Canadian Architect May 2020 by IQ Business Media

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42 S OUTH HAVEN CENTRE FOR REMEMBRANCE

04 VIEWPOINT

Architectural firms that are pivoting to support health services during the pandemic.

07 NEWS

Perspectives on post-pandemic design from architects across the country.

15 RAIC JOURNAL

Winners of the RAIC’s Architectural Firm Award, Emerging Architectural Practice Award, Emerging Architect Award, and Prix du XXe siècle.

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50 BACKPAGE

Johan Voordouw reflects on images of the Canadian home, at a time when we are compelled to stay at home.

South Haven Centre for Remembrance, Edmonton, Alberta, by SHAPE Architecture with PECHET Studio and Group 2 Architects. Photo by Ema Peter Photography.

COVER

V.65 N.03 THE NATIONAL REVIEW OF DESIGN AND PRACTICE / THE OFFICIAL MAGAZINE OF THE RAIC

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CANADIAN ARCHITECT 05/20

VIEWPOINT

BUILDING CAPACITY In the midst of the COVID-19 pandemic, a few construction sites in Canada are ramping up: those that expand the capacity of the healthcare system. The possibility that healthcare facilities will be stretched past capacity inspired Integral Group’s Kenny Smith to organize a thinktank for a Canada-specific design solution. “I felt there was something we could do proactively as an industry and as a community,” says Smith, who put out an open call for participation on LinkedIn. Some 70 people responded—architects, engineers, healthcare professionals, infection control specialists, fabricators. Over the span of a week, they put together a ready-to-implement plan to adapt hockey areas into temporary hospitals. “We realized that there was a global response based on repurposing large spaces such as conference centres,” recalls Smith. Based on insights from their healthcare specialists, the team realized that there was a need for “a smaller option that could be phased into use.” They quickly came to the idea of using ice arenas: “It’s an archetype—they’re everywhere in Canada,” says Smith. The team focused on creating a single design for a typical arena that could be easily adjusted, deployed and replicated. Their plan accommodates some 100 beds per ice pad, with each bed housed in a prefabricated pod with power chases and an air exhaust system located near the head of the bed. The design uses a standard arena’s entrances and exits (including its Zamboni door) to create safe circulation paths for patients, professionals and the movement of supplies. Testing—and the eventual administration of a vaccine—is also a pinch point in the system. To address this, a team led by WZMH Architects worked with collaborators including Parkin Architects and PCL to design a portable, pre-fabricated, virus testing centre. The resulting design is a retrofitted shipping container that can accommodate two to four test stations, as well as safe areas for healthcare workers. The fully conditioned space comes complete with low-voltage power infrastructure, Wi-Fi, rooftop solar panels and an internal battery system. The team has designed four variations of the portable testing centre, to accommodate various situations from walk-up to drive-through testing. “The solution is one that can be stored and deployed every year during the f lu season, for testing and administering the vaccine,

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or in the event of future pandemics,” writes the design team. The designers hope to move the units into production soon, to help meet the demand for increased testing. Farrow Partners has pivoted its existing materials research towards building ICU-grade temporary healthcare units. For the past three years, Tye Farrow’s team has been working with Nucap Industries to adapt its technology—a mechanical method for adhering automotive brake pads—to the buildings sector. They’ve now created a cross-laminated timber block faced with Nucap’s Velcro-like metal pads. The result: quickly assembled construction blocks with comparable pricing and performance to standard concrete masonry units, that can be assembled into temporary hospitals and disassembled after use. Farrow says that the buildings can come together as quickly as off-site modular solutions, but offer a higher-quality environment, including sufficient space for intensive care equipment and care. “Staff are working for twelve hours a day and they’re beat,” says Farrow. “Not only can we provide a space that’s fast [to assemble] and effective, but has significant positive impact on staff and patients, beyond just addressing the bare basic needs.” “Over the last week we built a full-scale mock-up in a stable in King City, using the [Nucap] floor and wall system on a dirt floor,” says Farrow. “We then backed a huge forklift into it and it didn’t budge.” Nucap is retooling its manufacturing machinery to mass-produce the blocks for use in the coming weeks. Meanwhile, the imperative for physical distancing seems to be having good effects in flattening the curve, and the current numbers of people testing positive for COVID-19 in Canada is slowing. In the best-case scenario, it is possible that alternative healthcare facilities will not be needed. But regardless, these initiatives could influence not only how we construct, but also how architects work together post-pandemic. “We’re so used to competing,” says Kenny Smith of Integral Group. “By doing this, it brought down barriers and gave people the opportunity to apply themselves in an open, trusting environment. Everyone had valuable input: it was a proper community response, that genuinely came from everyone as a community.” Elsa Lam

EDITOR ELSA LAM, FRAIC ART DIRECTOR ROY GAIOT CONTRIBUTING EDITORS ANNMARIE ADAMS, FRAIC ODILE HÉNAULT DOUGLAS MACLEOD, NCARB, MRAIC ONLINE EDITOR CHRISTIANE BEYA REGIONAL CORRESPONDENTS MONTREAL DAVID THEODORE CALGARY GRAHAM LIVESEY, MRAIC WINNIPEG LISA LANDRUM, MAA, AIA, MRAIC VANCOUVER ADELE WEDER, HON. MRAIC SUSTAINABILITY ADVISOR ANNE LISSETT, ARCHITECT AIBC, LEED BD+C VICE PRESIDENT & SENIOR PUBLISHER STEVE WILSON 416-441-2085 x105 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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PROJECTS Stantec selected to design Alberta’s first temporary COVID-19 treatment centre

Stantec, along with Sprung Structures and CANA Construction, has been selected by Alberta Health Services (AHS) and the Government of Alberta to design and construct the province’s first temporary COVID -19 treatment Centre at the Peter Lougheed Centre in Calgary. The facility, donated by Sprung, will house up to 70 patients and will add over 8,000 square feet of treatment space. The temporary treatment facility will be turned over to AHS on April 27, 2020 to begin equipment installation and patient intake preparation. Stantec is providing design and engineering services for the temporary pandemic response facility. In addition to leading the architecture and interior design support, Stantec is responsible for electrical, structural, and mechanical engineering. Working directly with key user groups including physicians and nurses, Stantec has led health care planning services to ensure the temporary centre supports AHS treatment practice while keeping patients and health care providers safe. “As part of a private sector team, which included Sprung Structures and CANA construction, who collectively brought this concept to AHS, we came together working at rapid pace to execute the design, procurement and construction in an unprecedented manner. We all want to do our part in supporting the COVID -19 response and recovery, and I know our teams feel privileged to support Albertans when they need us the most,” says Todd Hartley, senior principal, Stantec. The Calgary area has 63 per cent of Alberta’s confirmed COVID -19 cases. The temporary facility at Peter Lougheed Centre will be ready to accept patients in advance of the predicted COVID -19 peak in mid-May. www.stantec.com

WHAT’S NEW Blanche Lemco van Ginkel awarded RAIC Gold Medal

The RAIC is honoured to award the Gold Medal—the highest distinction the Institute can bestow in recognition of a significant and lasting contribution to Canadian architecture—to architect Blanche Lemco van Ginkel. “Blanche is a living connection to Canadian modernist roots, bringing her experience from working with Le Corbusier to Canada,” said the 2020 Gold Medal jurors. “Throughout

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her career, she has woven modernist social ideals through the fabric of our society as a great educator, communicator and architect. Blanche epitomizes a deep commitment to intellectual rigour and cross-disciplinary dialogue; and continues to be a role model for the Canadian architectural community.” Born in London, England in 1923, Blanche Lemco moved to Montreal in 1940 to study architecture at McGill University. She also obtained a master’s in urban design from Harvard in 1945. She worked in municipal planning, as well as for architects including Le Corbusier, before establishing a professional partnership with architect and husband Sandy van Ginkel in 1957. Blanche taught at the University of Pennsylvania, where she worked with colleagues to establish a Philadelphia branch of the European modernist group CIAM. She later taught at Harvard University, established the first courses in urban design at the Université de Montréal and at McGill University, and was Dean of the University of Toronto’s School of Architecture. The work of architecture and planning practice Van Ginkel Associates included advocacy for the preservation of Old Montreal, the design of Bowring Park in St. John’s, Newfoundland, the preliminary plan for Expo 67 in Montreal, and the protection of Montreal’s Mount Royal. “Van Ginkel is a giant among modernist planners of the 1960s,” write Annmarie Adams and Tanya Southcott in a profile of Blanche for the website Pioneering Women of American Architecture. “She achieved many firsts— or near firsts—as a woman in the architecture profession: she was the first woman to serve as a Dean of an architecture school in North America, the first woman to be elected a Fellow of the RAIC, the first Canadian and first woman to be elected President of the Association of Collegiate Schools of Architecture (ACSA), the first woman to teach at the University of Pennsylvania—with Siasia Nowick, the first woman elected to the council of the Town Planning Institute of Canada, and the first woman architect elected as a Member of the Royal Canadian Academy of Arts.” “The jury is deeply honoured to present the 2020 Gold Medal Award to Blanche Lemco van Ginkel. As a Canadian leader and advocate, Blanche has had a profound influence on architectural thinking, education and practice,” the jurors said. “She has been an inspiration to generations of architects; and has consistently furthered the architectural and planning discourse through publication and practice. Her seminal planning studies have touched all parts

of our country from the Bowring Park plan in St. John’s, Newfoundland, which earned a Massey Award for Architecture; to understanding the community and regional implications of industry in Ezehazy, Saskatchewan; to exploring social implications implicit in northern development. Her work in transportation spans the development of one of the first electronic vehicles, to airport transportation and award-winning transit studies.”

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NEWS

www.raic.org

2020 RAIC Fellows announced

The Royal Architectural Institute of Canada (RAIC) has announced the 31 individuals named to the RAIC College of Fellows for 2020. Fellowship is bestowed to RAIC members in recognition of outstanding achievement in the fields of design excellence, exceptional scholarly contribution, or distinguished service to the profession or the community. The 2020 fellows are: Monica Adair (Saint John), D’Arcy Arthurs (Toronto), Edward Applebaum (Toronto), Ila Berman (Charlottesville), James Carter-Huffman (Vancouver), Coben Christiansen (Calgary), Anne Cormier (Montreal), Ana-Francisca de la Mora (Toronto), Cynthia Dovell (Edmonton), Joyce Drohan (Vancouver), Richard F. Evans (Vancouver), Arthur James Finlayson (Saanichton), Melissa Higgs (Vancouver), Bernard Jin (Toronto), Michel Lauzon (Montreal), Christine Leu (Toronto), Alex Leung (Ottawa), Gail Little (Winnipeg), Tracey Mactavish (Vancouver), Ronald Mar (Toronto), Daniel McNeil (Toronto), David R. Mungall (Ottawa), Lynne Wilson Orr (Toronto), Jan Pierzchajlo (Edmonton), Paul Sapounzi (Brantford), Heather Semple (Ottawa), Maurice Soulodre (Saskatoon), Patricia Swanson (Edmonton), Mary Tremain (Toronto), Brian Wakelin (Vancouver), and James Jeffrey Youck (Regina). www.raic.org

Montreal invites cities to share designfocused crisis responses

Montreal’s Bureau du Design is assembling a database of COVID -19 crisis responses by designers, to share with the international network of UNESCO Cities of Design. “As we grapple around the world with the evolving COVID -19 crisis, it is imperative that we, as cities, exchange ideas and learn from one another in this challenging time. Whether through product innovation, service design, or adaptive reuse, design is a tool we can all leverage to respond to the current crisis and build better systems and more sus-

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tainable, inclusive, and resilient cities,” reads the call for case studies. The Montreal team is asking for the submission of projects that support design innovation and the design industry, or that leverage design to support communities and other sectors of the economy. They are looking specifically for initiatives aimed at helping citizens or society as a whole to cope with COVID -19, rather than case studies of how individual companies are responding. designmontreal.com

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As we go to press, Canada’s public buildings are locked, gathering places are empty, and construction sites are paused. Architectural firms have been scrambling to keep their businesses afloat, and those architects still employed are working from home, like many others in the country. Beyond these present-day challenges, it seems likely that the pandemic will affect the work of architects in lasting ways. This selection of perspectives from architects across the country considers what Canadian architecture may look like as the immediate threat of the pandemic begins to lift. The texts are selected and excerpted from reflections posted at www.canadianarchitect.com/ideas.

Next year in the park

The COVID-19 pandemic has drastically changed the way we move through and occupy space, and it will likely continue to do so for the foreseeable future. With mandated social distancing and restrictions on travel projected to be in place through the remainder of the year, it is unlikely that the way we gather and interact in public spaces will ever be the same. As the current patterns of use become habitual, new cultural practices will evolve around them, including the practice of design. What will the architecture and urbanism of a post-pandemic society look like?

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Photo: Mendoza Photography

Social distance and the new modular The streets and buildings we use today have been shaped by many generations of regulatory governance, most of it developed as a response to other public health crises. Your bedroom has windows today because tuberculosis was the largest cause of childhood morbidity during the height of the Industrial Revolution in England. Building codes—driven by fire safety, rather than the proximity of one individual to another—already establish the permissible density of occupation for any space typology. We are in the process of “trying on” a new dimensional parameter for shared space—the agreed-upon social distance minimum of two metres. In the coming months, we will likely attempt to restart the global economy and begin working together in shared space. Our first tentative forays will almost certainly see the emergence of a new approach to architecture. While the idea of a two-metre circle around every individual may now seem prosaic, as a design driver, it will be immediate and profound. The spaces of our cities will also be subject to the same drivers. The cross-section of a typical Toronto street, with its narrow sidewalks and wide vehicular corridors, simply can’t accommodate the safe occupation of the public realm under the new social distancing requirements. There are, of course, opportunities to improvise based on the current conditions. With traffic volumes drastically reduced, it would be a relatively simple fix to designate certain streets as car-free and to finally realize urbanists’ dreams of a network of pedestrian and cycling boulevards. This simple strategy would provide multiple benefits for health, well-being and commerce, and can easily be beta-tested throughout a variety of locations. Parks and plazas have the potential to evolve through similar low-cost,

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NEWS

largely behaviour-driven adaptations. Before the city-wide closure of sports fields and park amenities, social distance-compliant games of basketball and volleyball were cropping up across Toronto parks, complete with new chalk-line court layouts to regulate proximity. We are inventing new games and new spatial frameworks to support them. In an ideal world, the COVID-19 virus would subside, leaving us with cultural adaptations that “stick” because they are beneficial, profitable or just plain fun. The architecture of hygiene The universal stay-at-home strategy is supported by an army of people delivering goods to our doorstep, continuing to operate at risk of exposure. Our fraught relationship with the public bathroom (and public amenities in general) makes it very difficult for food delivery drivers to maintain the recommended hand-washing regimen. In a recent trip to Mexico City, I was impressed by the ubiquity of clean, safe public restrooms. This infrastructure supports street vendors, buskers and other service providers who spend the whole day in the public realm. In many European cities, the public privy is integrated into significant public structures, such as market halls, where washrooms have a full-time attendant. In Canada, we will need to reframe our relationship with public plumbing and amenities. If we are to control the current pandemic and mitigate the impact of future ones, the architecture of hygiene will need to make a resurgence. The time-share city The central business district of every city on earth has been vacated seemingly overnight. But in reality, the question is not if but rather when and how we migrate back into these spaces.

