Canadian Architect September 2020

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06 VIEWPOINT

ADRIEN WILLIAMS

JANIS NICOLAY

LIVING AND LEARNING TOGETHER

CANADIAN ARCHITECT

SEPTEMBER 2020 03

Elsa Lam reports on the fall teaching plans at Canada’s schools of architecture.

09 NEWS

B+H to design new building for Shenzhen Children’s Hospital; Nova Scotia Art Gallery finalists announced; Edmonton eliminates parking minimums.

36 INSITES

Omeasoo Wahpasiw speaks to six of Canada’s Indigenous architects about reconciliation and the built environment.

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12 UNION

A five-plex in Vancouver pairs a heritage home with a contemporary infill structure in this design by MA+HG Architects. TEXT Courtney Healey

21 EST-NORD-EST

39 EDUCATION

Douglas Macleod considers the shift to virtual teaching, and what it means for architectural education.

42 BACKPAGE

Photographer James Brittain visits Blouin Orzes’s new duo of buildings for Polar Bears International in Churchill, Manitoba.

Bourgeois / Lechasseur architectes crafts a carefully considered artists’ centre in rural Quebec. TEXT Odile Hénault

28 NORTHERN LIGHTS COLLEGE TRADES TRAINING CENTRE MICHAEL ELKAN

cFarland Marceau Architects adapts the trades centre typology for the harsh M winters of Dawson Creek, in northern BC. TEXT Heidi Redman

Est-Nord-Est, résidence d’artistes, by Bourgeois / Lechasseur architectes. Photo by Adrien Williams.

COVER

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CANADIAN ARCHITECT 09/20

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VIEWPOINT

BACK TO SCHOOL This September brings a back-to-school like no other. Remote learning will be the norm at universities across the country, presenting particular challenges for the study of architecture—a discipline grounded in physical space.

A few of Canada’s schools of architecture will be offering a hybrid model of in-person and remote learning. At the University of Manitoba’s Faculty of Architecture, half of the students will attend in-person studios on one studio day, and the other half will attend on a different studio. Assigned desks, along with enhanced cleaning, have been implemented to promote a safe learning environment.

At the Université de Montréal’s School of Architecture, the majority of teaching will happen online, but two courses will be offered in-person—one in a computer lab with a limited number of students, another that takes place outdoors during the study break.

For studio courses, site visits and crits will also take place in-person.

McGill’s Peter Guo-hua Fu School of Architecture will likewise be almost entirely online, with a few exceptions—some local field trips, a PhD graduate seminar, and part of a field sketching course will be conducted inperson. “There is an open possibility of conducting final design reviews in person, but I am not sure yet if any instructors will want to profit from the opportunity,” adds director Martin Bressani. “Given that not all students will be in Montreal, it considerably complicates matters, because the crit would have to be conducted both in-person and streamed online.”

Any of these plans for in-person learning may change, as universities and Provinces continue to actively monitor the situation.

For many schools, going completely online— using tools such as Zoom, Conceptboard, Figma and Miro—cuts through some uncertainty. Online studios have been offered for years by Athabasca University, and on page 39, Douglas MacLeod reports on some possibilities opened by that mode of teaching.

Mark Gorgolewski, Chair of Ryerson’s Department of Architectural Science, notes that his school is holding all courses and studios online, so that “students do not have to be in Toronto and can participate in all activities remotely.”

Many schools who are pivoting to online learning will allow in-person meetings only in exceptional circumstances, and after applying

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for permission. These interactions would require measures such as social distancing.

An online summer semester at Dalhousie University helped the school investigate how to transfer its offerings online. “At the beginning of each week, we did a town-hall meeting with each whole class, to make the week’s navigation easier,” writes director Diogo Burnay. For the fall, they’ve developed a series of mentorship activities between senior classes and the new incoming class. “We also simplified and clarified what students can learn without access to our shops. This was important as we have a very much hands-on learning mode, and we have been using hand drawing and physical models as a way to think and design in our first terms,” he adds.

Workshops at some schools will be accessible in limited ways. At Laurentian University’s McEwen School of Architecture, for instance, assignments are being developed that would use the shop facilities with curbside pick-up for the finished models. “A few studio groups are planning on shipping materials to students to maintain a hint of tactility,” says director David Fortin.

The Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto decided early on that the fall semester would be entirely online. “We made it a design exercise,” says interim dean Robert Wright.

The head start allowed the Faculty to plan a shared lecture series with the Toronto Society of Architects and Ontario Association of Architects, and to equip instructors with specialized tools for online teaching. In the landscape and forestry programs, for instance, teachers have GoPros to deliver field lectures.

For Carleton University’s Azrieli School of Architecture and Urbanism, one upside of moving offerings online is the ability to bring in instructors from all over the world. They’ve added a diversity and equity lens to their professional practice course by having it co-taught by Zimbabwean-born designer Nicole Nomsa Moyo, Indigenous architect Patrick Stewart, and African-American architect Mario Gooden—respectively based in Toronto, Vancouver and New York.

Director Jill Stoner says that she’d contemplate keeping such an offering active postpandemic. “We’re probably going to discover certain classes where what we get online far outweighs what we get in person.”

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.

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ABOVE B+H Architects is designing a new building for the Shenzhen Children’s Hospital in joint venture with East China Architectural Design & Research Institute.

PROJECTS B+H Architects to design Shenzhen Children’s Hospital and Science and Education Building B+H Architects has won an international competition to design the

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Photo: Mendoza Photography

new Shenzhen Children’s Hospital and Science and Education Building, in joint venture with East China Architectural Design & Research Institute.

The existing Shenzhen Children’s Hospital has been a landmark in the Futian area of Shenzhen since it was established in 1998. The new building, located to the west of the existing campus, creates a “once-in-a-lifetime” healthcare facility to deliver top-quality care for children, and provides a new home for advanced research and learning in paediatric medicine.

“Children live very much in the present and can experience each moment very intensely—sights, sounds, scale, touch, colours and patterns hold delights and surprises that we as adults often overlook,” says Stephanie Costelloe, Principal and Director of Healthcare at B+H’s Asia offices. “We wanted to instill a sense of wonder in every corner which would celebrate their unique and joyful view of the world—whilst also encouraging adults to interact with the environment in a similarly social, playful and collaborative way.”

Taking inspiration from the mountains in the distance, the new building adopts a gently terracing approach, with the upper floors stepping back to create multiple sky gardens. A vertical “secret garden” is also intended to add verdant areas to support the healing process.

“Our vision is to ensure that the building’s occupants not only fully engage with the surrounding natural landscape, but that we create a unique micro-landscape within and around the building, from ground floor to rooftop gardens,” says Costelloe.

Collaboration is prioritized between clinical staff, researchers, and students. Research is placed on the same floors as inpatient wards, providing

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NEWS

proximity to patients with a lab-bench-to-bedside approach. At the junction of the ward and research zones, a collaboration area houses formal and informal spaces for staff to mingle, share, and learn together. bharchitects.com

Diamond Schmitt designs new campus for York University

York University has unveiled the design for its new Markham Centre Campus, centred on a vertical campus building designed by Diamond Schmitt Architects. Scheduled to open in 2023, the Markham Campus will be the first public university in York Region.

The $275.5-million initial building will consist of a five-storey podium with five-storey tower above. Bronze-anodized aluminum cladding and fritted bird-friendly glazing will be interspersed within a syncopated fenestration pattern. Cantilevers and curves animate the build­ing form and create fluid, interactive spaces supporting teaching and research within a vertical campus.

“The design of this highly accessible building defines a collegial academic community within a series of interconnected, multi-storey spaces of gathering and interaction,” said Donald Schmitt, Principal of Diamond Schmitt.

The 37,160-square-metre facility will open onto a sloping Campus Green that creates an outdoor focal point for social gathering, Indigenous learning and respite. Low-incline curved pathways will connect with a nearby civic athletic centre, transit hub, cinemas and commercial district.

The initial phase of this compact, connected, vertically integrated campus will accommodate up to 4,200 students with the flexibility to respond to future growth demands. dsai.ca

THEAKSTON ENVIRONMENTAL Consulting Engineers

Wind Snow Exhaust Odour Particulate • MOECC• Approvals

ZAS Architects unveils design for U of T’s new Learning Landscape ZAS A rchitects, in collaboration with CEBRA A rchitecture, has unveiled the design for a new student-centred learning and support hub at the University of Toronto’s Scarborough Campus.

