Canadian Architect February 2020 by IQ Business Media

FEB/20 V.65 N.01

$8.95

LIBRARIES NIC LEHOUX

4 VIEWPOINT

Diversity, inclusion and accessibility are crucial design concerns for today’s libraries.

6 NEWS

Architectural awards in B.C. and Saskatchewan; remembering David Penner.

36 TECHNICAL

Jennifer O’Connor of the Athena Institute provides a primer on reducing embodied carbon in buildings.

40 BOOKS 16

16 SPRINGDALE LIBRARY & KOMAGATA MARU PARK

RDH Architects crafts a futuristic facility for the community of Brampton, Ontario. TEXT Jocelyn Lambert Squires

24 WINDSOR PARK LIBRARY

Reviews of books on women in architecture, the campus architecture of the University of Toronto, and the work of architect Ian MacDonald.

42 LOOKING BACK

Elsa Lam revisits Raymond Moriyama’s Japanese Canadian Cultural Centre—now the Noor Cultural Centre—in Toronto.

A disciplined sense of geometry and detailing characterize a Winnipeg library by the late David Penner and h5 architecture. TEXT Lawrence Bird

30 BIBLIOTHÈQUE DE DRUMMONDVILLE DOUBLESPACE PHOTOGRAPHY

CLICK.STUDIO / LINDSAY REID

hevalier Morales in consortium with DMA architectes creates a stunning library C loaded with contextual references. TEXT Odile Hénault

Springdale Library & Komagata Maru Park. Photo by Nic Lehoux.

COVER

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

CANADIAN ARCHITECT

FEBRUARY 2020 03

CANADIAN ARCHITECT 02/20

VIEWPOINT Accessibility and inclusiveness are core design principles for the new Ottawa Public Library and Library and Archives Canada joint facility, designed by Diamond Schmitt.

DSAI

LEFT

THE NEW PUBLIC LIBRARY In the 2018 film The Public, a group of homeless library patrons refuses to leave a downtown public library after closing time. A cold front has hit Cincinnati and the city’s emergency shelters are at capacity. Where else can they go? While the film is set in Ohio, one can imagine similar situations elsewhere. Libraries have transitioned from being repositories for books to fulfilling a range of other roles: access points to digital media, maker-spaces, community hubs, and in downtown cores, sanctuaries for people living on the streets. Canada’s recent central libraries are rising to the challenge of making libraries inclusive to a wide range of patrons. In the early design phase of Halifax’s Central Library, opened five years ago, FBM Architects and Schmidt Hammer Lassen, actively sought out recent immigrants for consultation. Their feedback helped shape elements such as the design of ESL classrooms— which are cozy and discreetly located, for the increased comfort of new-language learners. Halifax’s library is also conceived to welcome vulnerable groups, balancing their needs with those of other library users. For instance, a ground floor area where many itinerants sit has plenty of glazing, allowing people to keep watch over bulkier possessions left outside. The children’s area has been strategically located in a part of the library that’s removed from where itinerants typically hang out. “It’s about allowing everyone to live well together,” says architect Susan Fitzgerald of FBM. While some of the inclusiveness to the city’s homeless is by design—washrooms are purposefully large enough for sponge-bathing, for instance—much of it is part of the library’s way of thinking. There is a social worker on staff. Many people sleep rough beside the library, but, says Fitzgerald, the library has been careful not to overreact to such issues. “They seem really calm and thoughtful about it, which is wonderful to see.” Calgary’s Central Library, opened in 2018 and designed by Snøhetta with DIALOG, has

ART DIRECTOR ROY GAIOT CONTRIBUTING EDITORS ANNMARIE ADAMS, FRAIC ODILE HÉNAULT DOUGLAS MACLEOD, NCARB, MRAIC ONLINE EDITOR CHRISTIANE BEYA

a similar open-doors policy. It was opened without security gates—rather, there are staff that monitor the entrances. They’ve decided that the risk of books occasionally going missing is worth the trade-off for creating a more welcoming atmosphere. The security staff at Calgary’s libraries keep naloxone onhand, and they’ve been trained to administer it if necessary. (Similar programs are in place in Edmonton, Vancouver and Toronto.) Diamond Schmitt recently unveiled a preliminary design for Ottawa’s new Central Library, a facility shared with Library and Archives Canada. “Unveiled is the wrong word,” says Diamond Schmitt principal Gary McCluskie. In light of the extensive public consultation on the project, including four multi-day workshops, “‘tying together all the pieces’ would be a better description.” The designers led hands-on workshops that went beyond generalities to test out specific aspects of the design. For instance, the library will include all-gender washrooms. The workshops helped fine-tune the balance of shared and separate spaces within the washrooms, in order to foster a sense of comfort and accommodate the privacy needs of people from different religious groups. Providing access to patrons from all walks of life was part of the thinking behind creating five separate entrances to the facility— a contrast to the traditional library model, with a single secure access point. “There is a very light sense of security,” says McCluskie. A parallel stream of consultation with both local and national Indigenous groups has helped shape the design of a space dedicated to Indigenous programming. Taken together, these moves are hopeful signs of Canadian society’s ongoing commitment to seeking greater diversity, inclusion and accessibility. The design of libraries today reveals our cultural aspirations—and our societal ones as well. Elsa Lam

EDITOR ELSA LAM, FRAIC

ELAM@CANADIANARCHITECT.COM

REGIONAL CORRESPONDENTS MONTREAL DAVID THEODORE CALGARY GRAHAM LIVESEY, MRAIC WINNIPEG LISA LANDRUM, MAA, AIA, MRAIC VANCOUVER ADELE WEDER, HON. MRAIC SUSTAINABILITY ADVISOR ANNE LISSETT, ARCHITECT AIBC, LEED BD+C VICE PRESIDENT & SENIOR PUBLISHER STEVE WILSON 416-441-2085 x105 ASSOCIATE PUBLISHER FARIA AHMED 416-441-2085 x106 CUSTOMER SERVICE / PRODUCTION LAURA MOFFATT 416-441-2085 x104 CIRCULATION CIRCULATION@CANADIANARCHITECT.COM PRESIDENT OF IQ BUSINESS MEDIA INC. ALEX PAPANOU HEAD OFFICE 101 DUNCAN MILL ROAD, SUITE 302 TORONTO, ON M3B 1Z3 TELEPHONE 416-441-2085 E-MAIL info@canadianarchitect.com WEBSITE www.canadianarchitect.com Canadian Architect is published 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. Subscription Rates Canada: $54.95 plus applicable taxes for one year; $87.95 plus applicable taxes for two years (HST – #80456 2965 RT0001). Price per single copy: $15.00. USA: $135.95 USD for one year. International: $205.95 USD per year. Single copy for USA: $20.00 USD; International: $30.00 USD. Return undeliverable Canadian addresses to: Circulation Dept., Canadian Architect, 101 Duncan Mill Road, Suite 302 Toronto, ON M3B 1Z3. Postmaster: please forward forms 29B and 67B to 101 Duncan Mill Road, Suite 302 Toronto, ON M3B 1Z3. Printed in Canada. All rights reserved. The contents of this publication may not be reproduced either in part or in full without the consent of the copyright owner. From time to time we make our subscription list available to select companies and organizations whose product or service may interest you. If you do not wish your contact information to be made available, please contact us via one of the following methods: Telephone 416-441-2085 x104 E-mail circulation@canadianarchitect.com Mail Circulation, 101 Duncan Mill Road, Suite 302, Toronto, ON M3B 1Z3 MEMBER OF THE CANADIAN BUSINESS PRESS MEMBER OF THE ALLIANCE FOR AUDITED MEDIA PUBLICATIONS MAIL AGREEMENT #43096012 ISSN 1923-3353 (ONLINE) ISSN 0008-2872 (PRINT)

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CANADIAN ARCHITECT 02/20

NEWS

AWARDS

Winners announced for Saskatchewan Premier’s Design Awards

B.C. Architectural Award winners announced

Held in conjunction with Saskatchewan Design Week, a biennial event hosted by the Design Council of Saskatchewan, the Premier’s Awards of Excellence in Design recognize outstanding professionals in Saskatchewan. Under the Architecture category, Awards of Excellence were given to Christ the Redeemer Church by P3 Architecture Partnership and College Avenue Campus by P3 Architecture Partnership. An Award of Merit went to 301-1st Avenue North by KSA Group Architecture. Honourable Mentions went to Jim Pattison Children’s Hospital by Henry Downing Architects and SKYXE Curbside Expansion Project by Kindrachuk Agrey Architecture. In the Integrated Design category, an Award of Excellence was given to Kindrachuk Agrey Architecture, Robb Kullman Engineering, WSP and Argyle Design for Nutrien Wonderhub; an Award of Merit went to P3Architecture Partnership, Alfa Engineering, Crosby Hanna & Associates, JCK Engineering & MacPherson Engineering for mâmawêyatitân centre; and Honourable Mentions went to aodbt architecture + interior design, JC Kenyon Engineering, MacPherson Engineering, and PWA Engineering for No.1 River Landing as well as to Henry Downing Architects, Flad Architects, P.Machibroda Engineering, Crosby Hanna and Associates, WSP, Stantec, PWA Engineering, Integrated Designs, RWDI and Wright Construction Western for the Collaborative Science Research Building. A People’s Choice Award was given to P3Architecture Partnership for Christ the Redeemer Church.

Eight projects representing exceptional work from the architectural community in British Columbia have been recognized in the province’s annual awards program. Starting this year, the Architecture Foundation of B.C. (AFBC) hosted the awards program, with interim assistance from the Architectural Institute of B.C. (AIBC), which previously ran the program. Lieutenant Governor of British Columbia Award in Architecture Medals were given to: Xiqu Centre by Bing Thom Architects (now Revery Architecture) and Ronald Lu & Partners in association; and Polygon Gallery by Patkau Architects. Awards of Merit were given to: Edgemont Residence by BattersbyHowat Architects; The Hong Kong Jockey Club University of Chicago Academic Complex | The University of Chicago Francis & Rose Yuen Campus in Hong Kong by Bing Thom Architects (now Revery Architecture); and Howard Residence by ABC Architecture Building Culture. The AFBC Innovation Award went to the Temple of Light by Patkau Architects. AFBC Special Jury Awards went to College of New Caledonia Heavy Mechanical Trades Training Facility by The Office of McFarlane Biggar Architects & Designers for elevating the design of an industrial academic facility, and The Duke by Acton Ostry Architects for incorporating community connection into architectural design. www.awards.aibc.ca

www.designcouncil.sk.ca

WHAT’S NEW RAIC board approves climate change resolution

THEAKSTON ENVIRONMENTAL

The Royal Architectural Institute of Canada (RAIC) is set to consider big changes in how the organization and its members will address the climate crisis. The RAIC Board of Directors approved in principle a Resolution Consulting Engineers for Urgent and Sustained Action on Climate and Ecological Health at a board meeting on October 26. The RAIC Committee on Regenerative Environments developed and sponsored the resolution. Wind Snow Exhaust “The intent of this resolution is to provide a framework for the RAIC to prioritize and support urgent and sustained action in order for its Odour Particulate members to design for holistic health, resilience, and regenerative built • • MOECC• Approvals environments,” it reads. “The RAIC recognizes that the built environment is a major contribu• • • tor to climate change, that the continued use of the status quo practice has contributed to the climate emergency, and that architects through • (519) 787-2910 spollock@theakston.com www.theakston.com their central role in shaping the built environment have both the capability and moral duty to directly enable transformational climate solutions.” • The board will consider actions such as a multi-year climate action strategy with members, licensing authorities, policymakers, affiliated professional organizations, and the public; integrating the paradigm shifts in thought and action through current and ongoing revisions of the Canadian Handbook of Practice; revising the terms of reference for its awards; and revising internal position and policy statements regarding climate, equity and ecological health. 519.787. 2910 Last September, the RAIC Committee on Regenerative Environments issued a climate change declaration and called on Canadian spollock theakston.com architectural and design firms to commit to combatting the climate crisis by signing a Canadian Architects Declare pledge. So far, there www.theakston.com are more than 180 signatures.