At first, we may take turns and maintain much of the work-fromhome patterns that we have adopted. In order to maintain social distance during this reintegration period, we will likely reduce the density of people per hour, but will distribute this occupation over more of the clock face. Weeks and days without precise boundaries have already become familiar to us. Work-from-home has taught us that “rush hour” is an unnecessary construct, and that you should work when you feel productive. This all points to a new version of the city that would be more sparsely populated at any given hour, but be alive around the clock. This version of urban life may indeed have staying power, offering a healthier, more relaxed and open-ended experience. The natural city The global economy—and human activity in general—has been vastly curtailed for barely a month, and Mother Nature is already making a comeback. Carbon emissions are projected to drop by 4% compared to 2019 levels. More immediately felt is the migration of animal species back into the city, and the bold presence of urban fauna being seen by day in city parks, streets and college campuses. Could the city—occupied at a lower density—become the “natural city,” where the underutilized infrastructure of the pre-COVID-19 era is returned to natural systems that both enhance and support the urban experience?

Reclaiming the public realm By the time the summer solstice rolls around, most of us will have widely adapted to the new norm of virtual socializing and work. An ever-increasing variety of food, commodity and entertainment are brought into our homes through a narrow set of information and logistical conduits. In this country, we have never surrendered such complete control of our freedom of movement and propriety of information to so select a body of corporate and governmental entities. We understand that these restrictions are the only way to combat the current crisis. But how much will we have given up by the time the immediate threat retreats? Unmediated and spontaneous social interaction in public spaces is essential to a democratic society. Our parks, plazas, beaches and boardwalks have now become places we can only move through. We cannot linger, gather to play, or congregate. And while these restrictions are necessary to combat the current crisis, designers of buildings and cities must keep an eye on the future. Right now, as architects, we need to examine how the public realm can be safe to occupy in the short-term, resilient to a possible next wave of contagion, and supportive of the democratic ideals we hold dear. The new modular of social distancing, the architecture of hygiene, the time-share city and the natural city are just some of the possible strategies we can engage to reclaim the public realm www.theakston.com when the time is right.

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Greater trust in virtual collaboration = reduced carbon footprint We knew that air travel was massively contributing to climate change. We were holding on to an old paradigm—that as design architects, we could only be truly effective if we showed up physically and regularly. Clients will still want the best architects for their projects, but travel will be strategic. Zoom, Microsoft Teams and other platforms are proving that we can collaborate and communicate effectively in real time—we just need fewer meetings.

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Extreme teaming and the end of the single author Co-location and Integrated Project Delivery (IPD) will become the new norm. We were seeing this sharing of risk emerging with educational clients before this global crisis. The idea that all disciplines would be brought together in partnership to design and execute as a team, on-site, for intensive periods of time—as well as continuing to communicate virtually to advance solutions holistically and quickly—is exciting! Architecture is for humanity Instagram and other platforms have accelerated a fixation on the single beautiful image. I think this crisis will remind architects that architecture is for people—and it is not about creating a monument to ourselves. From densification to prioritizing human needs Having so many people cooped up in condo apartments is challenging the benefits of small and vertical solutions. People thrive in spaces with light, air and views. Can we shift from trying to save the bottom line, towards designing buildings that are carbon-neutral because they reduce energy consumption and participate in regenerating resources, while also offering ample space in which to live? Renewed appreciation of the shared experience When this is over, there will be some residue of the existentialism that is gripping us during this pandemic. How quickly will we turn back to rediscover meaning in community through our cultural spaces and the pure beauty of music and the arts? How deeply will we feel these emotions as an antidote to isolation and fear? I think we will gain a new appreciation for the spaces that bring us together through shared experiences in the arts. We will rediscover the amazing sensation of sharing the beauty of the arts as individuals, as well as recognizing an enhanced level of community through the experience of the arts. Rethink everything We have been forced to hit pause. This is an opportunity to rethink everything—how we build cities and communities to be even more resilient, healthy, beautiful, green and creative. As architects, this is our time to come together and not just imagine, but ideate and advocate for a future where the world is in harmony with nature, and where innovation and imagination are valued for solutions that enhance the quality of life. Marianne McKenna is a founding partner of KPMB Architects.

Public consultation in the age of COVID-19

During this time of social distancing—and in response to the reality that there is a continued and critical need for housing in our cities— our profession has a collective opportunity to re-evaluate and revolutionize the way in which public engagement is considered and conducted. By exploring new digital tools and approaches, a new engagement paradigm that removes barriers and expands contributing voices can reveal itself, making for informed citizens willing to support more daring architecture. In recent years, online platforms have increasingly complemented typical in-person community forums, increasing the reach and frequency of engagement activities and allowing us to collect a more diverse set of ideas. Working in partnership with other leaders in public facilitation, our team has used a range of tools to yield successful results. For instance, the West Toronto Railpath Environmental Assessment encouraged community members to post precedent imagery on Instagram and Twitter during walking and cycling tours. Though

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the images and the geo-referenced locations were shared in real-time at a public event, one can imagine how this could be implemented wholly online, spurring interest and participation with community members during a stay-at-home injunction. Similarly, during EGLINTONconnect in 2013 in partnership with Swerhun Facilitation, we identified champions for the project via a heated Twitter debate. The “Twitter storm” involved a diverse crosssection of community members: Toronto taxi drivers concerned about lay-bys; business associations and local business owners concerned about rolling out their recycling bins and signage; advocacy groups including Walk Toronto and Cycle Toronto; among others. We reached out directly, inviting these groups to small in-person discussions to resolve issues from each group’s perspective. This led to the roll-out of a block-by-block plan of the 19-kilometre corridor, shared digitally as a “mega map” for residents to see. Demonstration renderings were also posted on YouTube to communicate the transformative design, making this information accessible and digestible. Early experimentation with these channels has proven fruitful, which raises the question: can we reach an even wider public audience and entice participation, without in-person interaction? And if so, what must we do to be respectful of the personal challenges facing individuals during this difficult time? Bill 187, the Municipal Emergency Act, 2020, which received Royal Assent on March 19, 2020, introduced new, optional tools that enable municipalities to minimize disruptions to local decision-making during emergency situations. They translate into more flexibility towards acceptable meeting formats, including allowing for electronic participation at meetings, and decisions as to whether electronic participation counts towards quorum. These government interventions come at the same time as architects and planners are transitioning to the online world. As we become more skillful at using digital collaboration platforms and attuned to their nuances, we can start to imagine how they may be used to host a client workshop or a steering committee meeting. Live videos, online movies, demonstration rendering animations, and/or community newsletters and papers may be used to disseminate information. Online surveys, pinboards and pre-stamped postcards can be effective sources of input. Debates on Twitter, Facebook, Urban Toronto and similar web interfaces are already commonplace, and will likely continue to dominate the virtual world. Effective facilitation will be needed to maintain a degree of order, record keeping and civility. Even as we seek creative approaches to participation and online collaboration tools, we also have to ask ourselves if there will be difficulty in attracting public involvement while we’re in the midst of an unprecedented crisis. People have lost jobs and significant investments, and are just plain scared. Will community engagement on development or secondary plans become trivial, or will consultation in neighbourhood improvements become even more relevant as we become more tethered to our local environments? Though today’s events are unwelcome, they are forcing us to reimagine our typical engagement practices, both in our workplaces and communities. The result may be a renewed approach to public engagement. As some Canadians take this time to consider how they want to re-engage in their personal lives post-COVID, so too can our industry rethink how to pursue our future conversations mindfully, transparently and without haste. Drew Sinclair is Managing Principal at SvN Architects + Planners.

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CA May 20.indd 13

ARCHITECTURAL SYSTEMS ENTRANCES + FRAMING CURTAIN WALLS WINDOWS

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2020-05-01 9:54 AM

Uniting the house of design with the field of construction Uniting the house of design with the field of construction

University of Ottawa Learning Centre EQUITONE [tectiva], VIVIX phenolic, Fiandre Porcelain, Bear Claw® and TcLips™ Architect: HDR MaRS Building Photo: Curt Clayton

Engineered Assemblies UNITING THE HOUSE OF DESIGN WITH THE FIELD OF CONSTRUCTION

Photo: Shai Gil B+H Architects

EA benefits from twenty years of industry experience. From detailing to field installation practicality; EA provides a keen eye on design and a strong handle on the limiting factors of the field.

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MaRS Building Photo: Shai Gil B+H Architects

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Engineered Assemblies

Engineered Assemblies Engineered Assemblies Assemblies Engineered Engineered Assemblies (EA) supplies world-class facade materials Engineered Assemblies Engineered Assemblies Engineered Assemblies (EA) in supplies world-class facade materials backed backed by leading expertise Rear-Ventilated Rain Screen (RVRS) Engineered Assemblies Engineered Assemblies Rain Screen (RVRS) sub-structure by leading expertise in Rear-Ventilated Engineered Assemblies (EA) supplies facade materials sub-structure assemblies. Through theworld-class spirit of partnership, EA delivers lunch and learns, mockups, samples, Engineered Assemblies understands and BIM software, panel optimization, etc. Through the spirit of partnership, EA delivers excellence creative Engineered Assemblies the ofassemblies. partnership. •promotesprovides EAphilosophy extensively-detailed, backed by in leading expertise Rear-Ventilated Rain Screen (RVRS) excellence creative design in possibilities, bringing imagination toinlife. We maintain cooperative presence stamped shopa drawings and thermallyand focusfaçade on achieving the design desired goal; broken solutions. possibilities, bringing imagination to life. completing a project on timesub-structure and on budget assemblies. Through the spirit of partnership, EA delivers installation practicality; EA provides a keen Systems offerEAuniversal application eye on design and a strong handle on the and detailed design options for all EA limiting factors of the field. Façade lines. collaborates EA on design; providing EA SYSTEMS training, webinars, value-engineering, • Thermally Broken TcLip Subsystem lunch and learns, mockups, samples, EA benefits from twenty years of industry UNITING THE HOUSE OF DESIGN WITH • Fastener Hidden System (HF) BIM software, panel optimization, etc. experience. From detailing to field THE FIELD OF CONSTRUCTION • Ventilated Rear Rain Screen Systems • provides EAextensively-detailed, installation practicality; EA provides a keen (RVRS) shopoffer drawings andapplication thermally• stamped Systems EAuniversal eye on design and a strong handle on the • highest systems of work EA with all EAstandards. Façade broken façadedesign solutions. and detailed options for all EA to the industry limiting factors of the field. Engineered Assemblies understands and lines. Façade lines. Engineered Assemblies understands and promotes the philosophy of partnership. • collaborates EA on design; providing EA SYSTEMS HIGH-PERFORMING FAÇADE LINES promotes philosophy of partnership. We EA training, the webinars, value-engineering, take a common-sense approach to cooperative presence We maintain a cooperative Thermally a Broken TcLip Subsystem lunch and learns, mockups, presence samples, We • maintain • Fibre Cement Equitone façade systems development; offering functional on achieving the desiredetc. goal; and •focus Fastener Hidden System (HF) BIM software, panel optimization, on achieving • Natural Wood Parklex façade the desired goal; completing a projectEA onextensively-detailed, time and on budget assemblies • Ventilated Rear Rain cost Screen effective Systems • provides that are without • Porcelain Fiandre façade tostamped the highest of industry (RVRS) a project on time and on budget shop drawingsstandards. and thermally- completing • Solid Phenolic Vivix façade compromising the intent. • highest systems of work EA with alldesigner’s EAstandards. Façade broken façade solutions. to the industry Ceramic façade Tonality We take a common-sense approach to Our •systems lines. universal • Zinc, offer Copper, Corten, Stainless Steelapplications & development; functional Engineered Assemblies offering understands and Aluminum façade across all EA façade lines; design assembliesthe thatphilosophy are cost effective without We EA HIGH-PERFORMING FAÇADEenabling LINES promotes of partnership. take a common-sense approach to • Daylighting solutions CPI compromising designer’spresence intent. freedom and ease of installation. We maintain athe cooperative Metal Imetco and wall systems • Fibreroof Cement Equitone façade Our systems universal applications on offer achieving the desired goal; systems development; offering functional • Natural Wood Parklex façade façade on lines; design assemblies completing a project timeenabling and on budget that are cost effective without • Porcelain Fiandre façade freedom and ease of installation. to the highest of industry standards. • Solid Phenolic Vivix façadedesigner’s OUR PARTNERS: compromising the intent. Ceramic façade Tonality We take a common-sense approach to Our •systems OUR PARTNERS: universal • Zinc, offer Copper, Corten, Stainless Steelapplications & development; offering functional Aluminum all EAfaçade façade lines; enabling design assemblies that are cost effective without across • Daylighting solutions CPI compromising the designer’s intent. freedom and ofwall installation. • Metalease roofImetco and systems Our systems offer universal applications • •

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Contact us today at info@engineeredassemblies.com excellence in creative design possibilities, bringing imagination to life. Contact us today at info@engineeredassemblies.com EngineeredAssemblies.com | 1 866 591 7021 | #brilliantbuildings EngineeredAssemblies.com | 1 866 591 7021 Contact us today at info@engineeredassemblies.com EngineeredAssemblies.com | 1 866 591 7021 | #brilliantbuildings Aluminum façade

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5 5

Engineered Assemblies - UoO Learning Centre (Canadian Architect)(9x11) 04-14-20.indd 1 CA May 20.indd 14

2020-04-14 1:32 PM 2020-05-01 9:54 AM

Briefs En bref

RAIC Journal Journal de l’IRAC

The RAIC Office is remote for 2020 On Friday, March 13, the RAIC’s head office facility in Ottawa closed for two weeks and launched a remote working capacity for all staff. This change has since extended to the rest of 2020. Rest assured, the RAIC will still be there to support our members with whatever challenges lay ahead.

L’IRAC passe au télétravail pour 2020 Le vendredi 13 mars 2020, le siège social à Ottawa a été fermé pendant deux semaines et a mis en place un système de télétravail pour tout le personnel. Ce changement s’est depuis étendu au reste de l’année 2020. Soyez assurés que l’IRAC sera toujours là pour aider ses membres à relever les défis qui les attendent.

Log on to the RAIC 2020 Conference on Architecture This year, the RAIC had to cancel the annual Conference on Architecture and we’ve decided to pivot to a virtual platform. The RAIC Virtual Conference on Architecture will offer 18 hours of structured learning in a flexible format including one live day—on June 4—and the remaining as Conference-on-Demand. Register now for the Virtual Conference at raic.org.

Connectez-vous à la Conférence de l’IRAC sur l’architecture 2020 Cette année, l’IRAC a dû annuler sa Conférence annuelle sur l’architecture et nous avons décidé de passer à une plateforme virtuelle. La Conférence virtuelle de l’IRAC sur l’architecture comprendra 18 heures d’apprentissage structuré dans un format flexible, dont une journée en direct le 4 juin et le reste sous forme de conférence à la demande. Inscrivez-vous dès maintenant à la Conférence virtuelle en vous rendant sur le site raic.org.

Continuing Education goes virtual The RAIC and its Continuing Education presenters have successfully transitioned our offerings to a virtual platform. Make sure to check on raic.org to find out the details on specific courses.