The new facility, Instructional Centre Phase 2, is a dynamic learning landscape that promotes agile and asynchronous education through a complex arrangement of rooms and open public space.

“We envisioned a truly flexible environment that broke down traditional pedagogies and instead, encouraged a fluid learning experience unconfined by the walls of the classroom,” says Paul Stevens, Founder and Senior Principal at ZAS A rchitects. “Peer-to-peer learning is emulated in all aspects of the design.”

Artificially created terrain spills from the outside in, creating a hybrid of social and study areas that stimulate and support vibrant campus life. Students have access to a multitude of flexible, technology-enabled spaces, including 21 classrooms ranging from a 500-seat, hexagonal auditorium to 24-seat active learning environments. The learning spaces sit on top of one another, creating opportunities for platform and bleacher seating areas.

Inspired by the form of nineteenth-century printer’s trays, the building’s four distinct façades represent the diversity of spaces and educational environments within. www.zasa.com

York University breaks ground on new School of Continuing Studies

York University is hosting a virtual groundbreaking for the School of Continuing Studies’ new 9,000-square-metre building. Designed

by Perkins and Will, the new building, located at the university’s Keele campus, will help meet the increasing demand for York’s professional certificate programs and the York University English Language Institute.

Scheduled to open for students in fall 2021, the building will include over 50 classrooms and space for 150 staff and instructors.

A rotated ground f loor creates space for an arrival plaza at the main entry, as well as a sheltered drop-off and pick-up area. The building’s prismatic façade is composed of photovoltaic panels and glazed openings. The design aims to achieve LEED Gold status and an envelope designed to Passive House standards. continue.yorku.ca/groundbreaking

WHAT’S NEW Wind Snow Exhaust • Odour • Noise • Particulate Three teams shortlisted for Nova Scotia Art Gallery competition • Ministry Three finalist teams have been named in an international design com(519) 787-2910 spollock@theakston.com Approvals www.theakston.com petition for the new Art Gallery of Nova Scotia and its surrounding public space. The gallery will anchor a new Arts District on the Halifax • CFD Analysis Waterfront. The three finalists are:

•

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

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A rchitecture49 with Diller Scofidio + Renfro and Hargreaves Jones DIALOG + Acre Architects K PMB A rchitects with Omar Gandhi Architect, Jordan Bennett Studio, Elder Lorraine Whitman ( NWAC), Public Work and Transsolar When evaluating the submissions, the review committee considered each team’s vision for the new Art Gallery of Nova Scotia and Public Space, their demonstrated team experience, the demonstrated qualifications of key personnel, and the team’s approach to the project.

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In April 2019, the Government of Canada announced an investment of $30 million in the new Art Gallery of Nova Scotia project through the New Building Canada Fund. The Province of Nova Scotia has committed an additional $70 million towards this project.

Final conceptual designs will be due in September and will be made available for public viewing and engagement before the winning team is selected by a jury of professionals.

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NEWS

artgalleryofnovascotia.ca

Edmonton eliminates parking minimums

Edmonton City Council has voted to remove minimum parking requirements from Edmonton’s Zoning Bylaw. Developers, homeowners and businesses are now able to decide how much on-site parking to provide on their properties based on their particular operations, activities or lifestyle.

Under the new rules, barrier-free parking will continue to be provided at rates comparable to today’s, and bicycle parking requirements have increased. Maximum parking requirements have been retained downtown, as well as in Transit Oriented Development and main street areas. Design requirements for both surface and underground parking facilities have also been enhanced. edmonton.ca

Magical Imperfection: The Life and Architecture of Raymond Moriyama

A new documentary on architect Raymond Moriyama is now available for free, online streaming on TVO. Directed by Scott Calbeck, the hour-long program traces the roots of Moriyama’s career to his childhood experience in a Japanese-Canadian wartime internment camp.

It tours such works as the Ontario Science Centre, the Canadian Embassy in Tokyo, and the Canadian War Museum. tvo.org

MEMORANDA Canadian Architect Awards of Excellence

The 2020 Canadian Architect Awards of Excellence competition for design-phase projects and Canadian Architect Photo Awards of Excellence are now open for entries. This year’s deadline for submissions is Thursday, September 10, 2020. www.canadianarchitect.com/awards

Canada Council for the Arts deadlines

The Canada Council for the Arts is calling for submissions for two architecture prizes. The $10,000 Ronald J. Thom Award for Early Design Achievement is given to an emerging practitioner or architectural firm. The $5,000 J.B.C. Watkins Award in Architecture is offered to a Canadian architectural student wishing to pursue postgraduate studies outside Canada. Applications are due by October 1, 2020.

The competitions for the Prix de Rome in Architecture – Professional and Prix de Rome in Architecture – Emerging Practitioners have been postponed until 2021. www.canadacouncil.ca

For the latest news, visit www.canadianarchitect.com/news and sign up for our weekly e-newsletter at www.canadianarchitect.com/subscribe

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UNITED FRONT A MULTI-UNIT DWELLING PAIRS A RESTORED HERITAGE HOME WITH A BOLDLY CONTEMPORARY INFILL STRUCTURE. Union, Vancouver, British Columbia Marianne Amodio + Harley Grusko Architects (MA+HG) TEXT Courtney Healey PHOTOS Janis Nicolay PROJECT

ARCHITECT

Viewing life through a pandemic lens means that, when encountering any new space, I quickly imagine what it might be like to isolate there for months on end… possibly with children, roommates, or parents.

The design of our cities, and in particular our housing, has never felt more important to both our physical and mental health. Meanwhile, the global pandemic has revealed these two goals to be frustratingly at odds. Physical health depends on keeping our distance, while mental health begs for close contact. Can we design for both?

Healthy social connections are central to the work of MA+HG Architects, a Vancouver-based studio led by partners Marianne Amodio and Harley Grusko. The duo is partial to the term “social density,” a phrase that’s used in psychology to represent the number of people in a given space, and thus the number of interpersonal interactions likely to occur. In recent years, Amodio and Grusko have made a name for themselves delivering unconventional housing solutions that promote social interaction, from co-housing to micro-units and missing-middlescale developments.

In typical multifamily developments, outsized importance is placed on privacy—ensuring everyone gets their own unimpeded sliver of sky or ground, often at the expense of neighbourly connections. At Union, MA+HG’s recently completed five-unit housing development in Vancouver’s Strathcona neighbourhood, the emphasis was on creating social density, in balance with privacy.

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SITE DIAGRAM

Studio Unit Below New Addition to Existing House

Two Bedroom Unit

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Union encompasses the restoration of an existing heritage house and the construction of a new infill building of roughly equal size. From the outside, the project resists any easy distinction between units. There are no fences or tall hedges to demarcate one home from another, and big windows and terraces overlook an open and meandering landscape.

When the owner and self-described patron of the project, Mira Malatestinic, bought the quirky old house with her mother in 2014, she saw it as an opportunity to create a multi-generational village where they could both age in place. Malatestinic felt a great responsibility to the “Big House,” as she calls it, and its many past inhabitants. “There was a lot of love poured into this house over the years, and love needed to be put back in,” she says. A longtime supporter of the arts, Mira also wanted to bring a fresh contemporary design sensibility into the historic neighbourhood.

The Big House had always been a bit of an odd duck. It’s tall, stepped up from the street, and pushed to one side of a 50-foot double-wide lot, with its front door facing into the side yard. All of this makes the house stand out amidst the jumble of smaller homes on narrow neighbouring lots. But after 116 years, the house was in rough shape: full of ad-hoc alterations, layers of vinyl flooring, abandoned chimneys, and a roof that had lost a large dormer somewhere along the way. MA+HG’s work represents a fresh start grounded in this history. As Amodio puts it, the project mediates “between preservation, an acknowledgement of history, and modern construction techniques.”

MA+HG began their work in early 2016 exploring many potential relationships between the Big House and a new infill building. Malatestinic and her family selected a scheme that the architects called “Wildcard.” Malatestinic’s mom quickly nicknamed the asterisk-shaped infill building “the Octopus.” According to Amodio, “the design intention was always that each building stand as a monument to its time; each complementing and contrasting the other.”

The resulting project includes five units that span the full range of sizes and types. Two are contained within the Big House: a 204-squaremetre two-bedroom on three levels and a 52-square-metre one-bedroom, garden-level suite. The Octopus contains side-by-side two- and threebedroom units of 98 and 130 square metres, respectively. A sunken 42-square-metre studio rounds out the collection.

The relationship between the Big House and the Octopus strikes a balance between historic and contemporary styles, and between private and community life. Front doors are located off a central courtyard, while living spaces are turned outward to face either the street or lane.