Wind Snow Exhaust Odour Noise Particulate Ministry Approvals CFD Analysis

www.raic.org

IN MEMORIAM David Penner

The Winnipeg architecture community is marking the sudden passing of architect and advocate David Penner, FRAIC (1958-2020). Penner was born and raised in Winnipeg, where he was founder and principal of David Penner Architect. Penner studied at the University of Manitoba, where he received his Bachelor of Environmental Studies degree in 1979 and his Master of Architecture in 1985. He worked at firms including Smith Carter Partners and for architects including Les Stecheson before founding his own practice. Penner’s work included Windsor Park Library and Fountain Springs Housing (both designed with h5 architecture), the Mere Hotel (with architect of record Arccadd), and Winnipeg’s Central Park Pavilion. He was part of the team that designed the Buhler Centre, working with Peter Sampson and DIN projects. His work also included installations such as the Little Red Library, originally created for the winter warming huts competition. The red cube was subsequently relocated across from Winnipeg’s Peanut Park to enjoy a new temporary life as the Little Red Art Gallery. The tiny venue hosted four art shows, and included a lending library of art books. Of the gallery, Penner said, “I saw people asking themselves, ‘What is this?’ ‘Why is this here?’ and ‘How does it do that?’. Few buildings today achieve that. Our physical environment seldom really competes with what is expected, or with the magic and intensity of the virtual world.” Penner was a founder of Storefront Manitoba, the organization behind the annual Winnipeg Design Festival, Cool Gardens summer installations, Benchmark competition, and Table for 1200 pop-up dining event. “He was widely respected, with his inspiring sense of volunteerism and passion for promoting design in Winnipeg,” says Chris Wiebe of AtLRG Architecture, who worked with Penner for eight years. “Aside from his excellent work, David was always a big champion of architecture, and a big part of his legacy is his work with Storefront and as an advocate for design and for the profession. He had a special talent for getting people involved.” “David was an inspiration for everyone in the design community, not just the architecture community,” says Travis Cooke of 1x1 architecture, who worked with Penner and considered him a friend. “He always had interesting things on the go—he never just went with what he’d done in the past, he was always looking for a different approach.” Penner’s studio has won numerous awards, including the Premier’s Award of Excellence, several Prairie Design Awards of Excellence, the Grand Prize at CommerceDesignWinnipeg, and the Heritage Winnipeg Preservation Award for Excellence. Penner is survived by his wife, Marion, and his two children, Matthew and Zoe.

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ERRATUM In our article “Mass Timber Primer” (November 2019 CA), the architect of 77 Wade in Toronto was mis-identified. The architect on the project is BNKC Architects. For the latest news, visit www.canadianarchitect.com/news and sign up for our weekly e-newsletter at www.canadianarchitect.com/subscribe

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CANADIAN ARCHITECT 02/20

30 years of —

Inspiration Creativity Innovation

Ordre des infirmières et infirmiers du Québec – OIIQ, Montreal (QC) Architects: Lemay – Photographer: Adrien Williams

Ceramic Ventilated Facade Systems Montreal Brossard Laval Quebec City Ottawa Toronto Halifax ceragres.ca

Briefs En bref Membership renewal has begun for 2020 Renew today and save money with your RAIC membership. The benefits package has been expanded to include new ways for you to save money and strengthen your professional knowledge. • Advance your career with continuing education • Grow your practice using professional support resources • Showcase your projects nationally and internationally through the RAIC awards program • Have a voice in advocacy initiatives Renew online at RAIC.org or by phone at 1-844856-RAIC (7242) ext. 200. La période de renouvellement des adhésions pour 2020 est en cours Renouvelez votre adhésion dès aujourd’hui et économisez! Le programme d’avantages aux membres a été élargi et vous offre maintenant de nouvelles façons d’économiser de l’argent et de renforcer vos connaissances professionnelles. • Faites progresser votre carrière grâce à la formation continue • Faites croître votre bureau en utilisant nos ressources d’aide à la profession • Présentez vos projets sur les scènes nationale et internationale par l’entremise du programme de prix de l’IRAC Renouvelez votre adhésion en ligne à RAIC.org ou par téléphone au 1 844 856-7242, poste 200. New Year, New Webdays Webday Wednesdays are back in 2020 with new bundle options, monthly themes, and subject matter experts! ‘Webday Wednesdays’ are webinarbased learning opportunities organized into monthly, thematic mini-series, comprised of multiple related webinars. Each of these weekly webinars is presented by a different subject matter expert in the field being explored. Find out more at: raic.org/webday Nouvelle année, nouveaux Mercredis en ligne Les Mercredis en ligne sont de retour en 2020 avec de nouvelles options de forfaits, de nouveaux thèmes mensuels et de nouveaux spécialistes des domaines. Les « Mercredis en ligne » sont des occasions d’apprentissage sous forme de webinaires structurés en miniséries mensuelles thématiques, formées de plusieurs webinaires connexes. Chacun de ces webinaires hebdomadaires sera présenté par un spécialiste du domaine étudié. Pour en savoir plus : https://raic.org/fr/enligne

The RAIC is the leading voice for excellence in the built environment in Canada, demonstrating how design enhances the quality of life, while addressing important issues of society through responsible architecture. www.raic.org L’IRAC est le principal porte-parole en faveur de l’excellence du cadre bâti au Canada. Il démontre comment la conception améliore la qualité de vie tout en tenant compte d’importants enjeux sociétaux par la voie d’une architecture responsable. www.raic.org/fr

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RAIC Journal Journal de l’IRAC Evan Spence is an architect, set designer and humourist based in Calgary. More of his work can be seen at archimatects.com Evan Spence est un architecte, scénographe et humoriste basé à Calgary. Plus de son travail peut être vu à archimatects.com

I’m going to Starbucks. Do you want a coffee? Je vais chez Starbucks. Veux-tu un café? Yes. Can you get me a dark roast with something that can help me deal with the builder who keeps asking me to draw structural steel details, the institutional client who keeps adding surprise deliverables as part of his internal approval process and the corporate client who can’t decide whether we’re building a warehouse or a call centre. And if you see any updated LEED checklists propped up beside the music download of the week, I’ll need two. Un café? Ah oui! Peux-tu me commander un café noir avec un p’tit quelque chose qui m’aiderait à traiter avec le constructeur qui insiste pour avoir les détails de la structure d’acier, le client institutionnel qui ajoute continuellement des livrables surprises dans le cadre de son processus d’approbation interne et le client privé qui n’arrive à pas décider si nous construisons un entrepôt ou un centre d’appels. Et en passant, si tu vois les dernières listes de contrôle LEED à côté de la liste de musique téléchargée pour la semaine, j’en voudrais bien deux exemplaires. I’ll get you a venti. Je t’apporte un venti. And a cookie, please? Et un biscuit, s’il-te-plaît?

Tanner Morton Editor, RAIC Journal Rédactrice en chef, Journal de l’IRAC

As our profession moves into a new decade, the RAIC is beginning 2020 by rebranding one of the premier architectural events in Canada. This year, and going forward, the Festival of Architecture will be known as the RAIC Conference on Architecture. The RAIC Conference on Architecture is a celebration of Canada’s architectural past, the outstanding achievements of today’s design professionals, and the opportunities for the architects of tomorrow. As the main annual event of the RAIC, the Conference brings together professionals at every stage in their career to learn, explore, and discuss challenges and opportunities facing the practice. This year, the RAIC Conference on Architecture is heading to Edmonton—a city working towards civic architectural excellence. The reason behind the new name is to accurately inform delegates on what they can expect when registering for Conference 2020. Traditionally, “festival” is used for events that celebrate the architecture of the host city or area. While this is an aspect of continued on page 10

À l’aube d’une nouvelle décennie pour notre profession, l’IRAC amorce l’année 2020 en créant une nouvelle image de marque pour l’un des principaux événements d’architecture au Canada. À compter de cette année, le Festival d’architecture deviendra la Conférence de l’IRAC sur l’architecture. Cette Conférence célèbre le passé architectural du Canada, les réalisations remarquables des professionnels du design d’aujourd’hui et les possibilités qui s’offrent aux architectes de demain. En tant que principal événement annuel de l’IRAC, la Conférence réunit des professionnels de toutes les étapes de leur carrière qui viennent apprendre, explorer et discuter des défis auxquels la profession fait face et des possibilités qu’elle offre. Cette année, la Conférence sur l’architecture a lieu à Edmonton – une ville qui vise l’excellence en matière d’architecture municipale. À l’origine de cette nouvelle appellation : une volonté d’informer correctement les délégués sur ce à quoi ils peuvent s’attendre en s’inscrivant à la Conférence 2020. Traditionnellement, le terme « festival » servait à désigner des événements qui célèbrent l’architecture de la ville ou de la région hôte. Bien que ce soit un aspect important de la suite à la page 10

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Journal de l’IRAC

continued from page 09 the Conference, it is only part of a wider conversation about architecture and professional practice in Canada. Instead, the name Conference encapsulates the myriad opportunities available over the week.

John Brown, dean of Calgary school of architecture, named RAIC President John Brown, doyen de l’École d’architecture de Calgary, nommé président de l’IRAC

Throughout four days of programming at the Edmonton Convention Centre and other locations in the city, delegates will network with their peers while learning from industry-leading experts through tours, lectures, and other innovative educational sessions. In addition to the new name, the RAIC is building on successes from previous years. Through incorporating delegate feedback, integrating partnering events—like POP// CAN//CRIT and the International Indigenous Architecture and Design Symposium–and showcasing the architectural excellence of our host city, the programming for Conference 2020 will be more enriching than ever before. Registration for Conference 2020 is now open. Visit raic.org/conference2020 for more information.

suite de la page 09 Conférence, ce n’est toutefois qu’un volet d’une conversation plus large sur l’architecture et la pratique professionnelle au Canada. Le terme Conférence incarne quant à lui la multitude de possibilités offertes au cours la semaine. Pendant les quatre jours de l’événement qui se déroulera au Centre des congrès d’Edmonton et à d’autres endroits dans la ville, les délégués échangeront avec leurs pairs tout en apprenant auprès d’experts à la fine pointe de l’industrie dans le cadre de visites guidées, d’allocutions et d’autres séances de formation novatrices. Et ce n’est pas tout, car l’IRAC s’appuie également sur les réussites des années antérieures pour offrir un programme plus enrichissant que jamais en 2020. Ainsi, il tient compte des commentaires des délégués, il intègre des activités de partenariat – comme le forum POP//CAN//CRIT et le Symposium international sur l’architecture et le design autochtones – et il souligne l’excellence architecturale de notre ville hôte. L’inscription à la Conférence 2020 est maintenant ouverte. Visitez raic.org/conference2020 pour un supplément d’information.

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By / par Eva Schacherl John Brown, AAA, FRAIC has been named the 80th President of the Royal Architectural Institute of Canada (RAIC). Brown is both a practitioner—the founding Principal of Housebrand in Calgary—and an academic—the Dean of the School of Architecture, Planning and Landscape at the University of Calgary. Brown is recognized as an innovator and received the RAIC’s 2003 Award of Excellence for Innovation for his development of Housebrand. It’s an integrated practice that combines architecture, construction, real estate brokerage, and interior design into a one-stop-shop and aims to make well-designed, sustainable homes attain-

able for the middle class. In 2010, he coined the term Slow Home Movement to “give people a language to be able to talk about residential design” and aspire to something better than cookie-cutter housing. This culminated in his book, coauthored with Matthew North, entitled What’s Wrong with this House? A Practical Guide to Finding a Well-Designed Sustainable Home. As an educator, Brown wants to offer new horizons to today’s architecture students, who will be practising in a rapidly changing profession. “I really have a passion for the idea that architecture can do more than what we think architecture is about,” says Brown. “There is an entrepreneurial

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aspect that is under-tapped. I’m interested in how new generations will redefine what practice is.” His interest in how architecture can play a role in making the world better has evolved to focus on the needs of seniors. His 2016 PhD research at the Royal Melbourne Institute of Technology focused on new strategies for aging in place. He says there is a large and growing need for better housing for seniors and adaptive architecture. “The world around us is not well designed for people with differing abilities. My commitment is to find architectural solutions that extend our ability to live independently as long as possible,” Brown notes. Brown joined the RAIC Board in 2015 because its mission resonated with him. “We are advocating for a higher-quality built environment and that it become an important element in policy and government decision-making. I also believe in the need to provide programs and services for our members that will help them elevate their practices.” He praises the role of outgoing president Michael Cox over the last two-and-a-half years to rebuild and strengthen the RAIC and create stability. He looks forward to developing a three-year strategic plan this spring and sees his role as a facilitator of teamwork. He says he will represent and be guided by the Board of Directors, volunteers and staff, and work to enable people to get the job done. Brown is also excited about the RAIC’s initiative to create and support formal provincial chapters and local networks across the country. “The Institute has always had a grassroots dimension. We’ve been in local communities with many volunteers working for decades. This is about formalizing that process so the RAIC can better support those initiatives,” he says. As an academic leader, Brown is wellplaced to be aware of the interests of architecture and design students, interns and emerging practitioners, and how connections can be strengthened between the RAIC and its partners across the country. Mike Brennan, the RAIC’s CEO, says: “We’re very fortunate to have had Michael Cox and now John Brown as presidents who can really see the big picture and focus on the RAIC’s strategic priorities and good governance, and do it in such a collaborative way.”