La formation continue passe au virtuel l’IRAC et les formateurs ont réussi à faire la transition vers une plateforme virtuelle. Ne manquez pas de consulter le site raic.org et surveillez les bulletins sur la formation continue pour connaître les détails des cours offerts cette année.

Spotlighting Architectural Excellence Pleins feux sur l’excellence en architecture Tanner Morton Editor, RAIC Journal Rédacteur en chef, Journal de l’IRAC

Throughout the rest of the year, the pages of the RAIC Journal are dedicated to a singular goal: celebrating architectural excellence in Canada. In each issue, the winners of the RAIC’s portfolio of awards—whether the honouree is a firm or an individual—will be featured. This month’s showcase includes the RAIC Firm Award, Emerging Architect, both Emerging Practice honourees, and the Prix du XXième siècle. The purpose behind spotlighting our winners is in the threefold vision and mission of the RAIC: to demonstrate how design enhances the quality of life while addressing societal issues through responsible architecture, to promote excellence in the built environment, and to advocate for responsible architecture.

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

RAIC M20.indd 15

2020 has been a difficult year for the profession, with COVID-19 creating an uncertain future for architects and Canadians across the country. It also, unfortunately, means the winners from this year’s awards season will not be honoured in-person until the RAIC 2021 Conference on Architecture in Montreal, Quebec. Still, it is important to celebrate the achievements of our peers in the profession, and the RAIC would like to congratulate the winners that will be featured throughout the rest of the year ahead.

Pendant le reste de l’année, les pages du Journal de l’IRAC seront consacrées à un objectif unique : célébrer l’excellence en architecture au Canada. Dans chaque numéro, les lauréats du portefeuille de prix de l’IRAC—qu’il s’agisse d’une entreprise ou d’un seul architecte—verront leur travail mis en vedette. Le dossier de ce mois-ci comprend le Prix du cabinet d’architectes de l’année, le Prix de l’architecte de la relève, le Prix du cabinet d’architectes de la relève et le Prix du XXe siècle. La mise en lumière de nos lauréats s’inscrit dans la vision et la mission de l’IRAC, qui consistent à démontrer comment la conception contribue à améliorer la qualité de vie tout en abordant des enjeux importants de la société grâce à une architecture responsable, à promouvoir l’excellence dans l’environnement bâti et à promouvoir une architecture responsable. L’année 2020 a été une année difficile pour la profession, la crise de la COVID-19 créant un avenir incertain pour les architectes et les Canadiens partout au pays. Cela signifie aussi, malheureusement, que les lauréats de la saison des prix de cette année ne seront pas honorés en personne avant la Conférence de l’IRAC sur l’architecture 2021, qui se tiendra à Montréal, au Québec. Il est tout de même important de souligner les réalisations de nos pairs dans la profession, et l’IRAC tient à féliciter les modèles d’excellence qui seront mis en vedette tout au long du reste de l’année à venir.

2020-04-22 10:35 AM

RAIC Journal

Journal de l’IRAC

Architectural Firm Award Prix du cabinet d’architectes de l’année 1 4th Street Underpass Enhancement 1 Amélioration du passage souterrain de la 4e Rue 2 MBAC studio, circa 2014 2 Atelier de MBAC, vers 2014 3 Poppy Plaza, Calgary 3 Poppy Plaza, Calgary 1

4 Bend, Winnipeg 4 Bend, Winnipeg

marc boutin architectural collaborative inc. (MBAC) Since its inception in 1997, marc boutin architectural collaborative inc. (MBAC) has operated at the boundary between design disciplines, seeking a density of meaning that emerges through the synthesis of art, architecture, urban design and landscape design. This interdisciplinarity both characterizes and enriches the quality of the firm’s work, by placing emphasis on the relationships between scales of design. Over more than twenty years, MBAC has been recognized for design excellence for both unrealized and built projects across a broad spectrum of project types. This recognition has come in the form of awards including numerous Mayor’s Urban Design Awards in Calgary and Edmonton, several Prairie Design Awards, nine Canadian Architect Awards, a Progressive Architecture Award, a Canadian Society of Landscape Architecture National Honour, National Urban Design Awards, and a Landscape Network Top 10 Public Space Award. Comprising over 70 projects, the firm’s diverse portfolio includes small public plazas and large civic works yards, as well as custom houses and heritage building renovations. MBAC is currently working on a 7,400-squaremetre multi-use facility that will include a fire

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station, non-market housing, and shared corporate space for the City of Calgary. As a design firm that champions the importance of public space in a northern climate, MBAC frames sustainability as a design driver that ought to be considered pluralistically, and in the interest of social equity. MBAC is proud to pursue accreditation programs such as LEED and WELL—but also prides itself on engaging in architectural issues that impact the broader conceptual and environmental boundaries of social justice and the built environment. MBAC is proud of the Calgary Public Building Restoration being the first LEED Platinum accredited project for the City of Calgary; it takes equal pride in introducing food security as a design driver for the upcoming Sunalta Community Hub.

Jury comment MBAC’s collective body of work, framed as the Landscape of Memory, adeptly traverses across scales. The studio itself operates uniquely within an integrated practice model. Marc and his team embody a true commitment to architectural education, mentorship, public awareness, and the growth of architects.

5 John Fry Sports Park Pavilion, Edmonton 5 Pavillon du parc sportif John Fry, Edmonton 6 Edmonton Valley Zoo Children’s Precinct 6 Parc pour enfants du jardin zoologique d’Edmonton Valley

Over the years, MBAC has had nearly 40 employees, serving as a rich and vibrant place for design exchange and innovation. Led by Marc Boutin, the current staff includes Tony Leong, Richard Cotter, Nathaniel Wagenaar, Michelle Smith Cowman, Fatima Rehman, Brett Sanderson, Trevor Steckly, Tim Smith, Kalie Widmer and Ashley Ortlieb. As the firm continues to evolve and engage new design territories, it remains dedicated to the proposition that the best design ideas are the product of intensive, interdisciplinary collaboration, and preoccupied with a desire to leverage architecture’s capacity to materially enrich where and how we live.

2020-04-22 10:35 AM

Journal de l’IRAC

Storefront MB

RAIC Journal

Au cours des 20 dernières années, MBAC a été reconnu pour l’excellence de sa conception, tant pour les projets non réalisés que pour les projets construits. Cette reconnaissance a pris la forme de prix locaux, régionaux, nationaux et internationaux, notamment de nombreux Prix de design urbain décernés par les maires de Calgary et d’Edmonton, plusieurs Prairies Design Awards, neuf Canadian Architect Awards, un Progressive Architecture Award, une Distinction nationale de l’Association des architectes paysagistes du Canada, des Prix nationaux de design urbain et le prix Top 10 Public Space Award du Landscape Network. Composé de plus de 70 projets, le portfolio de l’entreprise est diversifié, tant au chapitre du type de programme que de leur envergure. Il comprend de petites places publiques et de grands chantiers de travaux publics, ainsi que des maisons sur mesure et des rénovations de bâtiments patrimoniaux. MBAC travaille actuellement à la construction d’une installation polyvalente de 7 400 m² qui comprendra une caserne de pompiers, des logements non commerciaux et des bureaux communs pour la Ville de Calgary.

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En tant que cabinet d’architecture qui défend l’importance de l’espace public dans un climat nordique, MBAC continue à considérer la durabilité comme un moteur de conception qui doit être envisagé de manière pluraliste et dans l’intérêt de l’équité sociale. MBAC est fier de participer à des programmes de certification tels que LEED et WELL, mais est également fier de prendre part à des enjeux architecturaux qui ont un impact sur les limites conceptuelles et environnementales plus vastes de la justice sociale et de l’environnement bâti. À cette fin, MBAC est tout aussi fier du fait que la restauration du Calgary Public Building a été le premier projet à recevoir la certification platine LEED pour la Ville de Calgary, et que la sécurité alimentaire soit le critère de conception du prochain carrefour communautaire Sunalta. MBAC compte près de 40 employés et constitue un point d’échange et d’innovation riche et dynamique en matière de conception. Sous la direction de Marc Boutin, le personnel actuel comprend Tony Leong, Richard Cotter, Nathaniel Wagenaar, Michelle Smith Cowman, Fatima Rehman, Brett Sanderson, Trevor Steckly, Tim Smith, Kalie Widmer et Ashley Ortlieb. Alors que le cabinet continue à évoluer et à s’engager dans de nouvelles voies de conception, il reste fidèle au principe selon lequel les meilleures idées de conception sont le fruit d’une collaboration interdisciplinaire intensive et cherche à mettre à profit la capacité de l’architecture à améliorer sensiblement notre milieu et notre mode de vie.

MBAC

Depuis sa fondation en 1997, MBAC exerce ses activités à la croisée entre les disciplines du design, constamment à la recherche d’une profondeur de sens qui découle de la synthèse de l’art, de l’architecture, du design urbain et de l’aménagement paysager. Cette interdisciplinarité caractéristique distingue et enrichit la qualité du travail du cabinet par l’accent qu’il met sur les relations entre les différents échelons du design.

Yellow Camera

Commentaire du jury L’œuvre collective de MBAC, conçue comme le Landscape of Memory, franchit habilement les différents niveaux. L’atelier lui-même fonctionne de manière unique dans le cadre d’un modèle de pratique intégré. Marc et son équipe incarnent un véritable engagement en faveur de l’enseignement de l’architecture, du mentorat, de la sensibilisation du public et de la croissance des architectes.

2020-04-22 10:35 AM

Emerging Architectural Practice Award Prix du cabinet d’architectes de la relève

Jonathan Friedman / PARTISANS

Fondé en 2012, PARTISANS est un atelier d’architecture primé, situé à Toronto, qui se spécialise dans l’intégration du design et de la technologie, de l’invention et de la programmation, ainsi que de la culture et des services créatifs. Dirigé par Alex Josephson, Pooya Baktash et Jonathan Friedman, le cabinet est composé d’une équipe diversifiée d’architectes, de chercheurs, de rédacteurs, d’entrepreneurs, de constructeurs et d’amateurs de culture qui se consacrent à une cause : un design intelligent et performant qui vise à rendre l’improbable possible.

PARTISANS

comes from the importance that they place on both innovation and partnerships.

Founded in 2012, PARTISANS is a Torontobased studio that integrates design and technology, invention and programming, and culture and creative services. Led by Alex Josephson, Pooya Baktash, and Jonathan Friedman, the practice includes a diverse team of architects, researchers, storytellers, entrepreneurs, builders and cultural enthusiasts devoted to a single cause: creating smart, high-performance design that strives to make the improbable possible.

In their design process, PARTISANS combines new-world technologies with old-world craftsmanship. They use advanced digital modelling and rapid prototyping technologies, as well as hand-drawing, photography and sculpture to create context-specific solutions. These practices help hone aspirations, while ensuring high fidelity to a strong concept all the way through to construction.

The name PARTISANS comes from the importance the studio places on taking clear positions on architectural issues. They regard architecture to be a collective, political act. The three partners share an ethos that architecture is not just the act of designing, but rather also a way of seeing, thinking and making that expands—and even revolutionizes—our experience of the world. PARTISANS works across scales, programs and types—from the design of objects and furniture, to transit stations and urban visions. The strategic decision to forgo programmatic or typological specialization

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With every project, the team at PARTISANS designs to optimize performance and experience with an eye toward subverting expectations and creating meaningful built experiences.

Jury comment The firm’s projects are original, powerful and evocative. The team is capable of thinking at all scales from interiors to city planning; the works speak to a vision for the future that is free-minded and innovative. As outspoken advocates for the quality of architecture as a social vehicle, their success is evidenced by the beloved spaces they have crafted.

Le nom PARTISANS vient de l’importance que l’atelier accorde à la prise de position claire sur les enjeux en matière d’architecture. Les trois architectes considèrent l’architecture comme un acte collectif et politique. Ils partagent l’idée que l’architecture n’est pas seulement un acte de conception, mais aussi une façon de voir, de penser et de faire qui élargit, voire révolutionne, notre expérience du monde. PARTISANS travaille à des échelles, dans des programmes et des types de projets différents, allant de la conception d’objets et de meubles aux stations de transport en commun et aux visions d’urbanisme. La décision stratégique de renoncer à la spécialisation programmatique ou typologique vient de l’importance qu’ils accordent à la fois à l’innovation et aux partenariats.

Grotto Sauna, Lake Huron, Ontario

Grotto Sauna, Lac Huron, Ontario

Dans son processus de conception, PARTISANS combine les technologies du Nouveau Monde avec le savoir-faire de l’Ancien Monde. Le cabinet utilise des technologies avancées de modélisation numérique et de prototypage rapide, ainsi que le dessin à la main et la sculpture pour créer des solutions adaptées au contexte. Ces pratiques permettent d’affiner les aspirations, tout en garantissant une grande fidélité à un concept rigoureux tout au long de la construction. Dans chaque projet, l’équipe de PARTISANS s’efforce d’optimiser le rendement et l’expérience en vue de renverser les attentes et de créer des bâtiments significatifs.

Commentaire du jury Les projets du cabinet sont originaux, percutants et évocateurs. Pouvant être pensés à toutes les échelles, allant des aménagements intérieurs à l’urbanisme, ces ouvrages témoignent d’une vision d’avenir libre et innovante. La qualité de l’architecture en tant que véhicule social se reflète dans les espaces qu’ils ont créés.

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breuses facettes du design et soutient l’idée qu’un design de qualité peut—et doit—améliorer notre environnement. La gamme de services de design de Nine Yards comprend l’architecture, la décoration intérieure, la conception de meubles, le design graphique, l’image de marque et les installations artistiques sur mesure.

Tamzin Gillis, Dear Addie Photography

Les fondatrices du cabinet ont toutes deux été membres de comités au sein du conseil d’administration de l’Architects Association of Prince Edward Island, dont Stojak a été la présidente de 2016 à 2018. Les deux associées font du mentorat; l’année dernière, elles ont créé la bourse « Nine Yards Studio » à la Dalhousie School of Architecture pour les étudiants de maîtrise qui font preuve d’engagement envers leur communauté.

NINE YARDS STUDIO

Founded in 2017 by architects Silva Stojak and Shallyn Murray, Nine Yards Studio is a multidisciplinary design practice on Prince Edward Island, with a satellite office in Halifax. The studio’s name is inspired by the expression “the whole nine yards”; the practice is committed to the many facets of design and the proposition that great design can— and should—enhance our surroundings. Nine Yards’ range of design services includes architecture, interior design, furniture design, graphic design, branding and custom art installations. The firm’s founders have both been committee members on the board of the Architects Association of Prince Edward Island, for which Stojak served as President from 2016 to 2018. Both partners act as mentors; last year, they created the Nine Yards Studio Scholarship at the Dalhousie School of Architecture for Master’s students who show a commitment to their community. Stojak received her architecture degree from the University of Sarajevo in 1987 and was a partner at BGHJ Architects before starting Nine Yards. She was named one of the top 10 Women Business Leaders by Atlantic Business Magazine and awarded the 2012 Lieutenant Governor Award for Excellence in Architecture. Murray holds a Diploma in Engineering from the University of Prince Edward Island

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as well as a Master’s of Architecture from Dalhousie University. She is the youngest practicing architect on the Island, and currently sits on the planning board for the City of Charlottetown, as well as being a member of the sustainability-focused Vision 2050 board. The firm hosts community-focused events, including a recent panel about the sustainable development of Charlottetown’s waterfront— a project which will be further developed in the coming year in collaboration with the City.