Terraces and patios encircle both buildings and offer opportunities for residents to connect with each other and with the neighbourhood at large. The landscaping, designed by Hapa Collaborative, references the geometry of both buildings and subtly knits the two figures together.

The exterior expression of the Big House—bright pink with multihued fish-scale shingles—is eye-catching and joyful. MA+HG’s monochromatic application of colour, without the typical contrasting heritage trim, gives the house a modern feel. The architects retained the home’s original footprint and most of the exterior framing, adding two modest bump-outs around the kitchen.

In contrast to the pink gingerbread exterior, the interior is white, flush and minimal. The small rooms that comprised the Victorian-era plan were opened up to create an easy and natural flow. The main floor centres on a living and dining area, along with a kitchen with patio doors to the

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PREVIOUS SPREAD A side-yard and courtyard are shared by the main house and a new infill building. OPPOSITE, CLOCKWISE FROM TOP A quirky heritage home was the basis for a five-unit project in Vancouver’s Strathcona neighbourhood; two views inside the renovated main house. LEFT The infill is accented by green and pink-tiled entrances.

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courtyard. The house unfolds in an upward-moving spiral around a handsome stair, made of custom-welded mild steel plate. The second level overlooks the first; sliding partitions make for a fluid connection between its bedroom and den. In the attic, the intersecting lines of the roof and a reinstated dormer dive sharply into the floor, lending the room a crisp geometric appearance. A moon-shaped opening at one end leads to a spalike ensuite, clad in coppery penny tile, with fixtures set at angle just-so.

While the Big House is an airy volume highly customized for the life of a particular owner, the Octopus is largely built to spec. It’s a workhorse of a building, packed with many useful rooms of all shapes and sizes. According to Amodio, the particular massing comes from “a collision of traditional house forms.” It was also inspired by the property’s immediate neighbour to the east, a 1970s four-plex by architect Joe Wai. Wai designed dozens of similar projects throughout Strathcona, with two, three, or four small homes in stepped and staggered arrangements across different-sized lots. Formally, MA+HG’s Octopus can be viewed as somewhere between these Joe Wai Specials and contemporary projects like Herzog & de Meuron’s VitraHaus showroom, or MVRDV ’s many platonic houses.

At their root, the two units in the infill are inverted townhouse plans, with some play back-and-forth along the demising wall. They

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OPPOSITE TOP A master bedroom occupies the attic of the Big House.

The renovation of the Victorian-era home included reinstating a roof dormer. OPPOSITE BOTTOM The new infill building, nicknamed the Octopus by its owners, contains two townhouses and a studio. Thoughtful layouts set within the unusual geometry lend a sense of spaciousness to the units. ABOVE Adjoining the attic bedroom in the Big House, a luxurious ensuite is clad in copper penny tile.

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come alive in section and in the unexpected moments created through shifted and splayed building volumes. Floor-to-ceiling curtain wall at the gable ends frames expansive neighbourhood views, while oblique angles create a subtle feeling of privacy. Hallways, stairs and doorways are set to minimum dimensions, but high ceilings, oversized windows and thoughtful room positioning make spaces feel larger.

A vertical hierarchy of exterior materials helps ground the Octopus to its site. The intersecting roof forms and upper level are clad with standing-seam metal. The ground level is finished with custom boardand-batten charcoal-painted Hardie board siding. The sunken studio

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ABOVE The Octopus’s angles frame unit entrances and shared outdoor spaces, while offering a variety of views to the Big House and the surrounding neighbourhood.

unit is formed from cast-in-place concrete that blends into surrounding landscape elements.

As a whole, the project is a study in big contrasts and small moments of synergy—a give-and-take between bold colour and black-and-white, shiny silver metal and intricate wood details, floor-to-ceiling curtain wall and punched sash windows, open volumes and many small rooms.

The result is a family of indoor and outdoor spaces across the site that, like friendly siblings, both acknowledge each other’s similarities and make room for each other’s differences.

At a talk for a Globe and Mail series on housing in February, Amodio said: “We want to participate in a culture that creates community through the sharing of spaces, and that relies on maximum human interaction for feelings of joy and belonging.” But just a few weeks later, a global pandemic was declared. How would social density play out in a newly socially distanced world?

If COVID-19 isolation is the ultimate stress test for new housing, Union has passed with flying colours. Malatestinic, who moved in just before the province’s shutdowns, says she “couldn’t be happier to live here during COVID.” She can open the sliding door in her kitchen to talk to her mother, sitting on the upper-floor terrace across the courtyard. She can wave to her young neighbour learning to ride a bike in the side yard. The close-knit development has allowed its residents to

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stay connected and support each other, while easily maintaining the requisite physical distance.

For Amodio, it comes down to principles of design that MA+HG always strives for in their work: “a multiplicity of individual spaces under the umbrella of shared space, or little pods inside a bigger pod.” Maybe it’s just what people crave at any time—the option to easily engage in collective life and also retreat into a private realm. Union is a happy little pocket of community. It supports the well-being of its residents, a group of given and chosen family. People smile when they pass by. It’s a good neighbour that fits in and stands out from its surroundings.

Courtney Healey is an architect and writer. She would like to acknowledge that this article was produced on unceded Coast Salish territories.

CLIENT MIRA MALATESTINIC | ARCHITECT TEAM MARIANNE AMODIO (MRAIC), HARLEY GRUSKO (MRAIC), LINDSEY NETTE | STRUCTURAL CHIU HIPPMANN ENGINEERING | MECHANICAL FLUID MECHANICAL | ELECTRICAL PVE ENGINEERING | LANDSCAPE HAPA COLLABORATIVE | CONTRACTOR TERRIS LIGHTFOOT CONTRACTING | SURVEYOR HERMON OKE + WILLIAMS | CODE CELERITY ENGINEERING | SPECIALTY TRADES PRECISION GAS AND MECHANICAL, RISING FORCE SPRINKLER INSTALLATIONS, SOL LANDSCAPES, CAST-IN CONCRETE DESIGN, SUTHERLAND CONCRETE, CASA MADEIRA HARDWOOD FLOORING, BH WOODTURNING, ALLIANCE TRUSS, ZEBIAC HOUSE RAISING, STELLAR SECURITY | AREA 539 M2 | BUDGET WITHHELD | COMPLETION MARCH 2020

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A NEW QUEBEC ARTISTS’ CENTRE IS AN ELEGANT ARGUMENT FOR SUPPORTING YOUNG, CREATIVE FIRMS THROUGH ARCHITECTURAL DESIGN COMPETITIONS.

Est-Nord-Est, résidence d’artistes, St-Jean-Port-Joli, Quebec Bourgeois / Lechasseur architectes TEXT Odile Hénault PHOTOS Adrien Williams, unless otherwise noted PROJECT

COURTESY EST-NORD-EST

ARCHITECT

Est-Nord-Est’s new home is the outcome of a design competition, won by emerging Quebec City firm Bourgeois / Lechasseur architectes. ABOVE For decades, Est-Nord-Est operated from makeshift facilities: an old concrete block structure, to which discarded portable classrooms had been added for use as studios by resident artists.

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In May 2019, a small centre dedicated to research and experimentation in contemporary art inaugurated its new home in the historic village of Saint-Jean-Port-Joli, along the St. Lawrence River. Normally, this kind of event would not register with the architectural community, but Centre Est-Nord-Est is different. The work of Bourgeois Lechasseur architectes, it is contemporary yet deeply rooted in tradition. And it could not have happened without Quebec’s unique competition system.

Centre Est-Nord-Est belongs to a well-established international network of residencies, providing artists from around the world with an opportunity to spend a few weeks away from their home, discovering new perspectives and sharing with people engaged in similar artistic ventures. Since its founding in 1992, Est-Nord-Est had occupied makeshift facilities, too cold to be used during the winter and unable to provide accommodation for its visiting artists. After years of dreaming and fundraising, Est-Nord-Est was finally able to embark on the long trek that would lead to its new building. A lot of hope was placed in the competition process.

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A few years earlier, architect Todd Saunders had set the bar very high with his widely praised Fogo Island Studios and Inn in Newfoundland. Money did not seem to be an issue in Fogo, but it definitely was a constraint in Saint-Jean-Port-Joli. With a $2.3 M construction budget for a 590-square-metre building, Est-Nord-Est launched its competition in 2017. It attracted responses from 22 Quebec firms, from which the five-member jury proceeded to shortlist four relatively young teams to go on to the design stage.