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“I’m privileged to have been entrusted with the presidency, and it’s not a solo show,” Brown concludes. “My job is to facilitate the work of the team. That’s what I think RAIC leadership is all about.”

John Brown, AAA, FRAIC a été nommé le 80e président de l’Institut royal d’architecture du Canada (IRAC). Ce praticien qui est le directeur fondateur de la firme Housebrand, à Calgary, est également un universitaire, étant le doyen de l’École d’architecture, d’urbanisme et d’architecture du paysage de l’Université de Calgary. John Brown est reconnu comme un innovateur. L’IRAC lui a d’ailleurs décerné son Prix d’excellence pour l’innovation en 2003 pour la création de Housebrand. Housebrand est un cabinet intégré qui combine des services d’architecture, de construction, de courtage immobilier et de design d’intérieur en un guichet unique et qui vise à offrir à la classe moyenne l’accès à des maisons bien conçues, durables et accessibles. En 2010, il a inventé l’expression Slow Home Movement pour « donner aux gens un langage leur permettant de parler de design résidentiel » et d’aspirer à quelque chose de mieux que des habitations standards dépourvues d’originalité. Ce mouvement l’a amené à publier un livre écrit en collaboration avec Matthew North, What’s Wrong with this House? A Practical Guide to Finding a WellDesigned Sustainable Home. En tant qu’éducateur, Brown veut offrir de nouveaux horizons aux étudiants en architecture qui seront amenés à exercer une profession en évolution rapide. « L’idée que l’architecture peut faire plus que ce que nous croyons être de l’architecture me passionne réellement », dit-il. « Il y a un aspect entrepreneurial qui est sous-exploité. Je m’intéresse à la façon dont les nouvelles générations redéfiniront ce qu’est la pratique de la profession. » John Brown s’intéresse aussi au rôle que peut jouer l’architecture pour améliorer le monde et plus précisément pour répondre aux besoins des personnes âgées. Sa recherche de doctorat à l’Institut royal de technologie de Melbourne, en 2016, portait sur de nouvelles stratégies pour favoriser le vieillissement à domicile. Il y a selon lui un besoin important et croissant de meilleurs logements pour les personnes âgées et d’une architecture adaptative. « Le monde qui nous entoure n’est pas bien conçu pour les personnes ayant des capaci-

Journal de l’IRAC

tés différentes. Je suis déterminé à trouver des solutions architecturales qui nous permettront de vivre de façon autonome le plus longtemps possible », souligne-t-il. John Brown s’est joint au conseil d’administration de l’IRAC en 2015, parce que la mission de l’organisme l’interpelait. « Nous prônons un cadre bâti de meilleure qualité qui devient un élément important dans les politiques et le processus décisionnel des gouvernements. Je crois également que nous devons offrir à nos membres des programmes et des services qui les aideront à améliorer leur pratique. » Il loue le rôle joué par le président sortant, Michael Cox, au cours des deux dernières années et demie, pour rebâtir et renforcer l’IRAC et créer la stabilité. Il se réjouit à l’idée de l’élaboration d’un plan stratégique triennal au printemps et il voit son rôle comme celui d’un facilitateur du travail d’équipe. Il dit qu’il représentera le conseil d’administration, les bénévoles et le personnel de l’IRAC tout en étant guidé par eux et qu’il s’efforcera de leur offrir les conditions favorables à l’exécution de leur travail. L’initiative de créer et de soutenir des sections provinciales officielles et des réseaux locaux à la grandeur du pays suscite également l’enthousiasme du nouveau président. « L’Institut a toujours eu une dimension communautaire. Nous sommes présents dans les collectivités locales et de nombreux bénévoles y travaillent depuis des décennies. Il s’agit maintenant d’officialiser ce processus de manière à ce que l’IRAC puisse mieux soutenir leurs initiatives », ajoute-t-il. En tant que dirigeant universitaire, John Brown est bien placé pour connaître les intérêts des étudiants, des stagiaires et des praticiens de la relève en architecture et en design et pour savoir comment renforcer les liens entre l’IRAC et ses partenaires de partout au pays. Mike Brennan, chef de la direction de l’IRAC, a déclaré : « Nous sommes très chanceux d’avoir eu Michael Cox et d’avoir maintenant John Brown comme présidents, deux architectes qui ont une vision d’ensemble et qui peuvent se concentrer sur les priorités stratégiques et la bonne gouvernance de l’IRAC, et ce, dans un esprit de grande collaboration. » « C’est un privilège d’avoir été nommé président et je n’entends pas agir en solo », conclut Brown. Je vois mon rôle de président de l’IRAC comme celui d’un facilitateur du travail de l’équipe. »

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RAIC Journal

Journal de l’IRAC

The Art of Architecture and Advocacy L’art de l’architecture et l’action de sensibilisation

MIV Photography

“My feed is about my opinions on architecture, on procurement and on design—and it gives me the flexibility to post the occasional picture of waffles or my new granddaughter,” said Dreessen.

By / par Tanner Morton

Architect, advocate, and actively engaged on Twitter—any one of these roles can be a full-time job. Thanks to a supportive team, Toon Dreessen, FRAIC juggles all three. Dreessen has become a prominent voice in advocating for core issues that affect the built environment. He’s able to negotiate his various roles by knowing that they are in service of the same goal: it’s all for the public interest. Dreessen’s advocacy became more focused when he became President of the Ontario Association of Architects (OAA), a position he held from 2015 to 2017. “It’s been since my time on the Council at the OAA that I’ve had the confidence,” said Dreessen. “[The OAA] is where I got the sense of professional engagement, the desire to speak publicly about architecture and to speak more in an advocacy voice.” The interview that started Dreessen’s advocacy came during the first few weeks of his tenure as OAA President. He was contacted by the CBC to speak on the selection of the initial site for the Memorial to the Victims of Communism in Ottawa, and the segment aired on the Peter Mansbridge-helmed-program The National. Dreessen feels that architects should make themselves available to the media if

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they’re comfortable engaging on a subject. All it takes is one interview or article to spark an ongoing conversation about the built environment. “I would make myself available to somebody—and someone else would say, ‘Oh that’s a good speaking voice,’ or ‘That’s an articulate position to take,’ and that would lead to another interview,” said Dreessen. Often, this was supported by the hardworking team of OAA staff providing background on complex subjects. In addition to traditional print publications, radio and TV, social media has become an important catalyst for public conversation and community engagement. In the five years since that first interview, Dreessen has expanded his voice to the digital realm as well. “I use social media as a tool to convey an advocacy position and reinforce, for me, what matters most—which is the public interest,” said Dreessen. Originally, Dreessen used the Twitter feed of his company, Architects DCA, to comment on current issues, particularly around the politics of procurement. Recently, he decided to create a personal channel separate from his firm. The aim was to create a space where Dreessen could share his thoughts about issues in the profession, without necessarily including his firm in every conversation.

Dreessen uses his social media presence to focus on a few particular issues, rather than trying to tackle everything. “For me, it’s about having a specific message, agenda, or key points, and being able to relay [information about] a small handful of key subjects,” said Dreessen. According to Dreessen, issues with Ottawa’s LRT, casualties in bicycle lanes, and the mismanaged design process for the Byward Market can be partly attributed to problems with procurement. The challenge is generating a public conversation to push for changes to procurement policy. Dreessen also wants Canada to follow the lead of other countries and develop an Architecture Policy for Canada—an aspirational document that guides the profession and the public to a vision of what architecture can be. The Policy would also help reaffirm the importance of architects and architecture in Canadian society. A group of architects, including Dreessen, is currently working to develop such a document, with consultations happening across the country. Whether it is revamping procurement, or starting a national policy, architects face a similar challenge when advocating for the profession—it’s difficult to start a meaningful conversation with Canadians. “One of the reasons it’s difficult for architects and the public to talk clearly is because architects use jargon,” said Dreessen. In this case, jargon isn’t limited to technical terms. It’s about the everyday language and assumptions that may be common among architects, but aren’t known to people outside of the profession. Dreessen gives the example of an architectural style seen differently by architects and the general public: brutalism. “People joke that brutalism is the ugly child that only an architect would love. Non-architects really dislike brutalism,” said Dreessen. “They see it as great big honking slabs of concrete, as rough and terrible, cold and harsh, with no

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RAIC Journal

windows. If you understand more about architecture and you understand what it means and why it’s there—you understand the cultural context of it.” Difficult conversations extend beyond discussing architectural styles, and can be a barrier in expanding public knowledge of the built environment. “When a good communicator can have that conversation, dial down the rhetoric, and make it something understandable without being pedantic (or speaking to the lowest common denominator), then you can have a really great conversation,” said Dreessen. This is not always the case with public consultations. “When we have the same conversation with an elected official, a member of the public, or a trustee of a school board— it’s a very different dialogue,” said Dreessen. “They don’t necessarily understand things in the same way because we’re using the wrong words.” A way for architectural advocates to connect with the public is to link problems in society with solutions offered by improving the built environment. “Make the connection between the economy, sustainability, and the built environment,” said Dreessen. If you show someone a derelict house or building, they will probably agree it is an eyesore—but a better motivator for action is to show them how much money is being wasted and how refurbishing the space can benefit the community. From the housing affordability crisis, to loss of foot traffic for small businesses, to property taxes—an abandoned building is an easily understandable microcosm for issues both in the built environment and the greater community. Social media can offer a fresh channel for dialogue to take place. “For me, social media is an extension of architectural practice,” said Dreessen. “Architectural practice is a communications practice, where you’re communicating your vision for a building and the methodology of how you will build it.” Social media is another avenue for architects to get involved in civic issues, spark a conversation with the public on the built environment, and raise their voices—thus elevating the profile of architecture with Canadians. “I think it’s important that architects find their own voice, and they need to stop being shy about raising it,” said Dreessen. “If we don’t raise our voice, if we don’t speak up, we’re not going to be heard.”

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La pratique de l’architecture, la promotion de la profession et l’engagement actif sur Twitter : chacune de ces fonctions pourrait être un travail à temps plein. Fort du soutien de son équipe, Toon Dreessen, FRAIC, parvient toutefois à jongler avec les trois. Dreessen est devenu une voix importante dans le plaidoyer sur des questions fondamentales qui touchent le cadre bâti. Il est capable d’assumer ses divers rôles en sachant qu’ils servent le même but : l’intérêt public. L’action de sensibilisation de Dreessen est devenue plus ciblée lorsqu’il a accédé à la présidence de l’Ontario Association of Architects (OAA), une fonction qu’il a assumée de 2015 à 2017. « C’est mon mandat au Conseil de l’OAA qui m’a donné de l’assurance », dit-il. « C’est là que j’ai compris le sens de l’engagement professionnel, que j’ai eu le désir de parler publiquement d’architecture et d’en parler davantage en tant que défenseur et promoteur de la profession. » L’entrevue qui a amené Dreessen à s’engager dans la voie de la sensibilisation a eu lieu dans les premières semaines de son mandat comme président de l’OAA. La CBC l’avait contacté pour parler du choix de l’emplacement initialement prévu pour le Monument commémoratif aux victimes du communisme à Ottawa. L’entrevue a été diffusée à l’émission The National, animée par Peter Mansbridge. Dreessen estime que les architectes devraient se mettre à la disposition des médias s’ils sont à l’aise pour traiter d’un sujet donné. Il suffit parfois d’une entrevue ou d’un article pour déclencher un dialogue permanent sur le cadre bâti. « Je me rendais disponible pour quelqu’un – et quelqu’un d’autre se disait que j’étais un bon porte-parole ou que j’exprimais un point de vue clair et cela menait à une autre entrevue », ajoute Dreessen. Souvent, l’équipe dynamique de l’OAA m’apportait son soutien en me breffant sur des sujets complexes. En plus des publications imprimées traditionnelles, de la radio et de la télévision, les médias sociaux sont devenus un important catalyseur du discours public et de l’engagement communautaire. « J’utilise les médias sociaux comme un outil pour véhiculer mon point de vue et renforcer ce qui est le plus important pour moi : l’intérêt public », dit-il.