Jury comment Nine Yards Studio shows an admirable dedication to community through the promotion of architecture, craft, and design that is uniquely representative of the place in which they live and practice. The quiet elegance of their work is rooted in the context of Prince Edward Island. At the forefront, the realizations of the studio are extremely playful within a critical discourse. The studio is an active leader in the profession through their work with Building Equality in Architecture, Atlantic (BEAA).

Fondé en 2017 par les architectes Silva Stojak et Shallyn Murres, Nine Yards Studio est un cabinet de design multidisciplinaire situé à l’Île-du-Prince-Édouard et comptant un bureau satellite à Halifax. Le nom du studio est inspiré par l’expression « the whole nine yards », qui signifie « tout ou qui englobe tout »; le cabinet se consacre aux nom-

Silva Stojak a obtenu son diplôme en architecture à l’Université de Sarajevo en 1987 et a été associée chez BGHJ Architects avant de fonder Nine Yards. Elle a été nommée parmi les dix premières femmes chefs d’entreprise par l’Atlantic Business Magazine et a reçu le prix de la lieutenante-gouverneure pour l’excellence en architecture en 2012.

College of Piping Theatre, Summerside, Prince Edward Island

Théâtre du College of Piping, Summerside, Île-du-PrinceÉdouard

Shallyn Murray est titulaire d’un diplôme d’ingénieur de la University of Prince Edward Island ainsi que d’une maîtrise en architecture de la Dalhousie University. Elle est la plus jeune architecte en exercice sur l’île et siège actuellement au conseil de planification de la Ville de Charlottetown, en plus d’être membre du conseil d’administration de Vision 2050, un groupe axé sur la durabilité. Le cabinet organise des événements communautaires, dont un récent panel sur le développement durable du secteur riverain de Charlottetown—un projet qui sera approfondi au cours de l’année à venir en collaboration avec la Ville.

Commentaire du jury Le jury a estimé que la candidature de Nine Yards Studio révélait un engagement admirable envers la communauté par la promotion de l’architecture, du savoir-faire et du design, qui est particulièrement représentatif de l’endroit où le cabinet s’est installé et exerce ses activités. L’élégance sobre de son travail est ancrée dans le contexte de l’Île-du-Prince-Édouard. Au premier plan, les réalisations de l’atelier sont extrêmement ludiques et s’inscrivent dans un discours critique. L’atelier contribue activement à la profession par son travail avec BEAA.

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RAIC Journal

Journal de l’IRAC

Emerging Architect Award Prix de l’architecte de la relève

James Morely / A-Frame

une maîtrise en architecture à l’Université de Toronto. Il a obtenu des prix, notamment l’inscription au tableau d’honneur de l’IRAC et l’Irving Grossman Prize pour sa thèse sur le logement.

DREW ADAMS An Associate at LGA Architectural Partners, Drew Adams stands apart for his drive to affect meaningful change through design. A background in architecture, landscape architecture and urban planning fuels his capacity to engage differently. He is motivated by asking: how can we harness design to impact people’s lives and the environment in profound and lasting ways? Adams began studying urban planning at the University of Waterloo, then completed his Master of Architecture at the University of Toronto. He graduated with awards including the RAIC Honour Roll and Irving Grossman Thesis Prize for housing. After joining LGA Architectural Partners seven years ago, Adams has increasingly taken on leadership-focused roles within the studio. He has made instrumental contributions to a portfolio of community-building projects that demonstrate clear alternatives to the status quo, including Eva’s Phoenix Youth Transitional Housing Centre, Evergreen Brick Works’ Future Cities Centre, and the Lippincott Laneway House. His work also includes affordable housing, buildings engaging Indigenous communities, and numerous heritage and adaptive reuse projects.

Hall Americas Prize, and awards including the Jury Prize for Social Good in the international FRAME Awards, the OAA Design Excellence Award, the Ontario Concrete Award for Material Development and Innovation, the Canada Green Building Award, and the RAIC National Urban Design Award.

Jury comment Adams’ work displays an impressive commitment to the benefits of material research, technical explorations of building systems, energy modelling, and daylight studies—all in the service of designing and building a more inclusive living environment for those most in need in our communities. His commitment to the design office collaborative as a social tool to advance our knowledge, seen in regeneration projects such as Evergreen Brickworks, also supports and promotes the notion of self-advancement within a greater group. He demonstrates an impressive commitment to mentoring, education and public speaking engagements to promote architecture in the community.

Adams is a frequent speaker at conferences and guest lecturer at Ontario’s universities. He has authored pieces for several magazines, including co-authoring (with Janna Levitt) a series of articles on design and climate change.

Architecte associé chez LGA Architectural Partners, Drew Adams se distingue par sa volonté de créer des changements significatifs par le biais de la conception. Sa formation en architecture, en architecture du paysage et en urbanisme lui permet de s’engager différemment. Il est motivé par la question suivante : comment pouvons-nous mettre la conception au service de la vie des gens et de l’environ nement de manière profonde et durable?

Adams’ contributions have garnered wide recognition, with a nomination for the Mies Crown

M. Adams a commencé à étudier l’urbanisme à l’Université de Waterloo, puis il a obtenu

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Après s’être joint à LGA Architectural Partners il y a sept ans, M. Adams a assumé des rôles de plus en plus importants au sein du cabinet. Il a contribué de manière déterminante à un portfolio de projets de bâtiments communautaires qui offrent des solutions de rechange claires au statu quo, notamment le centre de logement de transition pour jeunes Eva’s Phoenix, le Future Cities Centre d’Evergreen Brick Works et la Lippincott Laneway House. Son travail comprend également des logements abordables, des bâtiments destinés aux communautés autochtones et de nombreux projets de réutilisation du patrimoine et d’adaptation.

Evergreen Brick Works Future Cities Centre, view south

Evergreen Brick Works, Future Cities Centre, vue sud

Drew Adams est souvent invité à présenter des exposés à des conférences et à donner des exposés dans les universités de l’Ontario. Il a rédigé des articles pour plusieurs magazines. Les contributions de M. Adams ont été largement reconnues, notamment par une nomination pour le Mies Crown Hall Americas Prize et par des prix tels que le Jury Prize for Social Good décerné par les FRAME Awards, le Design Excellence Award de l’OAA, l’Ontario Concrete Award for Material Development and Innovation, le Canada Green Building Award et un Prix national de design urbain de l’IRAC.

Commentaire du jury Le travail de Drew témoigne d’un engagement exceptionnel en faveur des avantages de la recherche sur les matériaux, des explorations techniques des systèmes de construction, de la modélisation énergétique et des études sur la lumière du jour, tous au service de la conception et de la construction d’un cadre de vie plus inclusif pour les personnes les plus démunies de nos communautés. L’engagement de Drew en matière de collaboration au sein du bureau de conception est un atout social permettant de faire évoluer nos connaissances dans le cadre de projets de régénération tels que le centre Evergreen Brickworks qui appuie et favorise également la notion de progrès personnel au sein d’un groupe plus large. Il a fait preuve d’un engagement remarquable en matière de mentorat et de formation sans compter ses interventions en public, tout cela dans le but de promouvoir l’architecture dans la collectivité.

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RAIC Journal

Prix du XXe siècle Award of Excellence / Prix d’excellence

L’efficacité énergétique a constitué un élément important de l’approche de « conception intégrée » adoptée par l’équipe d’architectes et d’ingénieurs. Les concepteurs se sont concentrés sur les questions de rendement des enveloppes et ont cherché à s’inspirer de l’expérience du secteur des serres de production. La conception de tous les systèmes de construction a été considérée de manière globale, y compris la capacité de gestion de la circulation de l’air naturel. Les papillons ne volent qu’à la lumière du jour, c’est pourquoi l’éclairage naturel a été au premier plan des travaux d’intégration des systèmes.

Richard Seck

Niagara Falls Butterfly Conservatory Baird Sampson Neuert Architects

The Niagara Parks Commission’s Butterfly Conservatory is an exemplary complex of glass buildings dedicated to the public display and rearing of live butterflies. Completed in 1994, it remains the largest and most northerly facility of its kind in North America. At the time of opening, it was celebrated in The Economist as a landmark international achievement. It quickly became a “must-see” attraction in Niagara Falls. The project was conceived as a year-round attraction to compliment the nearby Niagara Parks Botanical Garden. The building also expanded educational opportunities for students of the Niagara Parks Horticulture School. Energy efficiency was an important consideration for the “integrated design” approach taken by the architecture and engineering team. The designers focused on issues of envelope performance and endeavoured to learn from the production greenhouse industry. The design of all building systems was considered holistically, including their potential to manage natural air movement. Butterflies only fly in daylight, so natural lighting was at the forefront of systems integration efforts. The care with which the Butterfly Conservatory was planned and designed has resulted in an exceptional history of operational success over 25+ years. Close to 8 million people have visited the facility. On a busy day, 2,000 visitors pass through its doors. Satisfaction for visitors and staff remains very high—and the building operates as intended.

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nable » de la région de Niagara Falls. Le projet a été conçu comme une attraction à l’année pour compléter le Jardin botanique des parcs du Niagara situé à proximité. Le bâtiment a également permis d’élargir les activités éducatives pour les étudiants de la Niagara Parks Horticulture School.

Jury comment This project exemplifies a holistic approach to architecture in its sensitivity to the site, its materiality, its architectural expression and its response through research and technology to the demands of its unusual program. Anchored to its context and yet expressing a very Canadian aesthetic sensibility, the building is an enduring and quality example of environmentally sensitive architecture that foreshadowed the sustainability concerns of the 21st Century. The Butterfly Conservatory may not have been at the height of architectural fashion when it was completed in 1996, but with the benefit of hindsight, we see a building that has stood the test of time and was a forerunner in what we now understand as sustainable design. The conservatory design is based on careful problem solving, the use of natural, durable and repairable materials and a poetic engagement with the landscape. These elements alone make this project stand out and offer guidance to contemporary architects.

Jardin des papillons de Niagara Falls Le jardin des papillons de la Commission des parcs du Niagara est un complexe exemplaire de bâtiments en verre consacrés à l’observation publique et à l’élevage de papillons vivants. Achevé en 1994, il reste la plus grande installation de ce type en Amérique du Nord et la plus septentrionale. Lors de son ouverture, il a été salué dans The Economist comme une réalisation internationale de premier plan. Le jardin est rapidement devenu une attraction « incontour-

Journal de l’IRAC

View of the entry court and surrounding butterfly gardens, seen from the southern approach from the Botanical Garden Vue de la cour d’entrée et des serres-jardins de papillons avoisinants depuis la sortie sud du Jardin botanique

La qualité de la planification et de la conception du jardin des papillons s’est traduite par un succès opérationnel exceptionnel depuis plus de 25 ans. Près de 8 millions de personnes ont visité l’installation. Lors d’une journée de pointe, 2 000 visiteurs franchissent ses portes. La satisfaction des visiteurs et du personnel reste très élevée et le bâtiment fonctionne comme prévu.

Commentaire du jury Ce projet témoigne d’une approche holistique de l’architecture par sa sensibilité au lieu, son importance, son expression architecturale et sa réponse par la recherche et la technologie aux exigences de son programme hors du commun. Ancré dans son contexte tout en exprimant une sensibilité esthétique très canadienne, le bâtiment est un exemple durable et de qualité d’une architecture respectueuse de l’environ nement qui a présagé les préoccupations en matière de durabilité du 21e siècle. Ce projet n’était peut-être pas en vogue au moment de son achèvement en 1996, mais avec le recul, nous voyons un bâtiment qui a résisté à l’épreuve du temps et qui a été un précurseur de ce que nous comprenons maintenant comme une conception durable. La conception du bâtiment repose sur la résolution minutieuse des problèmes, l’utilisation de matériaux naturels, durables et réparables et une approche poétique du paysage. À eux seuls, ces éléments font que ce projet se démarque et propose des lignes directrices aux architectes d’aujourd’hui.

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RAIC Journal

Journal de l’IRAC

Prix du XXe siècle Certificate of Merit / Certificat de mérite

Robert Burley

de sentiers riverains le long du lac Ontario. La conception a nécessité la mobilisation d’une équipe intégrée d’ingénieurs, d’architectes, d’architectes paysagistes et d’artistes qui ont su mettre en valeur le patrimoine culturel et naturel du site.

Humber Bicycle and Pedestrian Bridge Montgomery Sisam Architects

The Humber River Bicycle and Pedestrian Bridge provides a vital link to the waterfront trail system along the shore of Lake Ontario. The design called for an integrated team of engineers, architects, landscape architects and artists, so that the project could provide a narrative of the cultural and natural heritage of the site. The tied-arch form and cairn-like concrete abutments mark a gateway to what was once a historic trading route of Eastern Woodlands Indigenous peoples, who frequented the site for over 200 years. The steel superstructure connecting the two tubular arches is patterned with an abstract image of the Thunderbird—ruler of all airborne species—an icon of these Indigenous peoples. Etched panels depicting the site’s complex history are located on walkways beneath the bridge deck. Snake and turtle motifs were incorporated in recognition of the natural world at the mouth of the Humber River. Structurally, the bridge’s post-tensioned concrete deck is supported by steel beams suspended by stainless steel rods from two parabolic steel arches. The superstructure was fully constructed on the banks of the river before being hoisted into position by a crane and a barge.

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In his memoir Witness to a City, former Toronto mayor David Miller writes that the Humber River Bridge “stands for the idea that public investments in great public places have enduring value, and that public money can and should be invested in beautiful places that benefit us all.” Ultimately the bridge is a place of connection: between Toronto and Etobicoke, but also between the past, present and future.

Jury comment This contemporary project successfully incorporates iconic aspects of the history and culture of the site while responding to the current needs for pedestrian and bicycle infrastructure. The Humber River Bicycle Bridge represents a unique collaboration of design disciplines that has resulted in a beautiful engineering and architectural work. It is also a forerunner in the creation of non-motorized transportation infrastructure and has become a landmark in the community.

Pont pour cyclistes et piétons de la rivière Humber Le pont pour cyclistes et piétons de la rivière Humber constitue un lien vital avec le réseau

La forme en arche et les culées en béton semblables à un cairn ouvrent la voie à ce qui était autrefois une ancienne voie de commerce des peuples autochtones des forêts de l’Est, qui ont fréquenté le site pendant plus de 200 ans. La superstructure en acier qui relie les deux arcs tubulaires reprend l’image abstraite de l’Oiseau-Tonnerre—le roi de toutes les espèces volantes—une icône de ces peuples autochtones. Des panneaux gravés représentant l’histoire complexe du site sont situés sur les voies piétonnières sous le tablier du pont. Des motifs de serpents et de tortues ont été intégrés en reconnaissance du milieu naturel à l’embouchure de la rivière Humber. Sur le plan structurel, le tablier en béton post-contraint du pont est soutenu par des poutres en acier suspendues par des tiges en acier inoxydable à deux arcs paraboliques en acier. La superstructure a été entièrement construite sur les berges du fleuve avant d’être hissée en position par une grue installée sur une barge.