One of the four finalists—and the eventual winner—stood out from the outset. Bourgeois Lechasseur architectes was founded by thenrecent graduates Olivier Bourgeois and Régis Lechasseur. In his masters’ thesis project, Bourgeois had researched and designed an unusual Domaine d’artistes for a Magdalen Islands coastal community.1 The project caught the eye of Todd Saunders, which led to Bourgeois joining his team in Bergen, Norway, as work started on the Fogo Island studios.

This experience with the typology perhaps explains why Bourgeois’ team took a few liberties with the program requirements. The brief asked for a multifunctional space, two workshops, an assembly area, six studios, five bedrooms, various administrative spaces and a small library. The most public component—the multifunctional room—was meant as a meeting point for the artists, as well as a bridge to the community at large. The residential facilities, a first in the Centre’s history, would allow invited artists to spend all their time on the premises, rather than travelling back and forth between the building and rented rooms in the village centre, a few kilometres away.

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ABOVE At the heart of the project, a multipurpose room opens onto a courtyard used by staff, resident artists, and guests during public events.

OPPOSITE A sweeping stair leads up to a library and reading mezzanine.

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Bourgeois Lechasseur’s proposal was distinct from the other entries in its handling of the overall volume and its innovative studio configuration. 2 For this narrow site—close to the St. Lawrence, yet removed from river views—inspiration came from the land rather than the water, and more particularly, from the imposing barns still dotting the countryside all over Quebec. Both Bourgeois and Lechasseur were raised in small communities, away from larger cities. Their understanding of vernacular architecture led them to devise a long monolithic volume with a sloping roof, totally in tune with its rural context.

The shape of the roof allowed the architects to deploy a series of mezzanines in the studios, instead of building a second f loor as stipulated by the program. The studio configuration offers a f lexible, expandable workspace for resident artists, elegantly addressing a longstanding issue with the former facility’s rigid layout. Sculptors could have all the space they needed for their experimental work, while photographers (or other artists working from a laptop) could enjoy a larger living area.

The heart of the project remains the double-height multifunctional room, located close to the entrance. The room is filled with light f lowing in from an exterior court as well as from skylights set in dramatic light wells. It serves as lounge, exhibition area, community kitchen, and dining room. A voluptuous spiral staircase leads up to the quieter library and office mezzanine.

Locally harvested white cedar was used for the exterior cladding, while sheet metal protects the huge roof. Given the institution’s modest budget, interior finishes are mostly plywood, gypsum board and polished concrete. Acoustically treated gypsum panels were installed on Each studio can be used flexibly as a workspace and living area, accommodating the needs of different types of artistic pursuits. RIGHT The use of mezzanines—rather than a second floor­—simplified fire exiting and allowed for substantial cost savings within the tight budget.

LEFT

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some of the angled ceilings to keep sound reverberation to a minimum.

Working within this simple palette, the architects gave considerable thought to natural light and to physical conditions conducive to reflection, quiet stimulation and experimentation.

As a critic, one’s only concern reviewing this jewel of a building is that it may be the swan song for a unique program. Established in the early 90s, Quebec’s competition process was designed to stimulate creativity and allow new talents to emerge from anonymity. Since then, numerous cultural facilities—often designed by young firms—have provided Quebecers with an amazing array of libraries, concert halls, theatres, museums, and interpretative centres.

Despite this success, resistance to the process was always lurking, slowly infiltrating the bureaucratic mechanisms responsible for competitions. Slowly but surely, requirements have become more stringent and risk-adverse. Today, there is little difference between competition invitations and regular RFPs. Younger teams—or talented firms with little experience in a particular building type—are almost automatically excluded from shortlists.

With this elegant, well-crafted building, where the architects were able to use their creativity to the fullest, one is reminded of the program’s early days. In 1992, the Quebec Ministry of Culture organized two small-budget pilot competitions that were to have a tremendous impact.

The Musée régional de Rimouski, by Dupuis LeTourneux, has become a vibrant regional institution, partly thanks to its physical transformation. And, apart from contributing to its remote Gaspé location, the A courtyard is framed by the centre’s multi-purpose room and workshops. The centre’s dramatic roofs are inspired by the region’s traditional barns.

ABOVE

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Centre d’interprétation du Bourg de Pabos, by Atelier Big City, created a momentum that resulted in a changed—and reinvigorated—culture of architectual practice in Quebec.

One of the Rimouski museum’s designers—Jean-Pierre LeTourneux— was on the Est-Nord-Est jury, along with Marie-Chantal Croft, whose firm worked with Patkau Architects on a major project won by competition: the Grande Bibliothèque du Québec. Competitions were a turning point for both LeTourneux and Croft, who have since enjoyed highly successful careers. As they sat down in Saint-Jean-PortJoli to select the four competing teams for Est-Nord-Est, one can presume they made a point of giving younger firms a chance.

Hopefully, the level of excellence achieved in this Centre will lead to a much-needed refresh of the competition system, pivoting it back towards its original goal of supporting talent and creativity. Such qualities are more often than not found in emerging architects.

1 Olivier Bourgeois’ masters thesis project (in French) can be accessed at www.arc.ulaval.ca/files/arc/projetsetudiants/2006/Olivier_Boucher.pdf 2 Competition entries and related documents (in French) can be viewed at www.ccc.umontreal.ca/fiche_concours.php?cld=508&lang=fr Odile Hénault is an architectural critic based in Quebec. She was the professional advisor who organized Quebec’s two pilot competitions in the early 90s. She briefly served as director of the Centre Est-Nord-Est in 2009.

CLIENT EST-NORD-EST | ARCHITECT TEAM OLIVIER BOURGEOIS, RÉGIS LECHASSEUR, ROMY BROSSEAU, PASCALE OUELLET-DOMPIERRE, VALÉRIE GAUTHIER, ISABELLE AUCLAIR, MAXIME ROUSSEAU | STRUCTURAL GÉNIE-PLUS | CONTRACTOR MARCEL CHAREST & FILS | AREA 951 M2 | BUDGET $2.3 M | COMPLETION JULY 2019

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CASE STUDY

Infill Housing | Miami, Florida

BILCO’s Hatches Add Rooftop Access in Little Havana Project

Photos: Charlie Fernandes

Andrew Frey’s primary challenge in his first project as a full-fledged development company had nothing to do with construction. Once he solved it, however, he set about blazing a trail that could bring back the charm to one of Miami’s most distinctive neighborhoods.

Frey’s real estate development company, Tecela, completed a new infill build project last year in the Little Havana section of Miami.

Working with architect Jason Chandler and general contractor 748 Development, teams constructed four three-story townhouses, each with four apartments.

The critical piece to the project, however, was Frey’s four-year effort to get the city of Miami to waive burdensome parking requirements.

“After the parking issue was worked out, the project went pretty smoothly,” Frey said.

Prior to starting Tecela, Frey worked for an apartment development company. He saw that there was very little construction of small apartment projects in the area. “I thought what’s the biggest obstacle that I can work on removing?” he said. There was not a lack of capital, consulting talent, or contracting capacity. “The only thing left was zoning,” Frey said. “The real big one was parking regulations, which required 1.5 spaces per unit. I knew I had to get that resolved if I was going to build small apartment projects.”

Frey drafted a proposal to change the law, drummed up support and eventually got Miami commissioner Francis Suarez to sponsor the bill.

With the help of Suarez, now Miami’s mayor, the bill passed.

Why did Frey work so diligently to fight parking rules? Cost. According to one estimate, surface parking can drive up the cost of housing by as much as $10,000 per unit. When built in a parking garage, the space can add as much as $50,000 to housing costs.

Each townhouse, designed by Chandler, includes multi-layer facades and large balconies. They are divided into apartments, including studios with 595 square feet, 1-bedroom units with 617 square feet and two 2-bedrooms, at 1,130 square feet and 1,211 square feet.

With a population of around 76,000 residents, Little Havana is a social and cultural hub for many Hispanics. It is home to many exiles from Cuba, and has the largest concentration of Hispanics in Miami. In 2017, the National Trust for Historic Preservation included Little Havana as one of its “11 Most Endangered Places.” The list spotlights areas where architectural, cultural, and natural sites of national significance are being harmed by neglect or incompatible development.

Atop the townhomes are Type S roof hatches manufactured by BILCO. The hatches have a fixed interior ladder and provide access to rooftop equipment. The hatch includes a counter-balanced cover design for

easy one-hand operation and fully gasketed and insulated construction for weather resistance.