Journal de l’IRAC

Au début, il utilisait le fil Twitter de son entreprise, Architects DCA, pour commenter les questions d’actualité, notamment en ce qui concerne les politiques d’approvisionnement. Récemment, il a décidé de créer un canal personnel distinct de celui de son entreprise. Il vise ainsi à créer un espace où partager ses réflexions sur les enjeux de la profession, sans nécessairement inclure son cabinet dans chaque conversation. « J’y exprime mes opinions sur l’architec ture, les modes d’approvisionnement et le design – et cela me donne aussi la possibilité d’afficher à l’occasion une photo des gaufres du petit-déjeuner ou de ma petitefille nouvellement née », souligne-t-il. Dreessen se sert de sa présence dans les médias sociaux pour insister sur quelques questions particulières plutôt que de s’éparpiller. « Pour moi, il s’agit d’avoir un message, un programme ou des points clés et d’être capable de relayer [l’information] sur un petit nombre de questions importantes. » Selon lui, les problèmes relatifs au train léger sur rail à Ottawa, aux accidents dans les pistes cyclables et à la mauvaise gestion du processus de conception du marché By peuvent être attribués en partie aux problèmes liés à l’approvisionnement. La difficulté, c’est de susciter un dialogue public pour faire pression en faveur de changements aux politiques en matière d’approvisionnement. Dreessen souhaite aussi que le Canada emboîte le pas à d’autres pays et élabore une Politique nationale de l’architecture – un document ambitieux qui oriente la profession et le grand public vers une vision de ce que l’architecture peut être. Cette politique contribuerait également à réaffirmer l’importance des architectes et de l’architecture dans la société canadienne. Un groupe d’architectes dont il fait partie travaille d’ailleurs à l’élaboration d’un tel document et des consultations sont en cours à la grandeur du pays. Qu’il s’agisse de remanier les modes d’approvisionnement ou de lancer une politique nationale, les architectes font face à un défi semblable lorsqu’ils plaident en faveur de la profession – il est difficile d’entamer une conversation significative avec les Canadiens. « L’une des raisons pour lesquelles le public ne comprend pas clairement le message

suite à la page 14

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Journal de l’IRAC

suite de la page 13 véhiculé par les architectes, c’est le jargon utilisé par ceux-ci », fait-il remarquer. Dans ce cas-ci, le jargon ne se limite pas à des termes techniques. Il concerne plutôt la façon des architectes de s’exprimer au quotidien et de formuler des hypothèses qui sont peut-être courantes dans le milieu, mais que les gens qui n’en font pas partie ne saisissent pas. Il donne l’exemple d’un style d’architecture que les architectes et le grand public ne voient pas de la même façon – le brutalisme. « Les gens plaisantent en disant que le brutalisme est l’enfant laid qui ne peut plaire qu’à un architecte, car les non-architectes n’aiment vraiment pas ce style », ditil. « La population n’y voit que de grandes dalles de béton criardes, aussi brutes que terribles, froides et hostiles, sans fenêtres. Si l’on comprend mieux ce qu’est l’architecture, ce qu’elle signifie et ce qui justifie sa présence – on peut comprendre son contexte culturel. » La difficulté du dialogue s’étend toutefois au-delà de la discussion sur les styles d’architecture et peut aussi être un obstacle à une plus grande sensibilisation du public au cadre bâti.

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« Lorsqu’un bon communicateur peut tenir cette conversation, laisser moins de place à la rhétorique et se faire comprendre sans être pédant (ou sans s’adresser au plus petit dénominateur commun), alors là, les conditions favorables à un réel dialogue sont réunies », ajoute-t-il. Ce n’est pas toujours le cas avec les consultations publiques. « Nous tenons les mêmes propos avec un représentant élu, un membre du public ou un commissaire d’une commission scolaire – alors que les contextes sont différents. Ils ne nous comprennent pas tous de la même manière parce que nous utilisons les mauvais mots. »

toute la collectivité, vous incitez davantage à l’action. Qu’il s’agisse de la crise du logement abordable, de la perte de passants pour les petites entreprises ou de l’impôt foncier – il est facile à comprendre qu’un bâtiment abandonné est un microcosme pour les questions ayant trait au cadre bâti et à la collectivité dans son ensemble.

Une façon d’entrer en contact avec le public est de relier les problèmes de la société aux solutions offertes pour améliorer le cadre bâti. « Autrement dit, de faire le lien entre l’économie, la durabilité et le cadre bâti », précise Dreessen.

Les médias sociaux peuvent offrir une nouvelle plateforme pour le dialogue. « Pour moi, les médias sociaux sont une extension de la pratique de l’architecture », précise Dreessen. « La pratique de l’architecture communique notre vision pour un bâtiment et la méthode utilisée pour le bâtir. » Les médias sociaux sont une autre avenue qui permet aux architectes de s’impliquer dans des questions citoyennes, d’engager une conversation avec le public sur l’environnement bâti et d’élever leurs voix, contribuant ainsi au rayonnement de l’architecture auprès des Canadiens.

La personne à qui vous montrez une maison ou un bâtiment à l’abandon sera probablement d’accord pour dire que c’est de la pollution visuelle, mais si vous lui faites réaliser que c’est un gaspillage d’argent et que la rénovation de cet espace pourrait profiter à

« Je crois qu’il est important que les architectes trouvent leur propre voix et qu’ils n’hésitent plus à la faire entendre », conclutil. « Si nous n’élevons pas notre voix, si nous n’exprimons pas nos points de vue, nous ne pourrons faire entendre nos messages. »

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Continuing Education A strong practice builds a strong profession The RAIC is your partner in practice. RAIC programs give you the skills and tools needed to run a successful architectural practice and build your career.

Continuing Education now offered online

Convenient and flexible Register today! raic.org/continuingeducation

CANADIAN ARCHITECT 02/20

LANDING SITE A SPACESHIP-LIKE LIBRARY IS A WELCOME ARRIVAL IN A MULTICULTURAL ONTARIO SUBURB.

Springdale Library & Komagata Maru Park, Brampton, Ontario ARCHITECT RDH Architects TEXT Jocelyn Lambert Squires PHOTOS Nic Lehoux PROJECT

Nestled in a suburban Brampton neighbourhood not far from the edge of Ontario’s Greenbelt is a horizontal plane of strikingly striped and curving glass. It’s an incongruous sight, surrounded by miles of single-family housing and next to a set of big box stores and parking lots. As a recent article in the Bramptonist puts it, “an alien spaceship has landed in the city.” It’s a welcome arrival, though. This is Brampto`n Library’s new Springdale Branch, a single-storey, 1,858-square-metre library with an additional 464-square-metre city-operated community space. The $16.7-million-project filled a need in a city underserved by libraries, and was designed with the adjacent Komagata Maru Park. Though full of people reading, working and socializing at all times of day, “it doesn’t look like a library” is a common refrain from users and even library staff. Words like “futuristic” appear often in comments, writing and conversation. To Brampton, this is not what a library normally looks like. RDH Architects is well-versed in institutional projects. The firm is one of the oldest in Canada, tracing its roots back to 1919. It was a powerhouse in the early- to mid-twentieth century, designing many prominent Canadian landmarks. In recent years, the firm has invested in young talent and won several Governor General’s Awards—including two in the past decade for libraries, led by architect Tyler Sharp.

How did Springdale Library acquire such an unusual shape? The triangular plan was a response to tight site conditions and the client’s desire to push the building close to busy Bramalea Road. RDHA carried considerations for site through the project—a section shows an invented topography on floor and ceiling, echoing berms and slopes in the adjacent park. The client was understandably surprised at the first design presentation—RDHA’s portfolio of libraries is full of straight lines and right angles. But they soon came on board with the playful scheme. The result is a space flooded with light and made vibrant by people, which has attracted attention and admiration from across the city. Inside, spaces connect f luidly to each other, but each program has a distinct feel based on sectional, material and acoustic differences. The detailing is exquisite: a deep roof concealing insulation and mechanical systems reads as a delicate thin line on top of glass walls. The grandest gesture is the ceiling and skylight over the active reading atrium—a curving void, sculpted from drywall and adding height to an already tall space. This effect is expressed on the outside as a mounded green roof. Another drywall sculpture curves down over the children’s collection, gently compressing that space. Merging research and practice, RDHA collaborated on a solarresponsive ceramic frit pattern with Brady Peters, an assistant professor at the John H. Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto. The frit protects from glare as well as solar heat gain in areas with floor-to-ceiling glass. The arrangement of vertical lines is inspired by the sensation of depth in a forest, or the turning pages of a book. Parametric modelling was used to adjust the spacing and density of the pattern, with denser areas to the south and

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A custom glass frit pattern surrounds the library. The frit migitates solar heat gain, while recalling the vertical tree trunks in a forest, or the turning pages of a book.

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1 14

12 7 13

1 ENTRY VESTIBULES 2 COMMON ENTRY AREA 3 CITY MULTI-PURPOSE ROOM 4 GROUP MEETING ROOMS 5 CREATION SPACE 6 QUIET READING ATRIUM 7 ADULT COLLECTION 8 ACTIVE READING ATRIUM 9 CHILDREN’S COLLECTION 10 STAFF WORK AREA 11 BOOK DROP ROOM 12 CONTEMPLATIVE GARDENS COURTYARD 13 CONTEMPLATIVE GARDENS 14 REFLECTING POOL 15 E NTRY COURT FROM PARKING AREA 16 E NTRY COURT FROM STREET

site plan 0

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10M

ABOVE A grassy knoll on the roof covers a vault over the main reading space. The project also included the design of a park and shade pavilion, seen beyond the library. Opposite A courtyard provides a quiet moment of transition from the street. The outdoor room is framed by community spaces to one side and the library’s reading rooms to the other.

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EXISTING RAVINE

ALLÉE

FEATURE TREE (TOPOGRAPHIC ASCENSION)

SHADE STRUCTURE

LARGE SCALE LETTER ‘IMAGINE’ CONCEPT

CHILDREN’S PLAY EQUIPMENT

SPLASH PAD

FEATURE TREE (TOPOGRAPHIC ASCENSION)

CHILDREN’S AREA (TOPOGRAPHIC CEILING DESCENSION)

ACTIVE READING ATRIUM (TOPOGRAPHIC CEILING ASCENSION)

QUIET READING ATRIUM (MINOR TOPOGRAPHIC CEILING ASCENSION)

canadian architect 02/20

BRAMALEA ROAD

site section

west, and sparser areas to the east and north. The collaborative process demonstrates an intentional embrace of patterns that are not only functional, but integrated into the design. 06 Sightlines allow for transparency between spaces, and between interior and exterior. This fosters connectedness and a feeling of community, and allows natural light to penetrate deep into the space—something the library staff appreciate, as daylight reaches even the few interior rooms. But transparency can also contribute to a feeling of being watched. In this sense, the library might not have been as successful in an urban setting, where patrons may have felt exposed to gazes from adjacent sidewalks. But here in Brampton, seats by the windows of the quiet reading atrium are truly peaceable, with views of the greenery at the edge of the ravine, and of passing traffic. It works because of the suburban nature of the site, with most people arriving by car. Lexi Sensicle, the Springdale Library Branch Manager, told me that the library has been successful in creating connections between comSECTION 1-1

DATE : SEPT. 28, 2015 SCALE : N.T.S.