Detail from pedestrian path underneath the bridge Détail vu du sentier qui passe sous le pont

Dans ses mémoires Witness to a City, l’ancien maire de Toronto David Miller écrit que le pont de la rivière Humber « défend l’idée que les investissements dans les grands lieux publics ont une valeur durable, et que l’argent public peut et doit être investi dans de beaux endroits qui nous profitent à tous ». En définitive, le pont est un lien : entre Toronto et Etobicoke, mais aussi entre le passé, le présent et l’avenir.

Commentaire du jury Ce projet contemporain intègre avec succès les aspects emblématiques de l’histoire et de la culture des lieux tout en répondant aux besoins actuels en matière d’infrastructures pour les piétons et les cyclistes. Le pont pour cyclistes et piétons de la rivière Humber est le fruit d’une collaboration unique entre des disciplines de conception qui a donné naissance à un magnifique ouvrage d’ingénierie et d’architecture. Il est également un précurseur dans la création d’infrastructures de transport non motorisé et est devenu un point phare dans la communauté.

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114 4 E. Newpor t Center Dr. Deerfield Beach, FL 33442

Date: March 16, 2020

4:27 PM

Colors: CMYK Process, 4/0

N O T E : C O L O R S V I E W E D O N - S C R E E N A R E I N T E N D E D F O R V I S U A L R E F E R E N C E O N L Y A N D M A Y N O T M A T C H T H E F I N A L P R I N T E D P R O D U C T.

MAPEI’s wood-flooring installation products – for where work and life meet

Shangri-La Hotel & Condos Toronto, Ontario

The right work environment for the home office space can make slipping in and out of “work mode” a little easier. When this luxury hotel and condo complex needed a solution for installing 37,161 m2 of premium oak wood flooring imported from Italy, they turned to MAPEI. They needed a quick installation that could provide sound reduction while maintaining a high aesthetic. MAPEI had just the solution with Ultrabond ECO 995, a FastTrack Ready™ one-step, sound-reduction adhesive. MAPEI’s products helped with a successful installation of wood flooring for a beautiful home (or home office) in every unit. MAPEI products used: Primer L™ , Ultrabond ECO ® 995 and a Novoplan® leveler For more info, visit www.mapei.ca, or call 1-800-42-MAPEI (1-800-426-2734).

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2020-05-01 9:54 AM

HYBRIDITY, MODESTY, MODERNITY

CANADIAN ARCHITECT 05/20

SCOTT NORSWORTHY

2020 GOVERNOR GENERAL’S MEDALS IN ARCHITECTURE

ABOVE A sculpted wood ceiling graces Shim-Sutcliffe’s Lake Kawagama Retreat, one of this year’s award-winning projects.

TEXT

David Theodore

The 2020 Governor General’s Medals in Architecture winners show the value of investing time and resources in quality place-making. A monumental, billowing temple that watches over Santiago, Chile, like a spaceship from the movie Arrival is joined on the podium by a bustling aquatic centre on the University of British Columbia campus. Likewise, a punctilious cottage that glows lakeside in rural Ontario joins a figurative building made to house small boats on the shores of English Bay. Together, these twelve distinguished projects reflect what recent writers have identified as the hallmarks of unpretentious architectural excellence in Canada: hybridity, modesty, modernity. A renewed willingness to insist on good design among the Canadian polities that commission buildings animates this year’s list. The jury applauds the efforts of both designers and clients to promote well-detailed, thoughtful, beautiful architecture in suburban, exurban and small-city locations. In Saskatoon, Saskatchewan, the box-on-box forms associated with downtown Toronto coalesce into a grandiloquent sculpture high above the South Saskatchewan River. Expanded metal screens contrast with a cross-laminated timber canopy to frame a civil civic space in St. Jérôme, Quebec. Kudos to Edmonton in this regard. Spurred on by a program of competitions and the guidance of a city architect, good architecture is on the rise in Alberta. A welcoming community swimming pool might be an obvious setting for good architecture. But Edmonton also commissioned architects to design a piece of utilitarian city infrastructure, transforming a wastewater control plant into an urban event—especially at night, when its glass walls light up. The awards for these buildings recognize that half the battle for making good architecture is putting in place a process for achieving it. Underscoring this campaign for architectural excellence is the ongoing relevance of the library as a node for community development. For several years now, municipalities have promoted skilled place-making in new branch libraries. In Drummondville, Quebec, one such library reorganizes citizens’ cognitive maps of a small city’s central rec-

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reational zone. The skating rink and fields become part of an extended promenade architecturale that symbolically accommodates the trajectories of cyclists, hockey players and automobiles. In Brampton, Ontario, a new library-as-civic-hub pushes structure and form to delight and surprise visitors. It includes a deft, spectacular array of devices to modulate natural light, carving out civitas in what once was unmarked suburbia. Indeed, several winners showed the power of designing for the quality of available light. A small remembrance centre near Edmonton includes a skylight-topped tower; photographs set the charcoal-toned architecture in sparkling snow. And the shiny, jagged envelope of an art gallery on the shoreline of North Vancouver reflects and refracts mercurial waters and cloud-strewn skies. Some of these buildings are so good that it is tempting to cite them as evidence of the quality of architectural practice in Canada. Yet because the awards program relies on self-nomination, it is tough to generalize from this list of winners. For instance, given the laudable efforts of the RAIC and provincial architectural organizations to promote energy efficiency in building, the jury was surprised that this year’s submissions mostly elide concerns over carbon-hungry practices. The jury also saw little evidence of dynamic housing design in any of its forms: market condominiums, social housing, or even the evergreen prizewinner, the well-detailed secondary home. Likewise, it would be wonderful to see more Medals awarded to projects in the north and east of the country. Perhaps the criteria should be changed to encourage other kinds of submissions—and perhaps Canadians need to invest time, training and resources in commissioning excellence across areas outside of the country’s major cities and their suburbs. In short, there is no lack of challenges facing Canadian architects. Nonetheless, the projects premiated here—representing a diverse range of ambitious responses to a diverse range of design problems—should give us hope that Canadians recognize the deep value of architectural excellence. David Theodore was a juror for the 2020 Governor General’s Medals in Architecture. The jury also included Alison Brooks, Johanna Hurme, Renée Mailhot and Isay Weinfeld.

2020-05-01 9:54 AM

ANDRÉS SILVA

CANADIAN ARCHITECT 05/20

26 GOVERNOR GENERAL’S MEDAL WINNER

BAHÁ’Í TEMPLE OF SOUTH AMERICA LOCATION

Santiago, Chile Hariri Pontarini Architects

ARCHITECT

At the heart of this building, there is a belief and an aspiration: that even now, in the fractured twenty-first century, we can respond to a human yearning to come together—to connect to one another and to something that moves the spirit. The Bahá’í Temple of South America sits on the edge of Santiago, nestled against the spine of the Andes mountains. Commissioned by the Bahá’í House of Justice, it is the eighth and final continental Temple for the Bahá’í Faith. But central to its design is that it be a place of welcome, community and meaning for everyone. The design brief was deceptively simple—nine sides and nine entrances; a spiritual structure open to people of all faiths. Distilled to its essence, the building seeks to come alive with embodied light. Composed of nine gracefully torqued wings bound to a central oculus, the Temple is an interplay of seemingly contradictory forces: stillness and movement, simplicity and complexity, intimacy and monumentality. In contrast to the Temple’s subtle presence on the landscape, once one is inside, the building soars. The voluminous interior is alive with soft light that filters through the cast-glass outer cladding and translucent marble inner cladding, creating a mesmerizing play of material, light and surface over the course of the day. The contoured lines of the supple wooden benches invite people to come together in quiet contem-

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plation. Alcoves in the mezzanine allow visitors to seek solitude, while maintaining connection with the community below. Given the intimacy and delicacy of the Temple, it is easy to overlook the complex design, material innovation, engineering and construction required to bring the building to fruition. A four-year exploration into a new exterior cladding material, capable of withstanding large temperature fluctuations, led to the creation of cast glass made from borosilicate rods. The Temple’s wings are supported by a steel superstructure with friction pendulum base isolators. The structure is engineered to maximize daylighting while allowing the Temple to endure for a 400-year lifespan in an active seismic zone—part of the mandate from the client. The Temple treads lightly on its environment. Its mass, material and unique double-shell cladding enable mostly passive heating and cooling. In the summer, all of its windows and doors open to provide natural ventilation. An underground tunnel is used as an earth tube to bring in cool air in a stack loop cycle; hot air is exhausted through operable louvres at the top of the oculus. In the winter, the mass of the Temple’s cladding stores and releases solar energy, to heat the occupied area. The Temple has become the embodiment of the community’s aspirations. The building draws people from all walks of life; its impact has extended further than the design team could have imagined. It holds an important place within the Chilean social landscape, hosting community clubs, youth outreach programs, and children’s activities in partnership with local schools. Since opening in October 2016, it has wel-

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GUY WENBORNE

DOUBLESPACE PHOTOGRAPHY

CANADIAN ARCHITECT 05/20

comed over 1.4 million visitors from around the globe. One hopes that the Temple continues to be a timeless place where people feel at home, able to hold their beliefs amongst others. :: Jury :: This building is brave, unexpected, and playful—a spectacu-

SIAMAK HARIRI

lar beacon on a hillside outside Santiago, Chile. The jury admired the translucency and magical complexity of its form, whose idiosyncrasies and deviations grow organically from a controlled radial geometry. This level of technical virtuosity is unusual coming out of Canada’s architectural production, which makes the Temple a good envoy for promoting Canada’s design expertise on the world’s stage.

PROJECT TEAM SIAMAK HARIRI (PARTNER-IN-CHARGE), DORON MEINHARD, JUSTIN HUANG FORD,

TIAGO MASROUR, TÁHIRIH VIVEROS, MICHAEL BOXER, GEORGE SIMIONOPOULOS, ROSTAM SOHAILI, JIN-YI MCMILLEN, JAEGAP CHUNG, ADRIANA BALEN, JOHN COOK, MEHRDAD TAVAKKOLIAN, DONALD PETERS, JIMMY FARRINGTON, MIREN ETXEZARRETA-ARANBURU, JEFF STRAUSS | CLIENT THE NATIONAL SPIRITUAL ASSEMBLY OF THE BAHÁ’ÍS OF CHILE | LOCAL ARCHITECT BENKAL Y LARRAIN ARQUITECTOS | SUPERSTRUCTURE AND CLADDING GARTNER STEEL AND GLASS GMBH | CONSTRUCTION MANAGEMENT DESARROLLO Y CONSTRUCCIÓN DEL TEMPLO BAHÁ‘Í DE SUDAMÉRICA LTDA. | GLASS CLADDING JEFF GOODMAN STUDIO, CBD GLASS | STONE FABRICATION EDM | WOOD FABRICATION MERRITT WOODWORK | LANDSCAPE JUAN GRIMM | STRUCTURAL SIMPSON GUMPERTZ & HEGER, HALCROW YOLLES (CH2M HILL), EXP, PATRICIO BERTHOLET M., VMB INGENIERÍA ESTRUCTURAL | MECHANICAL & ELECTRICAL MMM GROUP, ELEKTRICA, GHD | PLUMBING VIDELA & ASOCIADOS | HVAC THE OPS GROUP, GHD, CR INGENIERÍA | LIGHTING LIMARI LIGHTING DESIGN LTDA., ISOMETRIX | ACOUSTICS VERÓNICA WULF | WAYFINDING ENTRO COMMUNICATIONS | OCCUPANCY OCTOBER 1, 2016 | BUDGET $36 M

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OPPOSITE A landscaped garden with reflecting pools radiates outwards from the Temple, conceived as a nine-sided structure with nine entrances. CLOCKWISE FROM TOP LEFT The luminous envelope includes an outer shell of translucent marble and an inner shell of bespoke castglass panels; hand-finished materials such as walnut, leather and patinaed bronze bring a warm textural quality to the interiors; an early design development sketch of the Temple.

2020-05-04 2:34 PM

CANADIAN ARCHITECT 05/20

28 GOVERNOR GENERAL’S MEDAL WINNER

BORDEN PARK NATURAL SWIMMING POOL

Edmonton, Alberta gh3 architecture gh3*

LOCATION

ARCHITECT PHOTOS

The Borden Park Natural Swimming Pool is the first chemical-free public outdoor pool to be built in Canada. The project replaced an existing pool and includes a seasonal pavilion and landscaped pool precinct for 400 swimmers. The challenge was to create a large-scale pool with high-quality water control, while also achieving an environmentally healthy, natural filtration process. The design process began with developing a pool technology that cleanses the water through stone, gravel, sand and botanic filtering processes. This inspired a materials-oriented concept for the change room facility. The result is a technically rigorous and aesthetically integrated design: the change pavilion’s gabion basket stone walls visually evoke the idea of filtration. Canada’s guidelines for public pools are some of the strictest in the world. To realize the project, the architects needed to take a creative design approach grounded in a first-principles, science-based approach to the design challenge. The project was classified as “recreational waters,” with the building permit issued as a “constructed beach with variances”—the variances were the pools. The project creates a balanced ecosystem where plant materials, microorganisms and nutrients come together within a gravel- and sand-filtering process to create “living water.” There is no soil involved in this process. Filtration is achieved in two ways: through a biological-mechanical system (the constructed wetland and gravel filter) and in situ (with zooplankton). The unsterilized, chemical- and disinfectant-free filtering system uses isolating membranes to contain water as it circulates and is naturally cleansed. The cleansing process takes place at the north end of the pool precinct. On deck, water passes through a sand-and-stone submersive

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pond and a planted hydro-botanic pond. Adjacent to these ponds, a granular filter PO4 adsorption unit is enclosed by gabion walls continuous with the building. In addition to the water filtration mechanisms, the seasonal building houses universal change rooms, showers, washrooms and staff areas. The swimming program includes a children’s pool, a deep pool, on-deck outdoor showers, a sandy beach, picnic areas, and spaces for other pool-related recreational activities. The project’s materiality creates a fundamental, conceptual connection between the technical demands of the pool and the design of the built enclosure and landscape elements. The dark, locally sourced limestone and steel of the gabion wall construction defines the enclosure’s vertical dimension as filter-like or breathable, as granular and porous. The pool precinct is defined by a planar landscape: f lush-to-surface detailing creates seamless interfaces among sandy beach, the concrete pool perimeter and wood decking. The gabion walls of the low rectilinear building terminate with a lid-like f lat roof that frames the tree canopy of the park beyond and enhances the sensation of open-sky spaciousness within the pool precinct. The elemental form and reductive materials ease the user experience and enrich the narrative of bathing in the landscape. The juxtaposition of the constructed elements invokes comparisons with the geology of the North Saskatchewan River and the f lat topography of the Prairie lands’ edge. :: Jury Comments :: Clear, calm and modest, this project presents

admirable restraint and control over form, materials and scale. Every element feels essential and thought has gone into every decision and detail. The pool evokes an elemental walled garden that welcomes the surrounding community. The jury salutes the City of Edmonton for commissioning it. It goes to show that if you support good civic design, you just might get it!

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PROJECT TEAM PAT HANSON, RAYMOND CHOW, JOHN MCKENNA, JOEL DI GIACOMO, DAE HEE KIM,

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CANADIAN ARCHITECT 05/20

OPPOSITE An austere pavilion is made of gabion walls that allude to the natural filtration process for the pool’s waters. ABOVE, CLOCKWISE FROM TOP LEFT Folding steel entry doors underscore the depth of the pavilion’s walls; the changing areas are constructed from marine-grade plywood rubbed with black and white paints to bring out the woodgrain; planted pools are integral to the natural filtration process.