“They were affordable and reliable,” Chandler said. “We have used them in previous projects. They were also code-compliant for accessing mechanical equipment on the roof.”

Since Frey’s work to change the zoning requirements for parking, additional infill housing projects have been built in Little Havana, helping to preserve the charm of one of Florida’s most vibrant social communities.

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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A WARM RESPITE A CAREFULLY DETAILED TRADES BUILDING BRINGS WARMTH AND LIGHT TO CAMPUS LIFE IN AN EXTREME NORTHERN LANDSCAPE. PROJECT Northern Lights College – Trades Training Centre, Dawson Creek, British Columbia ARCHITECT McFarland Marceau Architects TEXT Heidi Redman PHOTOS Michael Elkan

ABOVE Alluding to the aurora borealis, a large clerestory is animated by dyamically changing LED lights at night. The illuminated façade is a colourful presence along Dawson Creek’s main throughfare.

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Amidst a rolling landscape of fields and forests just west of the Alberta border, Dawson Creek is an energy hub, fueled by development and growth in the oil and gas sector. Along the city’s main thoroughfare lies the sprawling campus of Northern Lights College, touted as “BC’s Energy College.” The view as you enter the college grounds is now anchored by a new trades building, designed by Vancouver-based McFarland Marceau Architects, a practice now led by Marie-Odile Marceau.

On a campus that sits at the heart of a region propelled by fossil fuels, the college is advancing a vision to be at the forefront of the renewable energy sector. When the project for the new trades centre started, the school had recently established a Centre of Excellence in Clean Energy Technology. Regional facilities manager Murray Armstrong carried the college’s vision for a building that would embody a commitment to new energy sources. This commitment also extends to the building’s program: it houses shops and classrooms for the college’s millwright, welding, and carpentry offerings, as well as for its wind turbine course of study.

Located 150 metres across an empty field along the community’s main thoroughfare, the trades building provides a coherent face to an

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otherwise haphazard campus, converted in the 1960s from a military station into a vocational school. A large clerestory runs the length of the east façade, animated by day with coloured glass, and by night with dynamic LED lighting. The lit façade nods to the aurora borealis, providing a sense of whimsy in the long, dark winter. During the coldest months, the lights are in full glow as the community goes to work in the morning and returns home in the evening.

The building’s program required large spaces within a limited budget.

The architects proposed a straightforward massing: a simple, but highly functional box. This decision freed up budget for the predominate use of wood in the building’s construction. The light wood structure, along with pile foundations, helped deal with the site’s clay plastic soils. More importantly, wood finishing demonstrates the use of a renewable material, exudes warmth in an otherwise cold shop environment, and honours the craftmanship of the tradespeople being trained within.

While the surrounding urban area is generally constructed for the dimensions of a pick-up truck, a series of intentional moves bring humanscaled design to the centre. For instance, although the exterior cladding

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GROUND FLOOR

ABOVE A new entry courtyard for the campus is framed by the trades building, along with a new link and entrance to the main campus centre. RIGHT The student commons includes a curved wood screen that separates circulation from seating areas.

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looks uniform from afar, the building is wrapped in a skin of metal shingles, adding texture that breaks down the façade. Narrow, vertical windows perforate the long façades, providing glimpses of the outdoors from the shops and classrooms, while still permitting the walls to be densely kitted-out with equipment. Inside, details like exposed neoncoloured conduit turn the building itself into a teaching tool.

A link connects the trades building to the existing Campus Centre.

Together, the buildings frame a new courtyard. On a campus where most arrive by car, the courtyard offers a rare outdoor public space, providing both visual relief and shelter from the winter winds that dominate the otherwise open landscape.

Trades training buildings typically comprise a central corridor flanked by classroom and workshops, with an exterior works yard to one side.

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WORK YARD CARPENTRY WORKSHOP TOOL CRIB PLUMBING WORKSHOP TURBINE WORKSHOP BLADE REPAIR ROOM ENTRY COURTYARD MAIN CAMPUS ENTRY E XISTING BUILDING ADMINISTRATION INSTRUCTORS’ OFFICE WORKSHOP MEZZANINE

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2020-08-24 3:35 PM

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sected by a curved screen of laminated veneer lumber. The screen separates circulation from seating, and softens views between the lounge and adjacent classrooms. A light scoop reflects warm southern light off the exposed mass timber structure into the seating alcoves.

The client’s commitment to sustainability led to several important energy-saving features in the project. These include a solar wall on the south-facing exterior, which preheats air as it enters the building. Atop the centre is a demonstration green roof; rainwater is also collected from the roof for non-potable uses. Although the region is abundant in fossil fuels, building heat is provided by waste wood chips and a heat pump.

The Trades Training Centre at Northern Lights College is not your traditional shop. In a community known for its harsh northern landscape, the building exudes light and warmth. In counterpoint to the emerging technologies and trades housed within, it is constructed from materials that evoke tradition, such as wood and stained glass. It embodies a progressive vision of a renewable energy future—created not by robotic machines, but by well-trained human hands.

Landscape architect Heidi Redman is a Principal with LEES+Associates. The firm includes offices in Vancouver, Toronto and Whitehorse.

ABOVE, TOP TO BOTTOM Coloured glass animates the east façade during the daytime; CLT and glulam frame the link connecting the trades building to a new main campus entry; the building includes coloured conduit along the walls, while suspended cables allow for the flexible location of power tools.

CLIENT NORTHERN LIGHTS COLLEGE | ARCHITECT TEAM MARIE-ODILE MARCEAU (FRAIC), CRAIG DUFFIELD (MRAIC), LEUNG CHOW, MICHAEL HAMMOCK, RICHARD BUCCINO, JAY ALKANA, KELLYANNE CAULFIELD, JESSE GARLICK | STRUCTURAL EQUILIBRIUM CONSULTING | MECHANICAL ROCKY POINT ENGINEERING | ELECTRICAL JARVIS ENGINEERING | LANDSCAPE MCFARLAND MARCEAU ARCHITECTS | INTERIORS MCFARLAND MARCEAU ARCHITECTS | CONTRACTOR LEDCOR CONSTRUCTION | AREA 5,600 M2 | BUDGET WITHHELD | COMPLETION SEPTEMBER 2018 ENERGY USE INTENSITY (OPERATIONAL) 184.3 KWH/M2/YEAR | BENCHMARK 283 KWH/M2/YEAR (NRCAN, 2014, ELEMENTARY AND SECONDARY SCHOOLS BUILT AFTER 2010) | WATER USE INTENSITY (OPERATIONAL) 0.09 M 3/M2/YEAR | BENCHMARK 0.09 M 3/M2/YEAR (REALPAC WATER BENCHMARKING STUDY OF 83 OFFICE PROPERTIES, 2012)

CA Sep 20.indd 34

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INSITES

COURTESY FORMLINE ARCHITECTURE

CANADIAN ARCHITECT 09/20

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LEARNING FROM INDIGENOUS CONSULTANTS TEXT

Omeasoo Wahpasiw

HOW CAN INDIGENOUS DESIGN THINKING INFORM ARCHITECTURE? SIX OF CANADA’S INDIGENOUS ARCHITECTS DESCRIBE THE PAST, PRESENT AND FUTURE OF INDIGENOUS ARCHITECTURE IN THE COUNTRY. The COVID-19 pandemic is an opportunity for architects to reassess their roles in creating safe spaces for cradling humanity. Indigenous design thinking, with its focus on kinship, community, well-being and nature, is a new-old way to reinvigorate the human-environment relationship.

What is Indigenous architecture? According to Maori architect Hirini Matunga, it means exhibiting some—if not all—of the following characteristics: a clarity about its genealogy or whakapapa [a Maori principle of identity] a link to an Indigenous archetype or archetypes a n engaged response to a defined Indigenous need—past, present or future a structural articulation of the cultural and social values of the particular Indigenous community a design response to an Indigenous peoples’ specific place-based narrative a structural form—informed by Indigenous knowledge, world views and cosmology; and an inherent, culturally configured or ascribed Indigenous meaning1 Over the past few years, Indigenous architecture has been coming to greater prominence within Canada. Notable developments include the foundation of the Laurentian University School of Architecture, which includes Indigenous values and Elders as part of its teaching, and the creation of the RAIC’s Indigenous Task Force, which currently includes 17 Indigenous members. Indigenous architects have seen increasing demand for their participation on architectural teams, particularly in the government and institutional sectors.