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munities. One example, says Sensicle, is when students from a local high school visited the library to learn about sustainability in architecture, and saw the maker-space as part of the tour. Later, the school 06 fostered a connection with the Toronto and Region Conservation Authority (TRCA), who needed access to a 3D printer as part of a conservation effort. The TRCA ended up printing 3D snapping turtles and painted turtles at the library, for placement in safe nesting spaces around Brampton’s Heart Lake Conservation Park. The Springdale Library is targeting LEED G old certification. A significant part of its application is for the incorporation of geothermal energy. Other sustainable features include daylight sensors, lowwattage light fixtures, charging stations for electric cars, low-E doubleglazed glass, a partial green roof (the rest is painted white), and use of greywater in the landscape. The park, designed by NAK Design Strategies in close collaboration with the architects, is a conceptual and functional extension of the SITE SECTION

DATE : SEPT. 28, 2015 SCALE : NTS

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20 community spaces in the building, with a playground, reflecting pool and picnic pavilion. The playground threads the word “IMAGINE” throughout its features, some letters visible only with careful observation. The reflecting pool, next to the children’s collection, is one of the delights of the project. Water reflects light through the ceramic frit onto the curved ceilings inside, creating shifting patterns. The park’s name references a 1914 incident in which the Komagata Maru, a steamship carrying 376 immigrants from the Punjabi region of India, was turned away at the Port of Vancouver due to Canada’s discriminatory immigration laws. Upon its return to India, the British Army imprisoned and killed many of the passengers. In commemorating the incident, the City of Brampton hopes that the “theme of the new library and park will revolve around the broader story of multiculturalism and immigration to Canada.” According to some estimates, two-thirds of Canadians live in some form of suburb, and population growth across Canada is much faster in these areas than in the urban cores. Brampton exemplifies the trend: it is the second fastest growing of Canada’s largest cities, and many of its new residents are immigrants. Although suburbs are often conservative in their housing and commercial stock, this conservatism belies vibrant and diverse communities—

A skylight tops the main atrium’s sculpted ceiling, providing soft light to a reading area and set of workstations. Right An inverse ceiling sculpture hovers over the children’s area, lending a sense of whimsy and a more intimate scale. Below

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ABOVE A lower ceiling draws patrons through the reception area into the main spaces. The library can be closed off with folding glass partitions, allowing the community rooms to be used after hours.

communities that may have nuanced needs for community spaces and the public realm. Springdale Library is a beloved addition to the neighbourhood, a space that people are clearly proud of. Perhaps it will show other municipalities that radical visions of public architecture can be successful everyday community spacesâ&#x20AC;&#x201D;and inspire them to approach civic architecture with more ambition. Researcher, writer and editor Jocelyn Lambert Squires is the Director of Marketing and Communications at Brook McIlroy.

CLIENT City of Brampton | ARCHITECT TEAM Tyler Sharp, Bob Goyeche, Sanjoy Pal, Shelley Vanderwal, Carlos Tavares, Juan Caballero, Soo-Jin Rim, Gladys Cheung, Lisa Sato, Simon Routh, Anton Freundorfer | STRUCTURAL WSP Canada (Andrew Dionne) | MECHANICAL/ELECTRICAL/LEED Jain Sustainability Consultants (Ezzat Mitri, Mohammed Khan, Raed Hindi, Brad Hollebrandse) | LANDSCAPE NAK Design Strategies (Robert Ng) | INTERIORS RDH Architects | CIVIL Valdor Engineering (David Giugovaz) | WATER FEATURES Resicom (Rob Brogee) | SPECIFICATIONS DGS Consulting Services (Don Shortreed) | AREA 2,418 m2 | BUDGET $16.7 M | COMPLETION Summer 2019

ENERGY USE INTENSITY (PROJECTED) 178.5 kWh/m2/year BENCHMARK (Non-medical institu-

tional buildings after 2010, NRCAN) 305.6 kWh/m2/year | WATER USE INTENSITY (PROJECTED) 0.17 m3/m2/year (potable water for flush/ flow fixtures, does not include operations) | WATER SAVINGS FROM CISTERN 158 m3/year

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CANADIAN ARCHITECT 02/20

ALL THE RIGHT ANGLES

AN AWKWARD SITE IN WINNIPEG BECOMES HOME TO A JEWEL-LIKE LIBRARY. Windsor Park Library, Winnipeg, Manitoba david penner architect + h5 architecture TEXT Lawrence Bird PHOTOS Click.Studio / Lindsay Reid PROJECT

ARCHITECTS

The Prairie landscape plays out at the very large scale. Immense natural and infrastructural geometries stretch relentlessly across the land, before slipping into each other at odd angles: rail lines intersect, ribbons of water cut into farm grids. Winnipeg itself, as an urban form, is generated out of such collisions between railways, roads, rivers and land use patterns. It takes skill and know-how for an architect to accommodate immense geometries—so often the result of planning and infrastructural accidents—in a jewel of a building. This is what David Penner and h5 architecture (with principal Hélio Rodrigues) have achieved in their Windsor Park Library. It’s the third project they have designed together, and a small building. Nevertheless, it accommodates not only the accidental geometries of the city and region, but also the shifting technologies and social changes playing out today at a global scale. The library is bordered by five urban features: to the east, the fourlane arterial Archibald Road and a Canadian Pacific main line running parallel to it; to the south, Bonivital public swimming pool; to the north and west, the publicly owned Windsor Park golf course; and

running diagonally from southeast to northwest, a shallow ravine leading to the Seine, Winnipeg’s meandering third river. For years, the awkwardly shaped site served as a parking lot for municipal equipment. But in 2013, it was considered in a new light, as part of a project to rejuvenate Winnipeg’s library services. This renewal effort might be seen as a meeting of vision and municipal realpolitik. In a time of general fiscal austerity, community-oriented libraries are an appealing item to tackle from the list of infrastructure deficit projects. The program has resulted in a series of renovations (including work by Bridgman Collaborative and Public City Architecture) as well as several new libraries, among them, Windsor Park, Transcona Library (Cibinel Architecture, 2019) and Bill & Helen Norrie Library (LM Architectural Group, anticipated completion in 2020). Work at three other branches has been planned, but suspended, pending debate over Winnipeg’s current four-year budget. The work that has been completed so far is praiseworthy. According to Betty Parry of the City of Winnipeg’s Collection Development

ABOVE The low-slung, triangular form of the library responds to the Prairie landscape and to site constraints. Disciplined planning and careful detailing combine in a deftly crafted building.

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8 GROUND FLOOR

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1 ENTRY 2 CIRCULATION COUNTER 3 MULTIPURPOSE ROOM 4 READING LOUNGE 5 COLLECTION 6 CHILDREN’S AREA 7 OFFICE 8 TUTORIAL ROOM 9 WORK ROOM 10 STAFF ROOM 11 MECHANICAL 12 COVERED PLAZA 13 READING GARDEN 0

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division and Ed Cuddy of Library Services, the planning of libraries in Winnipeg has evolved radically over the past two decades. Straightforward templates for library design no longer exist; planning now involves a negotiation between librarians, city staff and local residents. Public use of the city’s libraries extends far beyond books to information technology, community programming and accessibility in all its senses. As a result, Penner and Rodrigues found themselves asked to do more than accommodate books: satisfying, in addition, new patterns and networks of use. Early in schematic design, the program and site constraints naturally resolved into a 30/60 triangle—a form that has a nostalgic resonance for architects of a certain age. The simple yet unusual form stands out as a landmark in the community. Its acute angle is striking to any passerby—pedestrian, bicyclist, driver. Set back and sunk slightly below road level, the building is buf-

fered from the adjacent traffic arterial by stands of prairie tall grass. Access is via a looping roadway designed, like a street, with parking on either side, avoiding the typical suburban-style parking lot. An arcade of asymmetrical, inventively detailed W-sections supports a corrugated steel roof, all powder-coated white; behind this rises the library’s east façade. The sleek profile of the library cuts into one’s line of sight, an effect even more powerful at night, when interior lighting makes the building glow. It slices toward the adjacent ravine, where a wooden bridge leads to the public pool, offering other community activities as well as overflow parking. While most of the façade is full-height glass, as one moves from the south tip of the building to the entrance, the glazing is modulated by perforated Corten cladding, screening some windows while revealing others. Wise budgeting is always appreciated in this city, and the architects emphasize that this cladding was off-the-shelf, with standard

The program room is the only deviation in plan from a cleanly bisected triangle. OPPOSITE A geometric mosaic by Manitoba artist Simon Hughes complements the building’s triangular floorplate and space-frame ceiling. ABOVE Informal reading areas are arrayed along the façades and at the volume’s neatly resolved point. OPPOSITE, FAR LEFT

sections used to minimize waste and expense. As one moves further north, the façade becomes progressively more opaque; as it wraps around the corner, the perforated steel is replaced by solid Corten. With good reason: the north elevation faces the tee of the 16th hole, so the wall of weathered steel defends against errant golf balls. As one enters the building, a clear division into public and service space unfolds, a natural result of bisecting the triangle. To the left lies the public area, the “skinny” portion of the triangle. Here, the reading room and stacks are bounded by two long glazed walls converging at the southern tip of the building. The acute angle creates a striking interior spatial experience, accentuated by views to either side. Through the east wall, traffic zooms by silently on roadway; to the west is the library’s grassy patio set against the foliage of the public golf course. Computer workstations are arrayed here, so this leafy view is seen by users glancing up from their screens. This is a relief for the eyes, and an astute integration of the landscape into the design of the building. The “fat” northern section of the triangle, pushed up against the 60-degree angle, is given over to administrative functions. Rather than using a connecting corridor, the architects have stacked most elements Tetris-style. For some, the resulting spaces may seem crowded; others will read the planning as minimalist and clever, reducing circulation space to almost zero. To this end, mechanical systems are only accessed from the exterior, through the solid Corten north wall. As with many good buildings throughout history, imperfections in the geometry are accommodated in the invisible part of the structure. Access to the mechanical room is articulated as a notch in the plan— the only departure from the purity of the triangle.

Structural systems are similarly divided between the two parts of the triangle. In the administrative space, cement blocks support a pouredin-place concrete structure overhead, whose occasional imperfections add character. In contrast, a space frame spans the acutely angled, public, portion of the triangle. The architects chose the system for its triangulated geometry and its resonance with the notion of “network.” Like today’s library programs, a space frame is centreless, distributed, multidirectional, and can serve as an “umbrella” for fluctuating conditions. There is one deviation from the clear spatial and structural division of the bisected triangle. This is the white concrete box of the program room, used as a classroom and community meeting place. Inserted into the narrow section of the triangle beneath the space frame, it nevertheless is well integrated into the design. On one wall, a mosaic by Manitoba artist Simon Hughes, known for his axonometric imagery, perfectly complements the geometry of the architecture. Even better is the detailing of the concrete walls, whose tie holes follow a triangular pattern mirroring the constellation of space frame hubs above, as well as the geometry of the building as a whole. All electrical outlets and controls in this space are coffered into the béton brut concrete. Only one small shortcoming is evident: to make the program room work acoustically, the space frame above its periphery is infilled with baff les. The tricky angling of planes is well-managed but inevitably a little fussy, and can never provide an uncompromised acoustic buffer. In all other respects, the building is technically accomplished. Heating is integrated into the perimeter wall; air is supplied over the edge beam and up through a neatly detailed floor grille running the full length of both long edges. Slabs are hollow-core. Blinds on the curtain

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ABOVE Allowing for intuitive orientation, circulation and staff areas are arrayed to the right of the entrance, and the main library room to the left. The design minimizes corridors, allowing for a natural flow of people between spaces.