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CANADIAN ARCHITECT 05/20

30 GOVERNOR GENERAL’S MEDAL WINNER

DRUMMONDVILLE LIBRARY Drummondville, Quebec Chevalier Morales and DMA architectes in consortium Adrien Williams, unless otherwise noted

LOCATION

ARCHITECT PHOTOS

Two hundred years ago, a garrison of soldiers-turned-farmers founded Drummondville, Quebec. Later, a railway bridge was constructed over the nearby St. François River. Beginning in 1919, a series of hydroelectric dams on that same river allowed the city to develop an industrial economy, serviced by rail and powered by turbines. In recent years, the city has made a difficult economic transition. Drummondville’s new library is a symbol and a synthesis of these redevelopment efforts, embodying the municipality’s forward-looking attitude. The library is closely connected to a neighbouring ice rink—an important locus of identity for a municipality that is the hometown of over a dozen professional hockey players. A heat exchange loop links the rink’s compressors and the library’s heating system. The rink and its surrounding outdoor space accommodate a variety of seasonal uses, including festivals, day camps, Christmas markets and concerts. Inside, the building features a vast double-height space with a grand stair, inspired by the local turbines. Ascending the two off-centre helical staircases allows for views towards the exhibition areas, a garden adjacent the periodical lounge, and other parts of the library. A large intermediate landing serves a double function: it provides a literal overview of the library’s collections, while also inviting visitors to pause, converse or change direction. A duo of reading gardens extends up to the second level, forming an axis that divides the f loor into two zones. To the north is the fic-

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tion collection; to the south, the adult non-fiction collection. A set of bleachers, set alongside the teen area, connects the youth and adult sections, providing a space for families with a privileged view of the outdoor rink and its winter sports. The exterior cladding of the building includes a glass envelope that gives the project a smooth, continuous appearance. In order to optimize energy performance, three different types of glass panels are used: opaque glass panels that conceal insulated walls, fritted glass panels to control solar gain, and transparent panels to frame views of the site and provide natural light for work, lounge and reading areas. Perforated steel panels are installed behind fritted and transparent glass panels in select parts of the envelope, creating visual depth and speaking to the city’s industrial past. :: Jury Comments :: The jury applauds the local authorities who com-

missioned this detailed, delicate and well-resolved building. Placed next to a suburban hockey arena, the library uses stylized curves to great effect. The design benefits from robust visual and physical connections that unite architectural experiences inside the library with the landscaping. The all-white interior offers graceful swoops of walls and stairs, all raked by sweeps of natural light.

PROJECT TEAM CHEVALIER MORALES ARCHITECTES—STEPHAN CHEVALIER, SERGIO MORALES,

ALEXANDRE MASSÉ, ÈVE BEAUMONT-COUSINEAU. DMA ARCHITECTES—CÉLINE LECLERC, FRANÇOIS LEMOINE, MICHÈLE MALETTE | CLIENT VILLE DE DRUMMONDVILLE—MARIE-ÈVE BERTHIAUME, BIBLIOTHÉCAIRE, SERVICE AU PUBLIC | OCCUPANCY SEPTEMBER 7, 2017 | BUDGET $21 M

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CHEVALIER MORALES

CANADIAN ARCHITECT 05/20

OPPOSITE The curved forms of the library are clad in a milky-white envelope of glass panels. ABOVE, CLOCKWISE FROM TOP LEFT The areas surrounding the perimeter were carefully planned with landscaping, public paths and a community ice rink; a double-helicoid staircase alludes to local hydroelectric turbines; slot-like skylights and courtyards allow daylight to fill the two-storey library.

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CANADIAN ARCHITECT 05/20

32 GOVERNOR GENERAL’S MEDAL WINNER

GILLES-VIGNEAULT PERFORMANCE HALL Saint-Jérôme, Québec Atelier TAG in consortium with Jodoin Lamarre Pratte architectes PHOTOS Adrien Williams LOCATION

ARCHITECT

The city of Saint-Jérôme, north of Montreal, is in the midst of reinventing itself as an eco-recreational and cultural hub. Its performance hall actively participates in this process, turning the traditional experience of the theatre inside-out. Through its placement, the Gilles-Vigneault Performance Hall marks a significant new civic axis and consolidates a portfolio of existing civic and cultural buildings that orbit the site. An open, transparent foyer embraces the public square, and unfolds into a grandstand that extends the theatre’s realm to the outdoors. The design reinterprets the traditional classical theatre archetype, replacing its staid formalism with a porous approach. Blurring the boundaries between outside and inside, a 930-squaremetre wood canopy acts as a unifying gesture. Articulated with origami-like folds, the canopy cantilevers over the plaza, and extends inside as a spectacular ceiling over the lobby. The expansiveness and contemporary language of the wood canopy pose a counterpoint to the neo-classical spire of St. Jérôme’s cathedral. This calculated urban staging tells the story of a decades-long shift: from the patriarchal, hermetic verticality of 19th-century ecclesiastical architecture, towards the democratic, egalitarian horizontality of contemporary Quebec society. The iconic presence of the new structure stems, in part, from its imaginative construction. The canopy uses cross-laminated timber

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as coffered beams, then innovates by creating a folded slab that makes use of the lateral structural rigidity of the system. The pleating forms an efficient, lightweight diaphragm, with folds that conceal mechanical systems. The solution unites architecture, structural and mechanical engineering needs. Moreover, it references Canadian construction culture, the distinct character of the Laurentian mountains, and the fundamental links that exist between natural forestry resources, technical know-how and built heritage. The main theatre structure is wrapped in an expanded aluminum veil that, through an optical play of layers, softens the imposing volume of the fly tower. Its luminous metallic quality nods to the cathedral’s traditional tin roof, while blurring the boundaries between architecture and landscape. :: Jury Comments :: This rugged concert hall works to activate the

downtown of Saint-Jérôme, Quebec. Sectionally interesting, the complex exterior shows an industrial grittiness that attempts to grab hold of its surroundings—symbolically and physically. A massive black spruce soffit protects the public in the forecourt, leading them inside to a lobby covered by the same canopy. The interior boasts a graceful concert hall clad skillfully in wood, following an undulating pattern. PROJECT TEAM ATELIER TAG—MANON ASSELIN (ARCHITECT PRINCIPAL), KATSUHIRO YAMAZAKI,

JASON TREHERNE, CÉDRIC LANGEVIN. JLP—NICOLAS RANGER, MICHEL DUPUIS, MAXIME GAGNON, ARIANE LATENDRESSE, OLIVIER MILLIEN, GUYLAINE BEAUDOIN, SERGE BRETON | CLIENT DIFFUSION EN SCÈNE RIVIÈRE DU NORD INC.—DAVID LAFERRIÈRE, GENERAL AND ARTISTIC DIRECTOR | STRUCTURAL SDK | MECHANICAL/ELECTRICAL SMI ENERPRO | CONTRACTOR GROUP DEMATHIEU BARD | LIGHTING CS DESIGN | SIGNAGE PK DESIGN | SCENOGRAPHY GO MULTIMEDIA | OCCUPANCY SEPTEMBER 29, 2017 | BUDGET $21 M

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CANADIAN ARCHITECT 05/20

OPPOSITE A grand staircase connects the performance hall to the outdoor plaza, knitting the building into its urban fabric. ABOVE, CLOCKWISE FROM TOP The building is wrapped in an expanded aluminum mesh that softens its volume; wood is paired with charcoal-toned seats and finishes in the performance hall; a pleated structural wood canopy extends from the outdoor plaza to the theatreâ&#x20AC;&#x2122;s main foyer.

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CANADIAN ARCHITECT 05/20

34 GOVERNOR GENERAL’S MEDAL WINNER

LAKE KAWAGAMA RETREAT Kawagama Lake, Ontario Shim-Sutcliffe Architects Inc. Scott Norsworthy, unless otherwise noted

LOCATION

ARCHITECT PHOTOS

This retreat is located on the south shore of the majestic Kawagama Lake, just west of Algonquin Park. It uses natural light to create a strong sense of place: its design is set on a slope, and balances north-facing views of the lake with an invitation for southern light to enter deep into the residence. The project is nestled in a mature deciduous forest, set back from the lake so as to be invisible from the water. Large, operable south-facing clerestory windows capture and amplify daylight as it enters the main living space. A series of wooden structural trusses shape the space and act as light ref lectors, embracing and diffusing the warm southern rays. The clerestories are paired with a long bank of north-facing windows with integrated window benches. This ensures visual transparency from sky to water and promotes cross-ventilation through the seasons. The residence presents a series of curated views, with each vantage point carefully constructed and composed. A window in a stairwell frames a portrait of trees, a hidden moment of indirect light appears adjacent to the fireplace, and the north windows provide sweeping vistas of the water’s edge. The building’s exterior combines charcoal-stained wood siding with wooden windows, blending into its woodland surroundings in the summer, while harmonizing with the dark deciduous tree trunks in

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the winter. Blue panels in front of a firewood stack provide contrast at a moment of transition between indoors and out, while a large green roof links to the forest f loor. The interior palette includes a Douglas fir ceiling and walls, paired with larch wood f loors. The fireplace, conceived as an abstract composition, anchors the project. One side of the fireplace is visible upon entry, along with a framed view of the lake. Stepping onto the hearth provides a view along the long bank of north-facing windows, before entering the main space. In the main living area, the room’s section is fully experienced: shaped by its timber structure, intertwined with natural light. :: Jury Comments :: Comforting, inviting, and carefully crafted,

this project carries on the grand tradition of wooden cabins nestled in the Canadian wilderness. The Haliburton retreat sits half-buried in the sloping terrain overlooking the lake, reducing our perception of the cabin’s bulk. Inside, every inch is scrupulously designed, almost as if the interior were carved out of a single piece of wood. The sculpting of light using wood—such as with the over-sized Douglas Fir fins in the main living area—creates a soft glow that animates the interior and invites you in any season. PROJECT TEAM BRIGITTE SHIM (FRAIC), HOWARD SUTCLIFFE (FRAIC), ANDREW KIMBER, ANDREW HART

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SHIM-SUTCLIFFE ARCHITECTS

CANADIAN ARCHITECT 05/20

SECOND FLOOR

GROUND FLOOR

SOUTH ELEVATION

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OPPOSITE Large, south-facing clerestory windows are paired with lakefacing windows on the opposite side. ABOVE, CLOCKWISE FROM TOP LEFT Wood structural trusses shape the light entering the main living area; a seating alcove adjoins the main entry; in winter, the residenceâ&#x20AC;&#x2122;s dark forms blend with the surrounding tree trunks.

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CANADIAN ARCHITECT 05/20

36 GOVERNOR GENERAL’S MEDAL WINNER

POLYGON GALLERY North Vancouver, British Columbia Patkau Architects James Dow, unless otherwise noted

LOCATION

ARCHITECT PHOTOS

For more than forty years, Presentation House Gallery has been a passionately independent showcase for photography and media arts. The North Vancouver institution has recently been reborn with a new building, and now operates under the name Polygon Gallery. More site-maker than site response, the building offers a vision of urban waterfront renewal where infrastructure is re-imagined and culture outgrows an industrial past. The main mass of the building is lifted from the ground plane, providing open access to both a new public plaza and a sweeping view of the Vancouver skyline, seen across Burrard Inlet. The building’s iconic saw-toothed profile is clad in layers of mirrored stainless steel beneath expanded aluminium decking. The interplay between the two materials gives the singular mass an ephemeral depth that shifts with changes in daily and seasonal sunlight. Gallery director Reid Shier requested gallery space free of obstacles, with floors and walls that can be cut into, ceilings from which anything could be hung in any position, access to power and media everywhere, and lighting that could be natural or controlled. The main gallery is thus conceived as an instrument readied for creativity—more studio than museum. The structural musculature of the building performs the dual purposes of lifting the gallery and providing a clear space. It can be darkened or completely daylit from above with diffuse northern light. Steel purlins provide tracks for lighting, data, media, suspended works and temporary partitions. The robust and easily patched oak flooring features a continuous central channel for ventilation, electrical, and data chases; these are

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readily accessible from freestanding works. The design allows for temporary partitions of any configuration. In addition to the main exhibition space, the upper level also includes a large, flexible event gallery for education, outreach and private functions. Its entire southern wall is made of operable glazing, offering a panoramic view of Burrard Inlet and downtown Vancouver. The lower level includes a fully glazed entrance and lobby and supports small retail spaces that help diversify waterfront development. These fine-grained street-level uses make the building a hub for the growing social life of the city’s waterfront. They also help to activate the plaza, making it a new cultural node for North Vancouver. Overall, Polygon Gallery reinforces a sense of local identity for a small city that neighbours a larger, more prominent metropolis. :: Jury Comments :: The bold mass and jagged profile of this public

gallery hover weightlessly over a glass entry f loor. The building creates a generous covered public area on the North Vancouver waterfront, with the form generating interaction between passersby and art-goers, lowering the boundary between elite art activities and daily life. Sensitive to sky and sea, the shimmering façade ref lects the changing light outside, while the inside boasts f lexible galleries capped by intimidating skylights. PROJECT TEAM JOHN PATKAU (FRAIC), PATRICIA PATKAU (FRAIC), PETER SUTER, WITH MICHAEL GREEN,

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EMA PETER

CANADIAN ARCHITECT 05/20

SECOND FLOOR 12 11

9 8 10

6 5

GROUND FLOOR

framing & preparation open office office hot desks 2 washroom

event storage lunch & prep shower bookstore art vault foyer gallery 1 event gallery exhibition galleries publications room exterior deck

1 LOBBY 2 BOOKSTORE / GIFT SHOP 3 WORKSHOP/STORAGE 4 COMMERCIAL RENTAL UNIT 5 EXTERIOR DECK 6 PUBLICATIONS ROOM

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1. lobby & reception 7 EXHIBITION GALLERY 2. bookstore & gift shop 8 EVENT GALLERY 3. corridor & coat/lockers 9 KITCHEN

4. commercial retail unit 10 OFFICES 5. workshop & storage 11 BOOKSTORE 6. VAULT storage & loading 12 ART 7. recycling 8. electrical room 9. communications room 10. mechanical room 11. secure bike storage 12. wc 13. freight elevator 14. elevator 15. future CRU

10M

OPPOSITE The galleryâ&#x20AC;&#x2122;s glass-encircled lobby faces a public water feature. A generous cantilever creates a sheltered area that extends the public realm, helping to activate both the plaza and the gallery. TOP The main gallery on the upper floor includes north-facing roof monitors and purlins used for suspending artwork. The purlins also serve as channels for electricity and lighting. ABOVE The gallery offers sweeping views of the Vancouver skyline across Burrard Inlet.