CA Sep 20.indd 36

What is the road that led to this point, and what are the next steps for both Indigenous architects in Canada and their non-Indigenous allies? Over the past months, I was privileged to conduct interviews with some of Canada’s talented Indigenous architects. These individuals revealed their collective histories, frustrations, and hope for the future of work with Indigenous Nations. nehiyaw architect Wanda Dalla Costa (Redquill Architecture), on the status of Indigenous architecture in Canada We are so constricted and strapped by colonial processes—whether it is in the budgets, hierarchies, methodologies, or lack of Indigenous concepts (ways of being, connecting, and doing). Indigenous ideas do not have a place in the current system, and that is holding architecture down.

Indigenous architects offer lived experience. If you have no idea what it is like to live on the Rez and what it is like to be an urban Indian, how can you design their spaces? It helps to have knowledge of beliefs and value systems to connect to the inner aspirations of people.

All architects are influenced by sociocultural, environmental and systemic factors. In order to understand the complexities in our communities, you need to know what kind of questions not to ask, what kind of trauma a place has experienced, what are the aspirations. The best way to do that is to be from that place.

The values we imbue in architectural processes come from our traditional systems that are associated with our traditional architecture.

Architecture is in the place, it is very specific to the place, we cannot know about that place and nor should we pretend to. When we are try-

2020-08-24 3:35 PM

CANADIAN ARCHITECT 09/20

37 ing to reconstruct a future, we need to be really good listeners, and ‘imagineers.’ What we are doing is reimagining a future that is not the one we are living in. And I think humility is at the base of this.

CAROL MUNDEN

HARRIET BURDETT-MOULTON

Nisga’a architect Patrick Stewart (Patrick Stewart Architect), on the lack of Indigenous architects in Canada As a student, I asked an Elder in my community, “Why are there not more people going into architecture?”

He said, “When the Indian Act was repealed in 1951, all of a sudden we could go to school, all of a sudden we could hire lawyers, we could fight the Indian Act. The only way [an Indian could go to University] was to be enfranchised. So they enfranchised him and sent him to school [and] he became a lawyer. In 1972, there was the Calder decision, where the Supreme Court of Canada reached a hung decision, in that there were three judges in support of the Nisga’a Nation and three against. The Nation took this as a victory, because never before had the Supreme Court supported anything from a First Nation.”

“The Nisga’a Nation has never stopped fighting: ever since surveyors came into our territory in 1881, we immediately went to Victoria, when we didn’t get any results, we went to Ottawa, of course there was no support there, and then we went to the Queen, we went to London. There has never been a time since settlers came into our territory that there hasn’t been resistance. Lawyers were the first thing we needed, and then when residential schools closed, we needed teachers. With residential schools closing, and with students coming back without parenting skills, we also needed social workers.

Until 1972, we didn’t have a road into the valley, so we decided we needed nurses to work in the clinics.”

He said, “architecture will come”—it just wasn’t the first priority.

The TRC report includes Call to Action #92, the single action item that may be applied to the field of architecture. Titled Business and Reconciliation, it calls on the corporate sector to commit to meaningful consultation with Indigenous peoples before proceeding with economic development projects, to ensure that Indigenous peoples have equitable access to job opportunities, and to provide education for management and staff on the history of Indigenous peoples.

In concrete terms, an example of this in architecture could be working to increase the number of Indigenous architects and construction workers. Continuing education courses, as well as the core curriculum in architecture schools, could be ideal places to implement skills-based training in intercultural competency.

Considering the fundamental role of architecture in nation-building, it is unfortunate that architecture does not have its own Action, however, that should not detract from the impressive possibilities contained in this Call.

CA Sep 20.indd 37

COURTESY REDQUILL ARCHITECTURE

NunatuKavvut Métis architect Harriet Burdett-Moulton (Stantec), on the creation of the RAIC’s Indigenous Task Force There was little to no engagement with acknowledged-Indigenous architects (beyond famed Blackfoot architect Douglas Cardinal) until 2017, when the RAIC’s Indigenous Task Force was created. This timeline also reflects the momentum generated by the Truth and Reconciliation Commission (TRC), which began its work in 2008 and published its damning final report in 2015.

The typical approach of window dressing—paint on the walls, or ornamentation—is a paltry nod to Indigenous cultures. These cultures represent a very rich resource that could be used in design to set Canadian buildings apart from other Western countries. There are 57 different languages or dialects across Canada. People on the East Coast are very different than people on the West Coast.

OPPOSITE Formline Architecture is one of four Indigenous-led practices working with the National Research Council of Canada to develop prototype housing for Indigenous communities in remote regions of Canada. ABOVE, TOP Architect Harriet Burdett-Moulton was responsible for the rebuilding of St. Jude’s Anglican Cathedral in Iqualuit. The original, designed by Ron Thom, was destroyed in a 2005 fire. ABOVE, MIDDLE Burdett-Moulton demonstrates how to flesh a polar bear skin. ABOVE, BOTTOM Designed by Wanda Dalla Costa Architect, David T Fortin Architect and Smoke Architecture, the Indigenous People’s Space on the territory of the Omamìwìnini Anishinaabeg | Algonquin Nation is an adaptive reuse of an existing colonial building. It offers a revised representation that more closely connects to principles of Indigeneity.

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LEFT Designed by Stantec, Quadrangle and Two Row Architect, the Indigenous Hub is a city block in Toronto’s Canary district.

It includes a community health centre and skills training centre, an industrial heritage building being adaptively reused as a commercial property, and two residential towers.

Oneida Nation architect Brian Porter (Two Row Architect), from the Oneida Nation, on the underwhelming and cyclical understanding Canadians have had of Indigenous issues In the 1980s and 1990s, the topic was discussed often, but little action resulted. It has come a long way—it has and it hasn’t. In 1996, a procurement strategy for Aboriginal business was kicked off that empowered and encouraged all federal government divisions to direct their infrastructure needs towards Aboriginal businesses. Even back then, some took it on more seriously than others. I think it is safe to say that there wasn’t any division of the federal government that met that target.

I’ve felt a palpable change in the last two years or so. We are doing projects—it seems like the cities and municipalities are interested, they’re more concerned, they are more aware. We are working on teams with mainstream architects. It has changed—it feels more like family—my sense is that [clients and non-Indigenous architects] are starting to get it a little bit more. It feels different.

Denesuline First Nations architect Alfred Waugh (Formline Architecture) on the challenges of achieving architectural quality when building on reserves There is a grey area operating on our reserves, because [the federal government] has wiped its hands clean of the fire safety input or review of documents. There is no municipal government, there is nobody ensuring that you do your due diligence as a professional. It is up to our own body to discuss this and make our client aware of what their rights are, and make them aware that they can contact our organizations.

Do you submit letters of assurance? Who do you submit letters of assurance to? When there is no municipal body, do we recommend clients hire a planner or a building inspector? These are all things we have to consider. A consultant will build a building, and then disappear.

There is no recourse. And because there is no municipal infrastructure to develop building permits, the Nations are all left in the dark.

Waugh and Patrick Stewart are currently developing education tools to support architects and Indigenous communities facing these issues.

They hope to mitigate many of the problems that Indigenous communities experience with their buildings—a list that includes receiving architecture that does little to reinforce Indigenous values and nation-building goals.

CA Sep 20.indd 38

Métis architect and educator David Fortin (McEwen School of Architecture at Laurentian University) on the role of Indigeneity in architectural education Recently, within the academic community, we are seeing broad interest in Indigenous causes and a critical questioning of what Indigenous Architecture is. This is still a relatively nascent conversation and a tricky one with so few Indigenous voices to lead it right now. It is clear that the most productive work occurs when universities focus on forging meaningful relationships with communities to produce ideas and work that genuinely support the community’s best interests and thereby avoids hasty tokenism to meet new university mandates. It is also exciting that students across the country are recognizing the importance of Indigenous-led design and development, learning about the impact of colonialism on the built environment, and questioning their responsibility within this discourse. We are seeing a growing—and truly inspiring—new generation of Indigenous interns and students already rising to the challenge, who are very soon going to be providing strong leadership in our profession.

A spectrum of perspectives The spectrum of perspectives within Canada’s small Indigenous architecture community ranges from fatigue and disappointment, to commitment to change. The architects I spoke with see a huge potential within Canadian Indigenous architecture. Indigenous involvement, direction, and consultation on architecture requires additional effort in engagement. The Indigenous consultants I spoke with felt that Indigenous peoples, with their experiences, internal value systems, and humility—whether leading projects or being engaged in authentically respectful relationships and dialogue—can add immensely to projects in a way that is transformative and ref lects what Indigenous architecture should be.