wall are daylight-responsive. HVAC and interior lighting are integrated and automated in one system, to better coordinate heating and cooling loads related to light levels. Furnishings are elegant and durable. The building has already had a social impact and, not incidentally, a pedagogical one. In the fall, Penner and Rodrigues hosted University of Manitoba architecture students from a design studio led by Ted Landrum that focused on new definitions of the public library. Windsor Park is an astute choice of case study, given its programmatic context and the excellence of its architecture. The building is well-appreciated by the public, too. Library use at Windsor Park is up 25 percent over previous years. Cuddy emphasizes that site-specificity and a connection with the community were priorities from day one, as exemplified by Windsor Park’s unique form. The desire for locally specific architecture is one reason that the designers for Winnipeg’s recent library work have all been selected from Manitoba. Design quality was also a priority from the beginning. For Betty Parry, this is a key reason for the community’s pride in the facility. Worthy buildings, she says, are respected and better-treated by the public than run-of-the-mill buildings. There is perhaps no better argument for the excellent design of public spaces. These are all important discussions for Winnipeg right now. Recently, the library’s central Millenium branch, located downtown, has become a site of contention. Perceived security threats linked to an increase in substance abuse and related violence have led to the introduction of metal detectors and bag searches for all who enter. Cuddy has defended this strategy, in light of increasing stresses on his staff at that location. But for many—including members of the activist group Millennium

for All—it is anathema to what libraries are supposed to be about, particularly when downtown gentrification is already pushing marginalized people out of public spaces. Efforts have been made by library management to accommodate such users—for example, by providing lockers for personal effects—but there are no easy answers. Windsor Park is a suburb, and its location shelters it from these stressors. But it is not immune. For example, the minimal lines of its furniture are chosen in part to prevent wayward needles getting lost in upholstery. As a part of the public library system, Windsor Park is inevitably caught up in current debates over public space and right to the city. Despite such tensions, the champions of the city’s rejuvenated libraries, along with the designers of these places, have demonstrated a faith in what architecture can contribute to the public realm. David Penner, one of Manitoba’s most prominent architects, and a founder of the design advocacy group StorefrontMB, was a firm believer in that. Over the years, his own work and his collaborations, like this one, have deeply enriched Winnipeg’s built environment. David passed away suddenly this January. This building is a fitting tribute to his memory. Lawrence Bird (MRAIC) is an architect, urban designer and visual artist. He works in Winnipeg at Sputnik Architecture inc. CLIENT CITY OF WINNIPEG | ARCHITECT TEAM STEPHEN FAUST, MATT HAGEN, TYLER LOEWEN,

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MILKY WAYS

A STRIKING QUEBEC LIBRARY IS ENRICHED BY REFERENCES TO LOCAL HISTORY AND CONTEXT.

ABOVE A sculptural staircase is at the center of the library. The swirling forms are inspired by the cityâ&#x20AC;&#x2122;s hydroelectric turbines, which have been in use since 1919.

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31 SITE PLAN

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1 ENTRANCE 5 JARDIN DES VOLTIGEURS 01 Entrée 2 BUS WAITING AREA 6 SKATING RINK 02 Espace d’attente (autobus) 3 PARKING 7 JARDIN DES VOLTIGEURS 03 Stationnement 4 DELIVERIES (FUTURE EXPANSION) 04 Livraison 05 Jardin des voltigeurs 06 Patinoire 07 Jardin des voltigeurs (expansion future)

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Bibliothèque de Drummondville, Drummondville, Québec Chevalier Morales in consortium with DMA architectes TEXT Odile Hénault PHOTOS Doublespace Photography, unless otherwise noted PROJECT

ADRIEN WILLIAMS

ARCHITECTS

Some architects are obsessed with materials, others with geometry, others still with colour (or the lack of it). Stephan Chevalier and Sergio Morales, of Chevalier Morales, are obviously passionate about all three—but also, and above all, about stairs. Stepping into the firm’s latest library, completed with DMA architectes, one is immediately struck by—and attracted to—a set of swirling stairs leading to a mid-level landing, a prelude to two more helicoidal sculptures aiming for the upper level. As one starts wandering about, other steps appear, of the bleacher style that is often (perhaps too often) used in contemporary libraries. In Drummondville, however, they acquire extra meaning, as the upper flight of bleachers is perfectly positioned to watch over the skating rink just outside the building. In this city of 75,000—which boasts more square feet of ice per person than any other Québec town—exterior rinks are sacrosanct. Chevalier Morales latched on to the idea of creating a visual link between reading and skating, and made the rink an essential component of the project. They even went a step further, introducing a heat exchange loop linking the rink’s compressors and the library’s heating system. It’s one of a series of subtle but important local references that are woven throughout this project. The library itself is positioned to help restructure nearby Lindsay Street, one of the city’s main avenues, which has gradually lost its character over the last decades. And although this unusual f loating object with its curvilinear footprint may seem out of place in the rather bland surrounding streetscape, the library has become a major destination. People come in and out, from various directions, and use the 5,750-square-metre building very much as a “third space”—a concept introduced in 1989 by American sociologist Ray Oldenburg to describe cafés, community centres and other informal hangouts.1

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ADRIEN WILLIAMS

Twin stairs reach a landing, then divide again to ascend to the upper level. OPPOSITE BOTTOM A pair of courtyards bring greenery and light to the ground floor. ABOVE The milky-white building envelope is a nod to the area’s industrial heritage and long-lasting memories of pale-blue slag from steel production. OPPOSITE TOP

The ground f loor layout is defined by an elongated rectangular space, centered on the dramatic set of swirling stairs. Looking east is an exterior court, adjacent to an interior café—which also sells hempbased health and beauty products, a sign of the times. To the west is a second exterior court and a multipurpose room. The library staff offices and the local historical society occupy roughly a third of the f loor, on the southern side. Parents with young children and toddlers are directed towards a section to the north, which is connected via the bleacher-style steps to the upper-level teen area. The second floor also houses adult reading areas, a multimedia zone, municipal offices and a reference section dedicated to genealogy. Printed books abound in this library: stacks are everywhere. They’re white, of course, to reduce their visual impact. “We don’t often use colour,” said Stephan Chevalier in a 2018 interview. “All is white, transparent, translucent.”2 Natural light enters the building from all directions, including from skylights located above narrow oval slits in the ceiling. Interior spaces are primarily white. When wood is used, either as stair cladding or flooring, it is a pale blond. The feeling is one of airiness. Chevalier Morales’ minimalist palette was partly inspired by Portuguese author José Saramago’s 1995 novel, Blindness, from which the office extracted the idea of an all-pervasive whiteness as they entered their first architectural competition, in 2008. Although their design for a new Montreal planetarium did not win, it did attract attention to their creativity, their rigour, and their willingness to take risks, such as by challenging the given program. Over a subsequent six-year period, from 2011 to 2017, the firm participated in several competitions and was selected to build four libraries. These included the Maison

de la littérature, a delicate intervention in the oldest part of Québec City. The renovated building with its thoughtful contemporary addition opened its doors in 2015 and received a Governor General’s Medal in 2018 (see CA, June 2016 and May 2018). The other three libraries— two in Montreal and the latest one in Drummondville—are perhaps less prestigious, but they clearly show how the firm has developed and refined its concepts over time. “Our projects are all different, but there is a common thread weaving its way through each of them,” says Chevalier.” 3 This “thread” becomes obvious when comparing the Saul-Bellow Library (2011-2015), to the Pierrefonds Library (2012-2018), and finally to the Drummondville Library (2014-2017). Ideas of formal vocabulary and space planning, perceptible in the relatively low-key Saul-Bellow addition, lead quite logically to the Pierrefonds expansion. With Drummondville—the office’s first freestanding library project—Chevalier Morales was finally able to fully explore the freedom provided by an openended site. The volume pulls in and out according to its orientation and to the functions within. Cantilevers provide protection from rain and snow, while sunlight is controlled through the materiality of the façade. These decisions achieve sustainability beyond the prescriptions of LEED. The building’s envelope is made of translucent ceramic frit glass where the walls are solid, and clear glass where there are views to the outside. The effect is particularly striking at the corners, where the glass panels curve. Despite initial appearances of a transparent volume, close to twothirds of the exterior walls are solid; steel plates are placed behind the glass envelope, over insulation, giving the façades a slight bluish tinge.

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This move is a nod to Drummondville’s early steel industry, made possible by the Saint-François River’s dramatic drop as it meanders through what is now downtown. The pale blue-coloured slag from the smelting process was used at the time as fill material for roads. The French word for it (laitier de fonte) evokes the whiteness of milk (lait)— the very colour Chevalier Morales is constantly seeking. Perhaps one of building’s most striking historical references is the inspiration for the exuberant stairs at the heart of the building. The architects point to the hydroelectric turbines of the power plant along the river, opened in 1919 and still in use today. This multiplicity of layers—historical, contextual, technical and symbolic—is what makes Chevalier Morales’ work so interesting. Their creative process is fed by a constant search for clues in the physical world and the history books, as well as in works of literature. The net result, in the case of the Drummondville Municipal Library, is a highly poetic work, infused with a rich narrative referring to the city’s past. 1 Ray Oldenburg, The Great Good Place: Cafes, Coffee Shops, Community Centers,

Beauty Parlors, General Stores, Bars, Hangouts and How They Get You Through the Day. New York : Paragon House, 1989. 2 Louis Destombes, Traductions constructives du projet d’architecture. Théoriser le

détail à l’ère de la modélisation intégrative (B.I.M.). Université de Montréal [PhD thesis], 2018, p. 682. 3 Destombes, p. 367. Odile Hénault is a Montreal-based architectural writer and communications consultant.

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4 2 1 TEEN ZONE 2 READING STEPS 0 3 RESEARCH COLLECTION 4 FICTION 5 GARDEN 6 CLASSROOM 7 MUNICIPAL ADMINISTRATION

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9 ADULT SECTION 10 R EFERENCE AND DIGITAL

COLLECTION 11 MULTIMEDIA 12 TERRACE

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Above a set of elliptical openings, skylights bring natural light deep into the core of the library. OPPOSITE The library’s collections include print and digital media, set on bespoke shelving. ABOVE Curved glass corners give the library a fluid form and gentle, floating presence on its site. OPPOSITE TOP

1 CLIENT VILLE DE DRUMMONDVILLE | ARCHITECT TEAM CHEVALIER MORALES—STEPHAN CHEVALIER, SERGIO MORALES, ALEXANDRE MASSÉ, ÈVE BEAUMONT-COUSINEAU, CHRISTIAN AUBIN, CHRISTINE GIGUÈRE. DMA ARCHITECTES—CÉLINE LECLERC, FRANÇOIS LEMOINE, MICHÈLE MALLETTE | STRUCTURAL/MECHANICAL/ELECTRICAL WSP | LANDSCAPE CIVILITI | INTERIORS CHEVALIER MORALES ARCHITECTES / DMA ARCHITECTES | CONTRACTOR CONSTRUCTION BUGÈRE / CONSTRUCTION MICHEL GAGNON / CONSTRUCTION BERTRAND DIONNE | ACOUSTICS OCTAVE ACOUSTIQUE | SUSTAINABILITY TRIBU | A/V TRIZART ALLIANCE | PUBLIC ART MARCANTOINE CÔTÉ, PIERRE TESSIER | AREA 5,750 M 2 | BUDGET $20.3M | COMPLETION FALL 2017

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1 ENTRY 2 WELCOME DESK 3 AGORA 4 MULTI-PURPOSE ROOM 0 5 GARDEN 6 PROGRAM ROOM 7 YOUTH SECTION

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RELEASES 9 HISTORICAL SOCIETY 10 ARCHIVES CENTRE 10 20 11 ADMINISTRATION 12 DELIVERIES

Entrée Comptoir d’accueil Réception Hall / espace d’animation Jardin Périodiques et nouveautés Centre d’archives Secteur des jeunes Société d’histoire Administration Patinoire Salle d’animation Salle multifonctionnelle

1 AGORA 2 GARDEN 3 MUNICIPAL ADMINISTRATION

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SECTION

8 PERIODICALS AND NEW

4 MULTI-PURPOSE ROOM 5 HISTORICAL SOCIETY

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TECHNICAL

WHAT CAN WE DO ABOUT EMBODIED CARBON? TEXT

Jennifer O’Connor

THE ARCHITECTURE COMMUNITY IS ABUZZ WITH TALK ABOUT REDUCING EMBODIED CARBON IN BUILDINGS. WE ASKED JENNIFER O’CONNOR, PRESIDENT OF THE ATHENA SUSTAINABLE MATERIALS INSTITUTE, TO GIVE US A PRIMER.