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CANADIAN ARCHITECT 05/20

38 GOVERNOR GENERAL’S MEDAL WINNER

REMAI MODERN

Saskatoon, Saskatchewan KPMB Architects (Design Architect); Architecture49 (Prime Consultant) PHOTOS Adrien Williams, unless otherwise noted LOCATION

ARCHITECT

The Remai Modern is situated on Treaty 6 Territory, the traditional homeland of the Métis, on the banks of the South Saskatchewan River. Its mandate is “to enable transformative experiences by connecting art with local and global communities.” The architecture sought to build on the legacy of the Mendel Art Gallery—the city’s original and beloved centre for art and community engagement. Simultaneously, the building aimed to participate in the realization of a 30-year vision to develop Saskatoon’s south downtown into a vibrant riverfront destination, and to establish the city as a national and international destination for art. Different scales of consideration influenced the architecture. The dramatic Prairie landscape and its crisp light—which have inspired Saskatoon’s artists, and contributed to art critic Clement Greenberg’s influential definition of modernism—led to a minimalist, abstract expression. The site’s L-shaped footprint and the adjacency of the existing Persephone Theatre drove the massing and orientation. The flat topography of the surroundings and the utilitarian beauty of regional agrarian structures inspired a stable geometry of stacked, rectangular volumes. Inside, the diverse needs of contemporary art prioritized the creation of a generous, continuous public realm and highly flexible gallery spaces. The public areas and gallery spaces support the Remai’s status as a leading centre for contemporary Indigenous art and discourse, and enable the centre to connect with locals as well as with the larger art world. The four stacked, cantilevered volumes are oriented to engage the city to the east and west, and the South Saskatchewan River to the south. The south elevation spans the entire length of the site, giving

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the Remai a striking presence on the river. Inside, each level offers dramatic views of the river and access to outdoor terraces. The exterior is clad with copper-coloured mesh, inspired by the copper roof of the nearby Bessborough Hotel, built in 1932. The mesh provides shading, contributing to an environmental strategy to reduce energy consumption by 50 percent compared to similarly sized galleries. The architecture simultaneously looks backwards and forwards. It forges a strong relationship with the legacy of the Mendel, and supports the standing of Saskatoon as a creative city dedicated to lifelong learning. Ultimately, it has become the heart of the community—a place where locals and visitors gather to share their worldviews through the lens of art. :: Jury Comments :: This imposing museum makes a monumental

statement about the continuing importance of art in Saskatoon. The gigantic cantilevered boxes showcase acrobatic engineering and minimal, crisp construction details. The boxes reach out to the sides of the site to capture views across the landscape to the South Saskatchewan River. Overall, it makes a coherent exterior expression out of a complicated program, organized internally around a canyon-like atrium. PROJECT TEAM BRUCE KUWABARA, SHIRLEY BLUMBERG, MATTHEW WILSON, PAULO ROCHA, MATTHEW KRIVOSUDSKY, TERRY KIM, MARCUS COLONNA, DAVID POLOWAY, KLAUDIA LENGYEL, JESSICA JUVET. ARCHITECTURE49—GRANT VAN IDERSTINE, RON MARTIN, BRAD COVE, JIM YAMASHITA, RICK LINLEY, JARET KLYMCHUK, CORRINE GOLDEN, PHIL HARMS, MICHAEL CONWAY, GEOFFREY BULMER, CALEE GUSHULIAK, IAN DOUGLAS, DARYL HNYLYCIA, DONNA TODD, NEIL HULME | CLIENT CITY OF SASKATOON AND THE REMAI MODERN | STRUCTURAL ENTUITIVE | MECHANICAL CROSSEY ENGINEERING | ELECTRICAL/SECURITY/IT/AV MULVEY + BANANI | CLIMATE TRANSSOLAR | LANDSCAPE PHILLIPS FAREVAAG SMALLENBERG | COST TURNER & TOWNSEND CM2R | ACOUSTICS DANIEL LYZUN & ASSOCIATES | VIBRATION AERCOUSTICS ENGINEERING LTD. | CIVIL/ TRANSPORTATION MMM GROUP | CODE LEBER | RUBES | LIGHTING TILLOTSON DESIGN ASSOCIATES | FOOD SERVICES KAIZEN FOODSERVICE PLANNING & DESIGN | OCCUPANCY OCTOBER 21, 2017 | BUDGET $80.2 M

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NIC LEHOUX

TOM ARBAN

CANADIAN ARCHITECT 05/20

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OPPOSITE The riverside gallery marks downtown Saskatoon as a major destination for art. TOP Haegue Yang’s installation Four Times Sol LeWitt Upside Down—Version Point to Point, 2016-2017 is made from aluminum blinds, and responds to the scale and proportions of the atrium. ABOVE, LEFT TO RIGHT Entrances at each end of the building integrate the gallery into the new pedestrian flows along the riverbank; a secondfloor terrace looks east to the river.

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CANADIAN ARCHITECT 05/20

40 GOVERNOR GENERAL’S MEDAL WINNER

RTC 03

Edmonton, Alberta gh3 architecture gh3*

LOCATION

ARCHITECT PHOTOS

The built environment plays a central role in the sustainability and resiliency of our life on this planet. While climate change impacts many areas, foremost among the resources that humans must learn to use less of—and to care better for—is water. Many regions of Canada are seeing hotter weather and more energetic storms, overwhelming existing municipal stormwater infrastructure. The Real Time Control Building #3 (RTC 03) is part of the City of Edmonton’s expanded urban ecosystem strategy. RTC 03 plays a central role in reducing untreated run-off and sewage flowing into the North Saskatchewan River. Situated by the riverbank, on the corner of 84th Street NW and Jasper Avenue just east of the downtown core, the project invests in the design of its site and plant enclosure. It celebrates the importance of municipal infrastructure and recognizes the role infrastructure buildings play in shaping the city. The facility is engineered for state-of-the-art handling and treatment of urban water, accommodating the dynamic loading of urban stormwater and wastewater. The architecture makes this below-ground process apparent: the form of the main underground shaft is notionally extruded to create the circular enclosure for plant equipment on the surface, and the location of secondary shafts, in-take tunnels, and out-take tunnels is telegraphed through the paving pattern. This imbues the site with an interpretive strategy and signals that RTC 03 is part of a larger, complex system. The building envelope is made of structural steel and stud framing, a 10” cavity, and an outer skin of angled glass blocks. Using a familiar

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cladding material in a new way involved technical challenges, such as fabricating zig-zag control joints. The result is a simple, luminous veil laid over the inner workings of the building. The cavity between the glass block façade and the inner structure acts as a thermal plenum. Through stack effect and mechanical ventilation, air is drawn through louvres at the base of the façade and vented at the roof edge. The enclosure sits on a tarmac surface, accommodating service vehicles and lay-down areas for the building’s removable roof. The site’s surface water drains to a gutter at the base of the glass block wall, where it is then recirculated into the main shaft. In addition to the water handling shafts, the building also houses gas monitoring and ventilation equipment, gate actuators, a generator room, noise control mechanisms, a motor control centre, a washroom and base building mechanical rooms. RTC 03 is a model for civil engineering and architectural projects to lead the way in both performance and public profile. Instead of treating infrastructure as existing invisibly in the background, the design generates attention, curiosity and interest. It prompts us to learn about the essential role of water infrastructure in our urban environment, and raises public awareness of how we interact with our ecosystems. :: Jury Comments :: In one sense, RTC 03 is a humble piece of technical equipment—but it is also an intriguing and luminous sculpture in the city. Its precise details support a mysterious architectural experience, not dictated by scale or program. It also has a key function to play in the sustainable management of water resources in Edmonton. In this small but powerful project, the jury saw the potential to transform civic expectations of what engineering infrastructure can be.

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EXPLODED AXONOMETRIC BUILDING AND SEWER SYSTEM

1 ACTUATOR ROOM 2 GENERATOR ROOM 3 MECHANICAL ROOM 4 GATE STORAGE 5 ACTUATOR ROOM ACCESS 6 ENTRY

SITE PLAN

ROOF HATCH

CANADIAN ARCHITECT 05/20

ROOF

INNER CORE ACTUATOR ROOM

OUTER SKIN 4

SYPHON INLET HATCH SYPHON INLET SHAFT

ACTUATOR COVER

5 1

DIVERSION SHAFT HATCH

RTC SHAFT

SYPHON TUNNEL

DIVERSION SHAFT COMBINED SEWER TUNNEL

The glass block utility building glows softly at night. ABOVE, LEFT The envelope is made of diagonally laid glass blocks, with structural steel and stud framing behind; the base detail includes a gutter where site water is collected and channeled into the main water control shaft. OPPOSITE

PROJECT TEAM PAT HANSON, RAYMOND CHOW, JOEL DI GIACOMO CLIENT CITY OF EDMONTON

MECHANICAL VITAL ENGINEERING ELECTRICAL AB ELECTRICAL CIVIL V3 COMPANIES OF CAN-

ADA LTD. | STRUCTURAL CHERNENKO ENGINEERING | CONTRACTOR MAPLE REINDERS | OCCUPANCY NOVEMBER 1, 2015 | BUDGET $1.2 M

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TO RIGHT

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42 GOVERNOR GENERALâ&#x20AC;&#x2122;S MEDAL WINNER

SOUTH HAVEN CENTRE FOR REMEMBRANCE Edmonton, Alberta SHAPE Architecture with PECHET Studio and Group 2 Architects PHOTOS Ema Peter Photography LOCATION

ARCHITECT

Oneâ&#x20AC;&#x2122;s memory of visiting a cemetery is marked by time: the position of the sun, the quality of light, the weather on a particular day. Some may visit a cemetery a single time for a ceremony; for others, cemeteries are experienced through ritual trips that span a lifetime. The South Haven Centre for Remembrance memorializes these moments in time, spatially capturing the quality of the seasons through the interplay of light, shadow and darkness.

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The unique nature of a non-denominational cemetery services building was coupled with the rare opportunity to position a building within a vast twenty-one hectare site. The architects chose to create a partially submerged landform building, which they conceived as a wandering line in the landscape, providing visual connections to and from the Centre. A thirteen-metre-high tower emerges from this form, making symbolic reference to the surrounding grave sites, monuments and columbaria. The main entry is through a vestibule that provides a compressed moment of darkness, with oversized steel pivoting doors opening to a luminous interior space. A framed view of the downtown skyline is seen across the winter-garden courtyard. Throughout, the design includes areas for silence, ref lection and pause.

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The organizational strategy spatially distinguishes between the ephemeral and the permanent. Areas that accommodate short visits are associated with the ephemeral, responding to the natural characteristics of light, sound, weather and seasonal change. The permanent corresponds to burial and the physical records associated with sustaining memory—these areas form the foundation of the building, as they service the memory of the individuals laid to rest in the cemetery. The building’s overall character considers seasonally modulating light patterns inside, as well as the long, crisp winter shadows that are cast from the building’s edges outside. On the exterior, a combination of black hot-rolled steel panels and charred shou sugi-ban accoya cladding contrasts with winter snow and gives the building a striking presence throughout the year. Atop the tower, a large triangular clerestory allows diffuse north light to enter the meeting rooms. The form and development of the tower evolved through multiple iterations to optimize the quality of light. PROJECT TEAM DWAYNE SMYTH, NICK SULLY, JESSICA MCGILLIVRAY, SCOTT KECK, KATE BUSBY,

AVERY TITCHKOSKY, BENJAMIN FISHER, BILL PECHET, ANNELIESE FRIS, JAMES TOWNSEND, ERIC HUI

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CANADIAN ARCHITECT 05/20

Particular attention was given to how light and shadow casts within the tower on the summer solstice. The word “solstice” is derived from the Latin words sol (sun) and sistere (to stand still), and the reverence of light and shadow within the tower are celebrated on this annual datum. :: Jury Comments :: This building, situated just outside downtown

Edmonton, features a simple program housed in intriguing enigmatic forms, dramatized in the contrast of shapes between graveyard tombstones and the burned-timber shapes. On the inside, well-proportioned windows frame views, while on the outside, the building is meant is to be experienced in the round, with multiple readings and surprises. The interplay of light and shadow creates a mood that is at once weighty, mysterious, sombre and serious—appropriate to the notion of remembrance, but without mawkishness. OPPOSITE A thirteen-metre-high tower marks the presence of the Centre, alluding to nearby grave monuments. CENTRE, TOP TO BOTTOM The building is conceived as a partially submerged landform that has a low-slung presence in the cemetery; the charred wood cladding contrasts with Edmonton’s winter snow. RIGHT The interior is simply finished in lightcoloured wood.

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CANADIAN ARCHITECT 05/20

44 GOVERNOR GENERAL’S MEDAL WINNER

THE SPRINGDALE LIBRARY & KOMAGATA MARU PARK Brampton, Ontario RDH Architects (RDHA) Nic Lehoux, unless otherwise noted

LOCATION

ARCHITECT PHOTOS

The Springdale Library and Komagata Maru Park provides the community of Brampton, west of Toronto, with an inclusive gathering place. A progressive architectural counterpoint to the typical suburban setting, it has become a place of pride for the city. The site is framed by a commercial plaza to the east, a major artery to the south, and a natural ravine to the north and west. The architects strategically positioned the library as close to the road as possible. This placement solidifies the building’s street presence, preserves the site’s natural topography and irrigation patterns, and directs interior views towards the ravine. The siting also allowed for parking and drop-off areas with canopied entry forecourts, and maximized room for a neighborhood park. For the architects, the project is as much about the building as it is about establishing a landscape. At the library’s edge, an organically shaped perimeter joins the building and its two courtyards. Across the site, an undulating topography includes a f luidly shaped ceiling inside and mountainous green roof outside, while the sloping f loor slab of the interior connects with the f lat landscape of the park. The neighbourhood park includes a splashpad, children’s play area, and series of terraced contemplative gardens for older users. The splashpad and play area have been organized around the word “Imagine,” spelled out in five-metre-high letters. The oversized letters are oriented in both horizontal and vertical planes, becoming an interactive feature for children to discover. RDHA design partner Tyler Sharp collaborated with University of Toronto assistant professor Brady Peters, a generative design spe-

cialist, to create a solar-responsive ceramic frit pattern for the building’s glazed surfaces. Its striated patterns are rendered in white to dark gray tones; the spacing expands and contracts based on solar orientation. The vertical frit visually merges with a series of stainless-steel rods that support slender canopies and form the courtyard enclosures. Together, these elements evoke the turning pages of a library book, or the tree trunks in a forest. The new building ref lects the vision of an institution that strives for inclusivity, innovation, dedication to learning, collaboration, curiosity, courage and accountability. As a librarian puts it, “The stunning architectural features of Springdale Branch Library stand out, raising awareness and building excitement for what libraries do.” :: Jury Comments :: The jury lauded the element of joyful surprise in this suburban library. Outside, visitors can appreciate the thoughtful attention to refined details: the slenderness of the columns, the thinness of the roof. The three courtyards orchestrate strategies for echoing the landscaping inside and capturing different types of experience. Inside, the building offers unexpected encounters with the oculi and magical views across the interior. By not being shy about celebrating the suburbs, this confident and competent design makes a civic contribution the local authorities in Brampton should be proud of.

PROJECT TEAM TYLER SHARP, BOB GOYECHE, SANJOY PAL, SHELLEY VANDERWAL, CARLOS TAV-

ABOVE The library is a striking presence amidst the residential subdivisions and big-box stores along Bramalea Road. OPPOSITE TOP A soaring central atrium is topped by a complex curving ceiling. OPPOSITE BOTTOM, LEFT TO RIGHT Entry courts welcome visitors from both the parking lot and street sides of the building, creating a gentle transition between the library and its surroundings; a hill-like green roof caps the central atrium, while the adjacent parkscape also includes fluid, organic forms.