1 Harini Matunga, “A Discourse on the Nature of Indigenous Architecture,” from The Handbook of Contemporary Indigenous Architecture (edited by E. Grant, K. Greenop, A.L. Refiti, AL & D.J. Glenn, DJ. Spinger, Singapore, 2008).

Omeasoo Wahpasiw is an assistant professor in the Faculty of Arts and Faculty of Education at the University of Prince Edward Island.

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CANADIAN ARCHITECT 09/20

EDUCATION

GOING VIRTUAL TEXT

Douglas MacLeod

ARCHITECTURE SCHOOLS ARE PIVOTING TO ONLINE TEACHING DURING THE PANDEMIC. WHAT DOES THIS MEAN FOR THE FUTURE OF ARCHITECTURAL EDUCATION? The COVID-19 pandemic has caused over 100,000 infections in Canada alone. It has also disrupted the country’s education system.

According to a recent study by RBC, some two million university and college students—let alone scores of school-aged children—have had their classes moved online.

While this is a “new normal” for most post-secondary institutions, at the RAIC Centre for Architecture at Athabasca University, we have been running a completely online program in architectural education for the last 10 years. Through its Bachelor of Science in Architecture and Graduate Diploma in Architecture, the Alberta-based (but entirely online) institution offers a full spectrum of virtual courses and studios.

The courses, ranging from history to structures, are offered asynchronously, allowing students to work independently and at their own pace.

The studios are synchronous, with students meeting via videoconference each week with their instructor and with fellow students.

What we have learned over the past decade is particularly pertinent to the current situation, in which many architecture classrooms will remain shuttered through the fall. While unfortunate, the widespread closures of physical architecture schools also affords an opportunity to re-examine, through a larger lens, how we are educating the next generation of architects.

Not surprisingly, Athabasca’s online design studios have attracted considerable controversy, as many contend that studio simply can’t be taught online. The studios began with an RAIC-prompted pilot project in 2015, led by Edmonton architect Cynthia Dovell. The pilot was such a success that, with Dovell’s help, Athabasca rolled out a full suite of 10 studios that still run to this day. The studios were first delivered with Adobe Connect (backed with dedicated phone lines) and now use Zoom. Due to student demand—and because logistics are relatively easy—studios currently run three times a year: in summer, fall and winter.

This experience with virtual studios has proven invaluable in the present crisis. The faculty of the Centre for Architecture has been in demand across the country (and even in the United States) to help with final, online reviews at other universities.

The faculty’s advice has also been sought as coursework moves online. A key lesson, however, is that a course or a studio can’t be simply moved online by cutting and pasting the content from one medium to another. Asynchronous courses need to be carefully prepared and supported, since students will be working on their own—often late at night, when there is no support available.

This also holds true for virtual studios. In particular, instructors need to appreciate the possibilities of the new tools. For example, Zoom now includes a wide variety of drawing tools that allow critics to mark up drawings. After a presentation, the critic can also take control of a student’s presentation and speak to individual slides directly. All this demands a certain amount of agility from the critics. Instead of merely referring a student to an interesting precedent, for example, I now maintain a PowerPoint deck of key examples that I augment on the fly.

I can share my screen and immediately show the student a pertinent building, and then indicate with drawing tools why it is relevant.

We also record reviews so that students and faculty can access them later.

It has often been pointed out that you cannot replicate the culture and community of an architectural studio in an online environment.

There is some truth to this. In any online learning environment, it is difficult to keep students engaged, and online attrition rates are high.

We are, however, finding ways to address this issue. One of Athabasca’s faculty members, Dr. Henry Tsang, developed a 24/7 virtual lounge in Zoom, where students can drop in and videoconference with others in their studio. Recently, three of our students used the lounge to collaborate on the Evolvo Skyscraper competition. One was in Edmonton,

ABOVE LEFT A design bootcamp for Edmonton high school students, run by the RAIC Centre for Architecture at Athabasca University, included a forum with architecture graduates Tara McCashin (AVID Architecture), Greg Whistance-Smith (AVID Architecture), and students Malik Doerksen-Grenville (Northern Institute of Technology), Mike Clarke (University of Southern California), Shane Hauser (Dalhousie University), Salam Yousef (Athabasca University), and Joy Olagoke (University of Calgary). ABOVE RIGHT Student Ritam Niyogi discusses his project with University of Manitoba professor Lisa Landrum. “My conversations with Ritam had previously been oriented around his physical model­—so it was natural for him to bring it over to show me as he narrated a walk-through and described final changes,” writes Landrum.

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GABRIELLE GOLDMAN + FRÉDÉRIC VERRIER-PAQUET

EDUCATION

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MARIANA BOTERO + THOMAS KING

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one in Toronto and the third in Montreal. They never met in person, and while they didn’t win, they did produce a very credible entry.

Earlier this year, Cynthia Dovell delivered the Centre for Architecture’s first dual-credit-offering design studio in two Edmonton high schools. Dual-credit is one of the most exciting (and underused) opportunities in Canadian education: in provinces which have the program, students get credit towards both their high school diploma and a university degree, and the cost is covered by the province. When the pandemic closed the high schools, Dovell moved the studio from a face-toface course to an online offering. While attrition rates in most of the school board’s other online courses were high, studio attendance and participation in Dovell’s courses continued with little change. To state the obvious, no matter what the technology or delivery method, the expertise of the instructor remains critical to the success of the learners.

Pandemic aside, the traditional studio culture has some notable problems. Twenty years ago, Thomas Fisher noted that: “Many of the features of today’s design studio—the unquestioned authority of the critic, the long hours, the focus on schematic solutions, the rare discussion of users or clients—were begotten by that 150 year-old system [the École des Beaux Arts].” Is this still the best way to teach design?

The first iPhone was introduced in 2007, so we will soon be teaching a generation of learners who have never known a world without them.

On a daily basis, our students are immersed in video games with graph-

ics and interactions that far outstrip anything we can offer. Through Facebook, Instagram and TikTok, our students are members of global communities. Before the pandemic, you could walk into any universityarea coffee shop with good Wi-Fi and see dozens of students working on school assignments. Yet few of these advances have been incorporated into our teaching of architecture.

This highlights systemic problems that extend beyond architectural education. One problem is that the Canadian educational market is too small to develop materials tailored specifically to our country. We then compound that problem by encouraging each province and territory to maintain its own unique curriculum. Within each province, every college and university has its own structures course and its own history of architecture course. There is no co-operation, and nothing is ever shared—an attitude contrary to the value proposition of digital learning.

Even at Athabasca University, we are still at what Marshall McLuhan called the “horseless carriage” stage of online learning, where we try to make this new world conform with the old world that we are more comfortable with. To a great extent, our courses are still locked into the framework of images and texts, with an occasional video.

The possibilities, however, are enormous—and disruptive.

In 2016, the Centre for Architecture began working with three other schools—the Tecnológico de Monterrey in Mexico, the Cardiff School of Art & Design, and the University of the Witwatersrand—to deliver

Architect Vedanta Balbahadur led a one-month intensive studio for McGill students, where crits regularly involved digitally sketching over student images during design conversations. “The sketches serve as touchstones to which [the students] can refer; they are, in a sense, a version of digital tracing paper,” writes Balbahadur. BOTTOM ROW For her course at Ryerson, architect Linda Zhang asked students to Zoom in using their model images as a virtual backdrop. The students also did 3D scans of their pandemic workspaces. “We mainly wanted to visualize the inequity of WFH for my students,” writes Zhang. “Not everyone had access to a desk, or even knowing where they would live next month for that matter.”

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a Sustainable Building Science Workshop. In the session, students collaborated online to create healthy, energy-efficient buildings. This activity was expanded in 2019, becoming a Sustainable Building Science Student Festival with over 100 participants from Canada, Mexico, Wales, Botswana and Nigeria. Led by Dr. Kristen Kornienko of the Centre for Architecture, learners took part in activities including surveys, lectures and the use of energy modelling software provided by faculty member Trevor Butler and Richard Kroeker of Dalhousie University.

Most recently, these organizations have launched a Global Virtual Lecture Series. The first lecture, by Parisian architect Odile Decq, was attended by over 400 participants from 34 countries. Subsequent lectures have been offered on mass timber construction and on the liminal ritual spaces of Kuruman, South Africa.