PIXABAY

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Embodied carbon explained “Embodied carbon” is an imperfect term. The word “embodied” sounds like we’re talking about carbon encapsulated in a material. Instead, it’s shorthand for all the lifetime indirect greenhouse gas (GHG) emissions due to a building—in other words, everything other than emissions from building operations. For example, the GHGs emitted from diesel combustion in transporting a product to the building site are part of the embodied carbon in the product. Embodied carbon is also known as value chain emissions, upstream/ downstream emissions, or Scope 3 emissions.1 The complete carbon footprint of a building includes all of these GHG emissions. A true zero-carbon building would account for and offset its operational carbon as well as its embodied carbon. Most embodied carbon emissions are upstream or “upfront” of building occupancy—they are primarily related to the manufacturing of materials. This includes the extraction of raw resources, manufacturing of building products, and transportation of those products. GHG emissions due to material manufacturing, use and disposal are more significant than many people realize. First, these emissions are a big upfront GHG pulse in the life of a building, which makes them a good near-term target for climate change mitigation. Second, as buildings approach net-zero carbon operation, embodied impacts will make up most of the carbon footprint in the built environment. Embodied carbon has a lot of buzz lately, and that’s inspiring to some design professionals. Kevin Welsh, Senior Sustainability Advisor at Integral Group, is one of them: “It’s great to see the accelerating interest in embodied carbon. It’s the next evolution of our industry’s enthusiasm and dedication towards reducing the impacts of projects.”

How to measure embodied carbon Embodied carbon reduction begins with data. Without data, we’re just guessing about where to look for improvements, and what decisions are actually beneficial. To bring in data, we need life-cycle assessment (LCA). LCA is a holistic environmental impact assessment method. A cradleto-grave LCA for a building accounts for all the lifetime flows between the building and nature, and then estimates the impact of those flows on the planet. An LCA provides multiple results having to do with damage to air, land and water. Embodied carbon is one of these results—the global warming potential (GWP), expressed in equivalent tonnes of CO2. To calculate CRADLE-TO-GRAVE FOR A BUILDING

The cradle-to-grave picture for a building. At every life phase, resources are consumed and emissions or wastes are created.

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Tactics to reduce embodied carbon Consumption of anything has environmental impact, and making a building consumes a lot of resources. The easiest way to reduce embodied carbon is to consume fewer resources. That can mean less new construction, smaller new construction, less materials in new construction, and less frequent material replacements. Another easy win is to be mindful in the use of products with high embodied carbon, such that their use is optimized. For example, cement is commonly over-specified (i.e. wasted) through practices like blanket specifications for 28-day strength concrete. If strength isn’t needed so quickly, the cement content in the concrete can be reduced, thereby reducing embodied emissions. But otherwise, there are no silver bullets. Looking for prescriptive answers is oversimplifying the problem and risking an unintentionally bad result. It’s very difficult to justify the generic benefit of specific materials, building elements or tactics. Reducing embodied carbon usually requires an iterative process and a balancing of trade-offs. That requires a project-specific, whole-building, cradle-to-grave LCA study. Getting the most bang for the buck usually means starting with the structural materials, which typically comprise most of a building’s mass. Structural engineers are important partners to engage early for reaching sustainability goals. What about wood and other bio-based products? These materials store carbon that was removed from the atmosphere by living plants, which makes for an interesting and complicated life-cycle carbon story. On the surface, bio-based products like mass timber from sustainably managed forests might be carbon winners. But there are methodology questions and data gaps in cradle-to-grave carbon accounting for wood products. This creates some uncertainty in embodied carbon calculation results. The bottom line: no single material will solve the embodied carbon problem, and designers need to choose all materials carefully. Reducing embodied carbon will require a suite of tactics. Mark Lucuik, Director of Sustainability at Morrison Hershfield, has a great example from a recent project: a large bus storage facility in Calgary. With an integrated design process, the team designed a more efficient mechanical system that enabled a lower roof, reducing the height (and therefore material use) of the walls. The team also eliminated some finish materials, customized the concrete mixes, and brought a carbon perspective to the selection of insulation, roofing membrane and other materials. “In the end, we achieved an 18 percent reduction in embodied carbon and, equally important, big reductions in five other LCA measures,” says Lucuik. “We achieved this reduction with decreases in capital cost and improvements in energy efficiency. A triple win.”

PETER FRITZ. PHOTO COURTESY CHRISTOPHER SIMMONDS ARCHITECT AND MORRISON HERSHFIELD

embodied carbon requires a full LCA study, although only one result from the study—the GWP—will be used. Assessing embodied carbon impacts of design and material decisions is always a case-by-case situation involving cradle-to-grave LCA in the context of the whole building. There is no shortcut for this. And wholebuilding LCA is tricky. But two well-respected North American software tools make it easier for design teams: the Athena Impact Estimator for Buildings (a free standalone tool, produced by the Canada-based nonprofit research group that I head) and Tally (a Revit plugin, developed by architecture firm Kieran Timberlake). One word of caution: embodied carbon calculations are estimates, not absolutes. While LCA is a well-established, rigorous science guided by international standards, it is inexact. There are many variables and assumptions in LCA, and some data gaps and methodology question marks. The uncertainty in results increases with long-lived and complicated products like buildings.

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For the Rideau Valley Conservation Authority headquarters near Ottawa, architect Christopher Simmonds and consultant Morrison Hershfield used LCA to achieve 96 metric tonnes of savings in GHG emissions, through structural material optimization and the elimination of some finish materials.

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This kind of work takes effort and commitment, which is why it doesn’t happen very often. There are a lot of hurdles to be cleared before embodied carbon becomes a common focus in mainstream design and construction. A case for keeping buildings around a lot longer Existing buildings represent embodied carbon already in the atmosphere. Choosing to keep buildings in service for as long as possible helps amortize that carbon debt, by avoiding the new emissions that would be caused from demolition and replacement. There are many factors that support the case for building replacement. Can architects create longer-lasting buildings by designing for adaptability? Can architects help make the case for the adaptive reuse of existing assets? Consider the perspective of the University of British Columbia, a large building owner with many aging assets. “ UBC Renew” is a program that aims

The UBC Biosciences complex, an outdated 1957 building, was a candidate for replacement. Instead, it got an upgrade in 2011, led by Acton Ostry Architects. It will be used for at least another 40 years, avoiding the embodied carbon from a new building.

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TECHNICAL

to minimize the financial and environmental impact of construction on campus, by supporting the rehabilitation of existing buildings. Who owns this problem? Pledges and calls to action on embodied carbon are easy. But who’s going to actually get this job done? As Richard Hammond, principal at London, Ontario-based Cornerstone Architecture, puts it, “There is no single solution, and progress needs to come from a conf luence of economic, social and technical initiatives. Every sector of our society has a role to play.” Most embodied carbon stems from material manufacturing, so we might look to industry for solutions. And industry is certainly stepping up, with gains especially evident in cement and concrete. “As a significant GHG emitter, our industry has been working hard on improvements for a long time,” says Adam Auer of the Cement Association of Canada. An example is the development of Portland limestone cement (PLC), a replacement for general-use cement that cuts embodied carbon by 10 percent. Steel is another product associated with high carbon impacts. Mark Thimons, from the American Iron and Steel Institute, says that “since 1990, the North American steel industry has reduced its average energy intensity and greenhouse gas (GHG) emissions intensity by 35 and 37 percent, respectively.” He says the industry is also working to develop an entirely new process for the production of iron. The objective of Flash Ironmaking Technology is to significantly decrease energy use and reduce environmental impacts, especially CO2 emissions. Industry can come up with innovative, low carbon products, but it can’t force the market to use them. Bob Larocque at the Forest Products Association of Canada notes that building codes are inhibiting the use of new products like cross-laminated timber, which has demonstrated embodied carbon benefits in tall buildings. Adam Auer identifies specification and procurement policies as a big barrier. “For example, government is the biggest customer of concrete,” he says. “If carbon isn’t part of government procurement policy, then PLC doesn’t get specified—and there is insufficient demand for concrete manufacturers to even have PLC on hand.” Innovation from industry is only part of the solution—this is the supply side of the issue. If embodied carbon is fundamentally about resource consumption, then the demand side of the problem is equally important. Decisions about how to design, what to build, how big to build, and even whether to build at all have a huge impact on embodied carbon. Material sourcing can be a big deal, particularly given the competitive pressure on domestic industry from imports. For example, Mark Thimons notes that “the embodied carbon of steel produced in North America is considerably lower than the embodied carbon of steel imported from many other countries, especially when transportation is considered.” Embodied carbon action will be most strongly affected by policy and financial market drivers. Currently, it’s difficult to make a business case for reducing embodied carbon, as noted by architect and Athena Institute chairman Stephen Pope: “Life-cycle accounting for the built environment has been talked about for decades, but there is never money in the budget to do the analysis. With no monetization of carbon emissions, there is little to lure the business community to better behaviour through the use of carbon accounting.” What if embodied carbon had a price? The Living Building Challenge requires purchase of an offset for embodied carbon. If that approach was widely adopted in policy, then a clear financial driver would be in place to reduce embodied carbon, assuming the market rate for offsets is high enough. Consider the new Joyce Centre for Partnership & Innovation at Mohawk College, which was certified under the CaGBC Zero Carbon Building program and therefore had to declare its embodied carbon.

The design focused on achieving a very low operational energy consumption of 73 eKW h/m 2/year. However, an offset for the 4,330 tonnes of embodied CO2 in this building would have cost roughly $104,000 at today’s low carbon price of $24 per tonne. As carbon prices rise, the incentive to reduce embodied carbon would get stronger. Policy requiring embodied carbon disclosure can be a big help in raising awareness and motivating LCA skill development. It’s a great first step in embodied carbon policy and is consistent with the spirit of transparent reporting so evident in other aspects of sustainable design. Disclosure can also support development of embodied carbon baselines and benchmarks. Without those in hand, it’s hard to rationalize performance targets. We will likely see growing ownership of this problem in the policy sphere, but it will be important that policy does not get ahead of available materials, building systems and the underlying LCA infrastructure. The technical underpinning is crucial to the reliability and comparability of embodied carbon assessments. Materials data, LCA methodology, and benchmarking need some work. A major Canadian initiative2 led by the National Research Council is addressing some of this and will really help move the ball forward. In the absence of a policy “stick,” maybe a market “carrot” for disclosure will emerge. Kevin Welsh likes the idea of “a new niche certification scheme for buildings, for embodied carbon.” How low can we go? There are ambitious calls to action out there for embodied carbon reductions. For example, the 2030 Challenge3 and a new report from the World Green Building Council4 call for zero embodied carbon by 2050. How realistic is that target? Richard Hammond thinks deep cuts are feasible today, but “getting all new buildings to net zero by 2050 is a very big leap that will depend on a number of factors coming together, including broadly accepted carbon pricing and widely available new technologies.” With materials and processes available today, embodied carbon reductions in the range of 10 to 25 percent are easily achievable for many projects. But finding significant savings requires an unusually committed client and “a strong integrated design process, with everyone on board from the beginning,” says Kathy Wardle, Director of Sustainability at Perkins and Will Vancouver. The technical challenge in achieving zero embodied carbon is partly illustrated by looking at one corner of the story: what’s possible with concrete. Adam Auer of the Cement Association thinks a 40 percent GHG emissions reduction for concrete is realistic, but will take collaboration across the construction value chain as well as with policy makers. Switching to Portland limestone cement reduces GHGs by 10 percent. Fuel switching in manufacturing might yield another 20 percent. Optimizing the amount of cement in a mix could yield further reductions of 20 percent or more. Getting to carbon neutrality will require carbon capture at manufacturing facilities, a technology that still faces a number of technological and economic hurdles. But Auer says the cement industry is recognised as an ideal candidate for carbon capture, and is very active in Canada and globally in its pursuit of the technology. Let’s extend these thoughts to the entire value chain for buildings and consider a few of the things that will need to happen in order to achieve zero embodied carbon without the purchase of offsets. All equipment used in resource extraction and the manufacturing and transportation of construction products would operate without fossil fuel. All structural wood products would be harvested from sustainably managed forests. All manufacturing facilities would have zero carbon emissions by using carbon capture and/or fuel switching

to 100 percent non-fossil energy. All equipment on a construction site—as well as equipment used for demolition and the transportation of waste—would operate without fossil fuel. Or perhaps technologies will emerge that enable carbon-capturing buildings: that is, buildings that actively remove GHGs from the atmosphere during their lifetime, to offset some of their embodied carbon. Exposed concrete already does this somewhat as it ages in place— a process called carbonation, which is not typically accounted for in embodied carbon calculations, and could be optimized by greater exposure to air of concrete in service and at its end of life. Maybe new building technologies will be developed that similarly absorb carbon dioxide. In the short term, achieving zero embodied carbon will require the purchase of offsets. An innovative carbon trading system would use the revenue from offsets purchased for new construction to create financial incentives for retaining existing buildings and upgrading them for energy efficiency. But is “how low can we go” the wrong question? In a race to zero, we may lose sight of the bigger picture. For example, building operations is still the biggest piece of the lifetime carbon pie, and needs to be balanced against embodied impacts. Many high-performance buildings have relatively high embodied impacts. “We don’t want to encourage poor operating performance to achieve an embodied reduction—we need to take a life-cycle perspective,” says Mark Lucuik. In addition, we “don’t have enough benchmark data to know whether the levels of performance proposed by the challenges are appropriate,” says Stephen Pope. In fact, the whole carbon question is even more complex and nuanced than that. Says Pope: “Rather than looking at carbon use as an absolute, we have to look at carbon as a loop cycle. Some of it is always in use, but the use needs to be balanced.”