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NIC LEHOUX AND SANJAY CHAUHAN

CANADIAN ARCHITECT 05/20

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CANADIAN ARCHITECT 05/20

46 GOVERNOR GENERAL’S MEDAL WINNER

THE DOCK BUILDING

Vancouver, British Columbia MGA | Michael Green Architecture Ema Peter Photography

LOCATION

ARCHITECT PHOTOS

Located on Jericho Beach in Vancouver, the Dock Building serves a large marina of sailboats. The facility provides washrooms and showers, offices for the Harbour Master, instruction space for children, and a variety of workshops to maintain boats, sails and gear. The project’s practical working needs, modest budget and prominent siting required a simple solution that honoured the cannery and industrial heritage of waterfront buildings that were found on the site a half-century earlier. The massing is simple: two intersecting wedge volumes mirror each other to create a lantern to the sea and a lantern to the land. Facing land, a glulam-and-translucent-polycarbonate wall brings light into the workshop spaces and glows along the beach at night. Facing the sea and the marina, a series of garage doors opens to the shop bays, and glazed offices serve for the management of the docks. A back-lit wood screen above the offices hides the mechanical systems in the high volume of the water-facing wedge. A knife-edge gutter provides an overhang for the shop doors, mimicking the razoredge forms of the racing sailboats that line the dock. The building resides on the water’s edge, just where high tide meets the beach. Almost half of the project budget went to the foundation and piles, leaving the design team with the challenge of meeting the project’s functional needs on a tight budget, while delivering a meaningful place to the community. To meet this challenge, the designers selected economical, yet robust, materials. White standing-seam panels are used for the exterior,

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harmonizing with the forms and colour of the boats and their sails. The structure is primarily composed of durable, long-lasting timber, including glulam posts and beams, and light timber infill decking and walls. The interior is predominantly construction-grade fir plywood, providing a tough, easily replaceable interior finish. The extensive use of wood makes the most of the budget, but more importantly, demonstrates the benefits of using this f lexible, carbon-capturing, sustainable material. Throughout, the project has modest, practical details. The design team aimed to demonstrate that all projects—from boutique museums to working industrial buildings—can, and should, be realized with grace and architectural dignity. While museums are few and far between, practical buildings like recreational support facilities are a common part of our communities. The designers believe in the importance of celebrating the common: delivering architecture on a shoestring is always possible. :: Jury Comments :: This practical facility sits very lightly among the

docks, at rest on the Vancouver shoreline like a boat on the water. From its simple form and efficient organization arise an architectural experience that is both poetic and sensible. While modest, it exhibits careful thinking about composition and materials on almost every level. To coin a phrase, sometimes less is more than enough. PROJECT TEAM MICHAEL GREEN (FRAIC), CANDICE NICHOL, MINGYUK CHEN, EVELYNE SAINT

JACQUES, JUSTIN BENNETT, WINSTON CHONG | CLIENT ROYAL VANCOUVER YACHT CLUB

STRUCTURAL EQUILIBRIUM CONSULTING MECHANICAL/ AME CONSULTING GROUP LTD. ELEC-

TRICAL JARVIS ENGINEERING CONSULTANTS LTD. CIVIL/MARINE STRUCTURAL WORLEY PAR-

SONS | CONTRACTOR HEATHERBRAE BUILDERS | ENVELOPE RDH BUILDING SCIENCE INC. | OCCUPANCY SEPTEMBER 1, 2017 | BUDGET $3.5M

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CANADIAN ARCHITECT 05/20

OPPOSITE The boating facility is made up of two lantern-like wedges, one facing the land and the other facing the water. ABOVE, CLOCKWISE FROM TOP A series of garage doors opens to areas for boat servicing; the interior is largely finished in construction-grade fir plywood that is durable but can also be easily replaced; the two volumes are detailed to cleanly intersect at their rooflines.

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SHAI GIL

CANADIAN ARCHITECT 05/20

48 GOVERNOR GENERAL’S MEDAL WINNER

UNIVERSITY OF BRITISH COLUMBIA AQUATIC CENTRE Vancouver, British Columbia MJMA and Acton Ostry Architects Ema Peter Photography, unless otherwise noted

LOCATION

ARCHITECT PHOTOS

How can an aquatic centre effectively train Olympians, serve its community, and enhance the student experience? How can it operate learn-toswim programs while hosting a thousand-person swim meet? These questions were at the heart of the design of the University of British Columbia (UBC)’s new aquatic facility. In 2012, UBC sent more swimmers to the London Olympic Summer Games than any other university in Canada, and had the most successful swim team in the country. Meanwhile, the explosive market-driven expansion of the Endowment Lands and burgeoning campus community has created the fastest-growing youth and family population in the Lower Mainland. The Aquatic Centre was required to meet the needs of both these groups, serving as a high-performance training and competition venue, while simultaneously acting as a community pool. It also strives to engage the surrounding public realm and contribute to campus life for UBC ’s students. The requirement to co-program daily community use with elite-level training and competitions led to a two-sided pool hall design, divided by a line of Y-shaped columns and a continuous skylight. In section, a translucent screen creates a luminous barrier between the two spaces, reflecting abundant sunlight into the leisure-swimming side, while providing the required controlled and balanced light for the competition-pool side. The 7,900-square-metre program includes a 51-metre basin built to international competition standards, a 25-metre diving well with moveable f loor, and a warm water leisure basin. The new facility

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is fully accessible and inclusive, and provides ideal acoustics for training and coaching communication. All finishes and systems are designed for durability and ease of maintenance. The facility is designed to LEED Gold standards and will pursue the university’s regenerative neighbourhood goals by integrating with new campus infrastructure developments. The building’s extensive daylighting helps to achieve these goals. Daylight enters through the central skylight, as well as from the perimeter through a continuous ceramic-fritted glazing band on three elevations. Inside, sensors for zoned lighting control respond to natural light levels. The building also implements innovative water re-use and air quality strategies that are precedent-setting for North American aquatic facilities. Instead of using municipal water, the building deploys a three-compartment cistern to store water from the roof and adjacent transit plaza. The cistern water tops-up the swimming basins to compensate for evaporative loss, allows for grey water flushing, and supplies a site irrigation system. Chloramine-contaminated air is scoured from the water surface by air delivered from a central bench structure, and returned within the upper edge of the perimeter pool gutter. Developed in coordination with on-campus research, this system is intended to provide exceptional natatorium air quality and mitigate the problems of “swimmer’s asthma.” :: Jury Comments :: This campus building stands out for its luminous

interiors. Being inside is like being in a white tent on a summer day, all year round. Outside, it transforms swimming into a rambunctious event, drawing in passersby and animating the campus. The clear organization of pools and utility spaces into three zones is intelligently reinforced through the structural organization, especially the sculpted Y-shaped columns and the canted ceilings.

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PROJECT TEAM MJMA—TED WATSON, VIKTORS JAUNKALNS, ANDREW FILARSKI, ROBERT ALLEN,

TROY WRIGHT, RICARDO DUQUE, TARISHA DOLYNIUK, KRISTIN ROSS, JANICE LEE, DARLENE MONTGOMERY, TIMOTHY BELANGER, AIDA VATANY, DANIELLE LAM-KULCZAK, LUIS ARREDONDO. AOA— RUSSELL ACTON, MARK OSTRY, ADAM JAMES | CLIENT UBC PROPERTIES TRUST | STRUCTURAL EQUILIBRIUM CONSULTING | MECHANICAL AME CONSULTING GROUP LTD. | ELECTRICAL APPLIED ENGINEERING SOLUTIONS | SUSTAINABILITY RECOLLECTIVE | CONTRACTOR HEATHERBRAE INC. | OCCUPANCY AUGUST 1, 2016 | BUDGET $33.5M

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CANADIAN ARCHITECT 05/20

OPPOSITE Facing west, a glazed corridor and canopy adjoin a garden promenade along Athlete’s Way. ABOVE, CLOCKWISE FROM TOP LEFT A lap pool, leisure pool, and hydrotherapy pool occupy one side of the aquatic hall, with a competition pool on the other side; pale blue tiled walls and white floors add to the luminosity of the pool space; a fritted screen brings daylight into the changerooms concourse.

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CANADIAN ARCHITECT 05/20

BACKPAGE

NEW IMAGE OF HOME TEXT AND IMAGE

Johan Voordouw

A PLANNED EXHIBITION EXPLORES CANADIAN IDEAS OF HOME—AT THE VERY MOMENT WHEN WE ARE COMPELLED TO STAY AT HOME. It is difficult to overstate the burden of COVID19. Right after you hit hyperbole, you hit reality. It has shuttered our institutions and our professional practices. It has far-reaching social, economic and political repercussions. Now that our non-essential services are temporarily closed, we grow appreciative when someone reaches out—whether by phone or e-mail—a reminder that our essential relations remain open. Over the past year, I worked on a project called New Image of Home. It was meant to be a simple visual art exhibition exploring Canadian ideas of home. The work was generated through a photographic and spatial analysis of every single-family and small multi-unit residential project published in Canadian Architect magazine since its inception in 1955. The research resulted in a series of twenty-four new images that comment on the role of technology in the home, and on how domestic interiors are represented in professional publications. Ironically, I was in the process of mounting this exhibition on the Canadian home one weekend before we were all compelled to stay at home. One might even call it uncanny that

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the images in the exhibition comment, in part, on the pervasiveness of media in homes—and now, with the exhibition space shuttered, the screen has become the only way to view the work. The exhibition lecture lives on YouTube, the catalogue as a PDF online, the Q&A presented via Zoom, and the images on the Azrieli School of Architecture and Urbanism’s website. This article is the only product to make it to print. The aim of the project was to create a new way of drawing through pixel-like dots. As the work progressed, it began to also explore other modes of image-making that could question the conventions of both architectural drawing and the photography of interior space. Architectural drawings are typically dominated by lines, or by photo-realistic renderings. How could drawing with dots represent space differently? Interior photography tends to foreground material-spatial qualities. Could an alternative set of representations foreground inhabitation, and point to a tighter relationship between individuals and the material objects in their spaces? The drawings in the exhibition

ABOVE Part of a now-shuttered exhibition, a rendering by the author illustrates the pervasiveness of digital screens in homes.

include everyday items that are common in the home, but are frequently excluded from view. They display the messy banality of the home— of these ordinary places, in extraordinary times. This surreal banality reached a conclusion when I recorded my lecture: it was spoken to the plate of glass that is the screen of my laptop, seemly leading to nowhere. A couple of days later, I led a question and answer session through Zoom. On my laptop, I saw a collection of students and fellow faculty in their homes, surrounded by their clutter of possessions. My screen became a window to my friends and colleagues. It reinforced to me that in times of crisis, architecture does not narrow—it shifts and expands. Rather than collectively sitting together to discuss the project, this was a rare opportunity to share many spaces—our own spaces, our own homes—while talking about the architecture of home. Johan Voordouw is an associate professor at the Azrieli School of Architecture and Urbanism at Carleton University.

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Experience. Innovation.

CASE STUDY

White Oak Medical Center | Montgomery County, Maryland

BILCO Hatches Sit Atop New Maryland Hospital in ‘Science Gateway’ The doors of the new Adventist HealthCare White Oak Medical Center will swing open in August 2019, bringing yet another key piece to a “Science Gateway” in the eastern section of Montgomery County, Maryland. An integral part of the $400 million facility is a central utility plant to house mechanical components. Atop the plant are four custommade roof hatches manufactured by The BILCO Company that will allow workers to access the generators when they eventually need to be replaced. The roof hatches are 9-feet by 22-feet and were installed by Cole Roofing. “This is the largest hatch I’ve ever been associated with,’’ says Rick Brigham, who led the Cole installation team. “The BILCO hatches were the best choice for this job due to their ability to custom fabricate them to meet special size requirements.” BILCO’s roof hatches are equipped with compression spring operators to provide smooth, one-hand operation regardless of size. They also include automatic hold-open arms to lock the covers in the open position to ensure safe egress, and are constructed with corrosion-resistant materials. Large and unique hatches CallisonRTKL served as the architect for the project and specified the hatches, according to Robb Macdonald of CBG South, the sales representative who recommended the hatches. “CallisonRTKL was impressed by BILCO’s ability to engineer and fabricate hatches of such a large and unique size,’’ Macdonald said. “They considered the life span expectations of the generators and looked for a way to replace them down the road. The site’s slope presented a challenge to the traditional way of removing large equipment through the sides of the building, so rooftop access was the best solution.” Set apart from the hospital, the two-story, 16,000 square foot central utility plant houses generators, boilers, water heaters and other components. Central utility plants (commonly called CUPs) are key to the infrastructure of any hospital, as they must last for the projected life span of the hospital campus. They also need to be expandable, adaptable and allow easy access to replace aging equipment.

Photos: LNJ Designs Photo

“Locating all of the generators, chillers, electrical switchgear, and hot water heaters separate from the hospital allows more future flexibility for the hospital and removes some of the more hazardous mechanical, electric and plumbing equipment from the hospital,’’ said Ryan Dellinger, architect for CallisonRTKL. Key Piece to the ‘Gateway” The plant includes four emergency generators, a cogeneration generator, four chillers, four boilers, ten hot water heaters, electrical panels and switchgear, and a small office for the building manager. The hospital is a critical piece to the White Oak Science Gateway. The area includes 3,000 acres, including the new headquarters for the Food and Drug Administration, mixed-used projects, new public amenities, and the first rapid bus transit system in the state. The new hospital will replace Washington Adventist Hospital, which is located about six miles away in Takoma Park. “This allows us to replace an aging building — a structure that, depending on which part of the building you’re talking about, was built between 1950 and 1980 — and was suboptimal for modern health care,” Hospital President Erik Wangsness said.

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

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Owens Corning is committed to supporting the design community through these difficult times to stay united and come out stronger. We invite you to schedule an online Continuing Education Seminar on the following topics: Seminar #1 PRINCIPLES OF ACOUSTICS • Basic principles of acoustics (airborne structure-borne and impact noises) • Acoustical solutions and STC ratings of common wall and floor assemblies • New minimum ASTC 47 requirement in NBCC 2015 for separating assemblies between dwelling units • Types and impact of acoustic insulations on STC and ASTC • Fire resistance designs and ratings of common wall and floor assemblies • Design tools and references for acoustic and fire separations

Seminar #2 ADDRESSING THERMAL BRIDGING IN EXTERIOR WALL ASSEMBLIES • New energy code requirements and path toward mandatory zero energy ready for all new buildings by 2032 • Impact of thermal bridges on assembly U value

QUEBEC & ATLANTIC CANADA Salvatore Ciarlo, P.Eng Architectural Solutions & Technical Services Manager, Canada salvatore.ciarlo@owenscorning.com

1.800.504.8294

ONTARIO Ernie Lee, P. Eng Technical Sales Manager, Ontario ernie.lee@owenscorning.com

1.833.670.0208

• Thermal bridge solutions • Thermal bridge design guides • New Owens Corning® Thermafiber® RainBarrier® ci High Compressive continuous mineral wool insulations

TO REGISTER and for more seminar details, please visit: owenscorninglibrary.ca/learning

WESTERN CANADA Luis Faria, B.Eng, PMP, CMgr MCMI Technical Sales Manager, Western Canada luis.faria@owenscorning.com

1.833.258.5299

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2020-05-01 9:54 AM