The hope is to use this Global Studio as a vehicle to help instructors and students from around the world create content and curriculum that no single person could produce on their own. On her YouTube channel “Surviving Architecture,” UK architecture student Rasha Shrourou shares a new weekly video, on topics such as laying out portfolios or generating architectural renderings. She’s created dozens of videos, but there’s no reason why, equipped with the same tools, architecture students from around the world couldn’t share hundreds more. The obvious advantage to the online world is that once created, a piece of content can be reproduced and shared repeatedly at little or no cost. What would be possible, one wonders, if Canadian schools worked together to create a single stellar online structures course or building code course?

But then again, perhaps what we really need to do is to listen more closely to students. Laure Nolte, a Master of Architecture student at Dalhousie University, is one of the co-founders of the Supernatural Design Collective. As their website explains, “We are advocating for architecture and design communities to move beyond damage limitation (sustainability) and toward a regenerative perspective,” More than that, however, Nolte asks, “Why isn’t the curriculum shifting? What are we trying to preserve? We’re still talking about Le Corbusier as the base without contextualizing modernism within a very Eurocentric canon of architecture.” She suggests that “faculty need to learn from the students as much as the students need to learn from the faculty.”

Other student-led groups are also advocating for deep changes to the standard curriculum. At the University of Calgary, Master of Architecture student Joy Olagoke is among a group that has launched Advocates for Equitable Design Education. Olagoke writes, “We’re trying to foster a more inclusive atmosphere that teaches different perspectives, and challenges problematic social norms.” As their website points out, “When we take the time to be critical of global changes, it is clear that design education and professions have failed to take action against injustices which we knowingly or unknowingly perpetuate.”

In Building and Dwelling, urbanist Richard Sennet remarks that “I tried to orient my planning work to that moment when it was time for me to get out of the way.” For those of us who are used to being in charge, getting out of the way will be painful, disturbing—and necessary.

I believe our students have the drive, will and intelligence to be leaders, rather than solely followers, as we transform architectural education.

This hints at the real power of Athabasca University—and it has nothing to do with technology. Instead, it’s an institution that takes pride in its openness. Anyone who has completed a high school diploma can register in its Bachelor of Science of Architecture, and can start an academic course any month of the year. In the 2018 to 2019 school year, the Centre for Architecture served 488 students. These included students enrolled in the Bachelor and Graduate Diploma programs, but also RAIC Syllabus students who take academic courses through Athabasca, Broadly Experienced Foreign Architects who take its professional practice courses, and students from bricks-and-mortar schools who

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needed to make up a course. There were also students from business, nursing, science and other fields, who were simply interested in architecture. The Athabasca model is scaleable: if there are 30 new students in a month, then the university hires another academic expert to work with them, without needing to find a new classroom or studio space.

488 students makes the Centre for Architecture’s offerings one of the largest undergraduate programs in the country, but it is distinct from other programs in an important way: almost none of its students are full-time.

They include those living in remote communities such as the far North; those whose partners are in the armed forces and must move frequently; those with familial commitments that do not allow them to relocate; and those who must work full- or part-time. There is no architecture school in Canada that can serve these students. As such, Athabasca is not in competition with any physical school, because it serves a market of students who simply cannot attend an architecture program on a full-time basis.

This is critical if we are to build a profession that is diverse and inclusive, because these are voices that need to be heard. While the cost of tuition is high, eight months of room and board per year in a city like Toronto or Vancouver is vastly more expensive. Allowing students to stay (and work) in their home communities can make architectural education far more affordable. In this sense, the most important benefit of an online program is to make architectural education accessible to a wide variety of diverse groups throughout Canada, and by doing so, to unlock the design talent that is inherent in communities across the country.

And this is essential to the future of the profession. A few years ago, Ted Landsmark—President Emeritus of Boston Architectural College, Director of the Dukakis Center on Urban & Regional Policy at Northeastern University, and a pioneer in the use of virtual studios—shared the following thoughts about virtual studios and why they are so important:

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Assuming equal competence with the technology (which tends to be gender and colour-blind), the online studio tends to create a more supportive, transparent, and equitable learning environment that helps undercut the current hierarchy of domineering (primarily male) personalities that has characterized design education for so long. Women are not dismissed for their “weak” presentations, while people of colour are less likely to be stereotyped as “outsiders.” Pregnant mothers and individuals with limited linguistic skills can have their work assessed primarily on the basis of how well the design works, rather than on the basis of what the designers may look or sound like. The work tends to be assessed on the basis of its actual design quality, or lack thereof. […] Individual faculty [have] become resistant to change, in a profession that must have both traditional and innovative approaches to meeting client and aesthetic needs. This new form of learning thus opens the profession to new design solutions in ways that can help reduce the decades‐long decline in the percentage of work actually being done by architects within the broader context of the built environment.

So, new learning models can help improve the economic futures of all involved with the profession.

I am, myself, an “old white male,” and Landsmark’s note challenges many of the tenets of architecture I still hold dear. But, as painful as it may be, there is no doubt that it is time for change. The current pandemic, combined with the judicious use of contemporary technologies, provides all of us with an opportunity to dramatically transform architectural education—and the profession—for the better. Now, more than ever, schools of architecture need to work together to make the most of this situation.

Douglas MacLeod, FRAIC, is chair of the RAIC Centre for Architecture at Athabasca University, and interim dean of Athabasca University’s Faculty of Science and Technology.

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BACKPAGE

NORTHERN OUTPOSTS TEXT AND PHOTOS

James Brittain

TWO BUILDINGS FOR POLAR BEARS INTERNATIONAL CONTEND WITH THE COMPLEX LOGISTICS OF BUILDING ON HUDSON BAY.

A foreboding grey and white blanket stretches out as far as I can see beneath our flight. Frozen lakes are the only punctuation, scattered like bean-shaped shadows across the tundra.

I’m on my way to Manitoba’s far northern outpost of Churchill on Hudson Bay with Montreal architect Marc Blouin, to photograph two projects that his practice, co-founded with Catherine Orzes, has recently completed: A new research and interpretation centre, and a staff residence.

Both are for Polar Bears International, a conservation group working to protect polar bears and gather data on the impact climate change is having on their winter habitat, the sea ice on Hudson Bay. The roadside from the airport into town is dotted with stunted pine trees. Their branches only sprout on the wind’s leeward side. We pass by a big painted shed which Blouin explains is a polar bear “jail.” Errant bears that find their way to town are locked up here overnight, before being released back into the wild.

The new Polar Bears International House sits on a donated piece of land at an intersection on Churchill’s main street. Behind its blue corrugated facade—a nod to the town’s utilitarian vernacular—the building contains

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offices, a gallery, and a presentation space, encouraging dialogue between the community and conservationists.

Upstairs, there’s a large open common room and kitchen, along with sleeping accommodation for visiting scientists and guests. These rooms are accessed by a double-height stair in plywood, with windows framing the landscape. Though the materials are humble, the interiors are cleanly detailed and sophisticated. Across the road, the staff house is finished in white timber. Given the constraints of making architecture here, Blouin Orzes has delivered a pair of essays in refined simplicity.

During our stay, Blouin explains the unique challenges for practicing architecture in these cold remote places, where he’s worked for some two decades.

Logistics play a big part. Summer in the far north is short, with just a few precious weeks for delivery of materials and construction. Because of this, prefabrication is favoured. In 2017, the year Blouin Orzes won the commission from Polar Bears International, storms washed away sections of the railroad, cutting the town off from southern Canada. There are no connecting roads to Churchill, so all materials had to be delivered to site by boat from Quebec.

ABOVE A research centre and staff residence for Polar Bears International are resolutely contemporary in their design, with nods to the industrial vernacular of neighbouring structures in Churchill, Manitoba.

Sensitivity is also required to meet the needs and aspirations of remote communities.

Assumptions about architectural arrangement and form, site context, and how a project is used all need to be set aside in favour of careful listening and flexibility.

Making photographs in a Churchill winter is a melody of pain and delight. The light is exquisite: glowing pink and blue hues abound. The sun perpetually hangs a quarter way up, casting long shadows. But the cold is brutal.

Outside on the street, temperatures hover around minus 35°C. It’s slightly windy as I line up my shots, and my camera’s shutter release cable has hardened to resemble a coat hanger. My fingers are numb and I struggle to make it work.

I pause for a moment to consider the surreal reality: that in the midst of all this frost, irreversible environmental chain reactions from global warming are in play around me.

The camera gear and I both hold out. Ethereal arctic light is revealing the artistry of Blouin Orzes’s work.

James Brittain is an architectural photographer based in Montreal and London, UK.

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