Current hurdles aside, the enthusiasm for this topic is exciting and encouraging. Kathy Wardle is among those embracing the challenge: “It’s nice to see this momentum building for embodied carbon, because we need to address all of the complex issues around materials—including life-cycle ecosystem and human health impacts.” Jennifer O’Connor is President of the Athena Sustainable Materials Institute. The Athena Institute is a non-profit research group that advocates for environmental performance measurement and accountability in the built environment and provides free life-cycle assessment resources. i Carbon accounting practice widely follows the GHG Protocol and its language (https://ghgprotocol.org). Scope 1 is direct emissions from sources controlled by an entity (site emissions, in the context of a building). Scope 2 is indirect emissions from the generation of purchased energy (source emissions, in the context of a building). Scope 3 is other indirect emissions in the value chain (in the context of a building, this would include embodied carbon, occupant commute travel, and so forth). 2 To learn more, see https://nrc.canada.ca/en/research-development/research-collaboration/programs/low-carbon-assets-through-life-cycle-assessment-initiative. 3 “The embodied carbon emissions from all buildings, infrastructure, and associated materials shall immediately meet a maximum global warming potential (GWP) of 40% below the industry average today. The GWP reduction shall be increased to: 45% or better in 2025, 50% or better in 2030, and Zero GWP by 2050.” https://architecture2030.org/2030_challenges/embodied/ - Accessed Oct 1, 2019. 4 M. Adams et al, Bringing embodied carbon upfront: Coordinated action for the

building and construction sector to tackle embodied carbon . 2019. World Green Building Council.

Faria Ahmed appointed Associate Publisher of Canadian Architect and Building magazines iQ Business Media, publisher of Canadian Architect , Canadian Interiors and Building magazines, is pleased to announce the appointment of Faria Ahmed to the position of Associate Publisher of Canadian Architect and Building , effective January 1. A seven-year veteran with the iQ Business Media, Built Environment Group, Faria has been instrumental in the growth and success of all the multiplatform brands that she works on. In addition to her new role on Canadian Architect and Building, Faria is also account manager on Canadian Interiors and Supply Professional magazines. Faria will continue to service all her current customers on all titles. Throughout her career spanning more than 20 years in media sales and business development across a variety of platforms, Faria has earned an outstanding reputation for delivering highly effective integrated marketing communications solutions for her customers. Faria has established herself as a knowledgeable, passionate, and well-liked personality in all corners of Canada’s built environment. To get in touch with Faria, you can contact her at: fahmed@canadianarchitect.com 416.441.2085 x106

CANADIAN ARCHITECT 02/20

BOOKS

JAMES DOW/PATKAU ARCHITECTS

CANADIAN ARCHITECT 02/20

ABOVE AND RIGHT The Hadaway House in Whistler, B.C. (2013) is showcased as an example of work by Patricia Patkau and John Patkau in a new book on architecture by women.

Breaking Ground: Architecture by Women By Jane Hall (Phaidon, 2019) REVIEW

Elsa Lam

A few years ago, the conversation about gender equity in architecture centered on the question: where are the women architects? Gradually, awareness has been building about the unconscious biases and organizational structures that make it particularly challenging for women to become established as architects. New aspects of the issue are beginning to come to light, including the question: what are women architects building? This volume answers that question with a stunning selection of over 200 projects involving women architects, from historical to contemporary works. Each is accompanied by a concise biography that puts the work into context. The book attempts to address several issues. It acknowledges the contribution of women working in partnerships—such as Denise Scott Brown of Venturi Scott Brown, Patty Hopkins of Hopkins Architects, and Lu Wenyu of Amateur Architecture Studio—in which authorship has usually been attributed to the male partner. It also includes women who run practices to expand the idea of how

architecture gets made. Women that bridge the gap between theory and practice—such as McGill-trained Amale Andraos, who co-founded WORK ac and is the dean at Columbia’s architecture school—are also included. An insightful introductory essay acknowledges the book’s shortcomings. In particular, more work needs to be done to identify leading women architects in Africa, Central Asia and Southeast Asia. “This imbalance in representation only reinforces the notion that the acceptance of women in architectural practice is conditional on location and shaped by a colonial legacy,” observe Hall and collaborator Audrey Thomas-Hayes, both of Assemble Studio. Perhaps most impactfully, this book dispels the notion that projects by women have a particular aesthetic. There is no uniting thread of curved forms or soft lines through the projects chosen; the only commonality is the quality of the work presented. It makes this book deserving of a place on the coffee tables and bookshelves of many architects: men and women alike.

Boundary Sequence Illusion: Ian MacDonald, Architect Edited by Brian Carter (Dalhousie University Press, 2019) REVIEW

University of Toronto: An Architectural Tour (The Campus Guide), 2nd Edition By Larry Wayne Richards (Princeton Architectural Press, 2019) REVIEW

Elsa Lam

Part of a series covering campuses across North America, this book is far more than a simple guidebook. It recounts the intertwined history of the university’s development and the architectural styles and strategies it has chosen to represent itself, as it has grown and densified within its downtown and two satellite campuses. Since the first edition of the guide was issued in 2009, the University of Toronto has invested over a billion dollars in the construction of new buildings and the renovation of existing ones. The updated guide covers structures including the newly opened John H. Daniels Building at One Spadina Crescent (NADAAA with Adamson Associates and ERA), the Goldring Centre for High Performance Sport (Patkau with MJMA), and the addition to the Innovation Complex at University of Toronto Mississauga (Moriyama & Teshima Architects). It also describes the upcoming Landmark Project (KPMB, Michael Van Valkenburgh, Urban Strategies, and ERA) that will further pedestrianize the main campus’s open spaces, primarily by sinking a grass-roofed parking garage underneath King’s College Circle. The guide features 186 buildings on or immediately adjacent to the university’s campuses, and is extensively illustrated with photos by Eugen Sakhnenko. A companion map is included with the volume.

Elsa Lam

An elegant volume on the work of Toronto-based architect Ian MacDonald is the latest addition to the longstanding Documents in Canadian Architecture series by Dalhousie University Press. The book presents a series of 11 house projects dating back to 1999, and spanning various Ontario landscapes, from the compact lots of Toronto’s Wychwood Park (where MacDonald’s own home is located) to 200-acre sites on the Niagara Escarpment, near Georgian Bay. MacDonald’s practice focuses on designing houses of exacting detail and precise relationships to their surrounding landscapes. The book’s title refers to a number of conventions that are employed in the work: in MacDonald’s description, “the registration of boundaries between one space and another, or the obscuring of [them]; the development of a clear and intentional sequence of experience; and the engagement of the viewer’s imagination through strategically framed representations of the outside world.” He adds, “Though these are somewhat universally referenced by architects, our focus is perhaps more conscious.” The houses presented in the book are often sited in counterintuitive locations, in order to make the most of the site’s assets. Mulmur Hills 1 (1999) is embedded in the ground—rather than atop a drumlin—to achieve the ideal viewpoint of the distant rolling hills, which seem “unremarkable” when seen in their entirety from the higher vantage point. A country retreat near Erin, Ontario, is sited at the very corner of a large site, in order to contain views within the property’s boundaries. The interior of the dwellings are organized to connect to these views, while also employing carefully considered framing between rooms. A central hearth, cozy inglenooks, and interior spaces that seemingly extend into the landscape are common to many of the houses. As Barry Sampson writes in an introduction, “the results are similar to each other in intention, and at the same time distinctly different in form, idea, and perceptual effect.” As with all of the books in the series, Boundary Sequence Illusion includes a full complement of photos, plans, and key details, making this book a useful resource for architecture students and professionals wishing to take a deeper dive into MacDonald’s graceful work.

CANADIAN ARCHITECT 02/20

LOOKING BACK

JAMES BRITTAIN

CANADIAN ARCHITECT 02/20

NEW BEGINNINGS TEXT

Elsa Lam James Brittain

PHOTO

A NEW BUILDING HELPED THE JAPANESE CANADIAN COMMUNITY TO RE-ESTABLISH ITSELF AS PART OF THE SOCIETY THAT HAD EXILED IT. Toronto is, by many accounts, the world’s most multi-cultural city, in a country that prides itself on diversity and inclusion. But it wasn’t always that way. In 1964, Japanese Canadians were still reeling from the trauma of being detained in internment camps during the Second World War. The policy particularly targeted people of Japanese descent on the Pacific Coast; during their detention, their homes and businesses were sold by the government. After the war, the internees were forced to return to Japan or relocate east of the Rockies. In an act of extraordinary resilience, the Japanese community in Toronto decided to build a cultural centre that would serve as a foundation to re-establish themselves within Canadian society, rather than apart from it. To secure financing for the centre, 75 families signed on to a mortgage, putting their personal assets at stake. The land, next to the Don Valley, was cleared by volunteers. Architect Raymond Moriyama—who was then only 28 years old—was selected to design the centre, at a budget of $14 per square foot ($116 in 2020 dollars). He envisaged a pagoda-like structure hovering within the trees, like the treehouse that he had secretly built

for himself as a child, while detained in the Slocan Valley with his mother and siblings. Inside the two-storey auditorium of the centre, an upper level of glazing is screened by wood verticals, reminiscent of prison bars. But just beneath them, a ring of windows and doors open to the verdant landscape beyond. “When we started this, the community was absolutely down in the dumps,” says Moriyama. “The community needed to regain self-respect and a sense of stability to face the future.” To meet the tight budget, the exterior was primarily made of precast concrete panels, some of which were embedded with pebbles. The interior is largely concrete block, with f lush vertical joints and exposed horizontals. Bespoke light fixtures are reminiscent of Japanese shoji screens; Moriyama explains that they were cheaper than standard luminaires. Similarly, rain chains along the side façades appear to be a Japanese-inspired detail, but were primarily installed to drain stormwater to the nearby stream, saving the cost of a full sewer connection to the street. Two wooden lanterns glow at the front of the façade, announcing the centre as a place of sanctuary.

ABOVE The Raymond Moriyama-designed Japanese Canadian Cultural Centre has been re-established as the Noor Cultural Centre.

By the turn of the century, the Japanese community had outgrown the centre, and moved down the street. Moriyama’s building was sold to a Muslim community group, who have now re-established it as the Noor Cultural Centre. The building has been carefully restored and maintained, with a few modifications for its new use—Moriyama & Teshima Architects helped convert the judo changerooms into ablution rooms, a prayer hall occupies a former activity space, and Arabic calligraphy has been discreetly installed in the wood screens and at the door handles. On a recent visit, Raymond Moriyama noted with pleasure that the new owners had kept the screwheads on the centre’s built-in benches aligned vertically, the way they had been originally installed. “We actually lost some of those screws, but we found a supplier—it took us about a year—and bought a ton of them,” noted Karim Lakhani, whose father, Hassanali Lakhani, headed the purchase of the building. The original terrazzo floors are still in place, and the wooden auditorium floor has been refinished so many times that Karim isn’t sure it can handle being sanded again. 123 Wynford Drive is in good hands.

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