gentleness, especially with the elements of the white wooden ladder and the tree in front of the cabin. It matches the story of the tiny house—created by a teenager during the pandemic to retreat from her family—to an appropriate technique, taking a soft approach to the image.

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OUR JURORS such projects as the University of Toronto Multifaith Centre and the Government of Canada Welcome Centre on Parliament Hill exemplify her commitment to excellence in inclusive design, and have been recognized with national and international design awards. She is committed to finding sustainable solutions in design towards our collective low-carbon future, and is currently leading several of the firm’s mass timber designs. To achieve excellence, she is focused on a collaborative approach to design, beginning with an understanding of community and context.

CARL KWAN

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Anne Carrier is principal and founder of Anne Carrier Architecture, established in 1992 in Lévis, Quebec. Her work is distinguished by an integrated vision of design in the development of Quebec’s architectural identity, combining tradition and modernity.

This vision is apparent in her public, private, and competition work, realized with a team that includes four young associates.

Carrier’s award-winning work includes the headquarters for Caisse Desjardins de Lévis, two visitors’ centres for Parc du Mont Orford (Bonnallie and Opéongo), the Quebec City Félix-Leclerc library, the Centre de formation professionnelle Gabriel-Rousseau, the Carrefour culturel Jean-Gosselin, and the Complexe culturel de Matane. She directed the competition-winning projects for Montreal’s Octogone library and the Marieville library and cultural centre, both currently under construction.

Carrier is committed to the advancement of the profession as President of the AAPPQ since 2016, and is a regular juror, conference lecturer, and mentor for young architects. Her firm sponsors an annual award for emerging architects. She has received the Médaille de

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l’Assemblée nationale du Québec, the Lieutenant Governor’s Medal, and Laval University’s “la Gloire de l’Escolle” Medal.

Carol Phillips is a partner at Toronto-based Moriyama & Teshima Architects, and the design leader for many of the firm’s most innovative and valued projects. A graduate of the University of Waterloo, she regularly lectures, teaches, and serves as a critic at various schools of architecture, including leading graduate studios at X University (formerly Ryerson) and at the Daniels School of Architecture, Landscape, and Design. Phillips sits on the design review panels for the City of Markham and for the Toronto Community Housing Corporation, and is on the advisory committee of Building Equality in Architecture’s Toronto chapter.

Phillips’ drive to connect communities to nature through sustainable innovation is matched by her focus on connecting people to each other through beautiful, welcoming spaces. She strongly believes that there is an intersection between our respect for the planet and our respect for each other. Her designs for

Alfred Waugh is principal and founder of Vancouver-based Formline. He is the designer of the Indian Residential School History and Dialogue Centre at the University of British Columbia in Vancouver. He has also been selected to design Saskatoon’s Central Library with Chevalier Morales and Architecture49, and the University of Toronto’s Indigenous House with LGA Architectural Partners.

Waugh is part of the Fond du Lac Dene­ suline First Nation in Northern Saskatchewan.

Waugh has built his reputation on consulting with Indigenous communities to understand their needs and wisdom, and translating this knowledge into inherently sustainable designs that are respectful of their place, use of materials and local culture.

Waugh’s work was featured in the 2018 Venice Biennale exhibition Unceded, and he was named in Maclean’s 2021 Power List of 50 Canadians who are leading the country through a period of transformative change.

James Brittain is an award-winning photographer working from studios in Montreal, Canada and London, UK. He studied the history of art and English at the University of Leeds in the UK, before going on to study photography at the London College of Printing.

Brittain has 20 years of commissioned experience in the field of architecture, and his pictures are widely published in books and magazines around the world. He uses his commissioned work to support his own photographic practice exploring ideas around the human experience of the built environment. He’s been the principal photographer on a number of recent books about architecture, including a coffee table monograph about the work of Nova Scotia’s MacKayLyons Sweetapple Architects (Thames and Hudson), and a new volume on the art and architecture of the UK’s Kensington Palace (Yale University Press). Brittain’s work has been exhibited at the Architectural Association Gallery in London, UK, and at the Contact Photography Festival in Toronto.

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FEED YOUR IMAGINATION It’s one thing to dream up complex facades, like a seamless unitized curtain wall over positive and negative slopes.

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It’s one thing for you to be that imaginative.

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We feed into such impossibly visionary thinking because we’re engineers too, and we thrive on the challenge of bringing your facade concepts to reality. We’re North America’s leading total building envelope contractor; we’re not in the habit of saying no to even the most complex facade projects on the continent.

We’re enablers of your imagination, and staunch supporters of the integrity of your most ambitious facade designs.

Do your worst! And we’ll show you our best.

If it can’t be done, Flynn can do it.

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PLEASE DO NOT FEED THE ARCHITECTS (That’s Flynn’s job)

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