Canadian Architect December 2013

$10.00 dec/13 v.58 n.12

2013 Awards of excellence

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Contents

20 Office of McFarlane Biggar Architects + Designers Inc.

26

MacLennan Jaunkalns Miller Architects

Calnitsky Associates Architects & Peter Sampson Architecture Studio Inc.

32

22

RDH Architects

24 Hariri Pontarini Architects (Design Architect), B+H Architects (Executive Architect)

28

Hariri Pontarini Architects

30

34

RDH Architects

36

Manon Asselin + Jodoin Lamarre Pratte Architectes In Consortium

Pelletier de Fontenay

11 awards of excellence Architects are exhibiting an increasing level of finesse and sophistication in anticipating and designing for the future growth and mutability of our national and regional contexts while firmly respecting the past.

14 the winners Profiles of the 2013 award recipients.

38

Francis Ng, McGill University

39 Faisal Bashir, University of Toronto

december 2013, v.58 n.12

The National Review of Design and Practice/ The Journal of Record of Architecture Canada | RAIC

42 list of entrants

Rendering of the Fifth Pavilion— Montreal Museum of Fine Arts by Manon Asselin + Jodoin Lamarre Pratte Architectes In Consortium.

COVER

12/13 canadian architect

7

Alain Laforest

Viewpoint

above Affleck+de la Riva’s restoration of the Hôtel de ville de Montréal recently won an OAQ award of excellence in conservation.

Winter is architectural awards season, and this year, I was asked to participate as a juror for the Ordre des architectes du Québec (OAQ)’s awards.

The jury meeting, held in Montreal, provided a welcome opportunity to take measure of the state of the profession in la belle province.

If the submissions are a representative measure, architectural production over the past two years has been healthy in Quebec. The jurors winnowed 187 submissions to a shortlist of 57 projects, from which we selected nine winners and a Grand Prize champion.

The ongoing Charbonneau Commission inquiries into corruption in the construction industry are in the backdrop of any conversation about architecture in Quebec. Public work has been affected in myriad, often indirect ways.

Amidst the OAQ award winners, this was most clearly felt in the Hôtel de ville de Montréal project, which garnered a prize for restoration. The finely detailed copper cladding and stone ornamentation of the monumental roof was completed over a prolonged 11-year period, largely due to the doggedness of architects Richard de la Riva and Gavin Affleck, along with a dedicated team of skilled craftsmen and heri­tage specialists at the municipal and provincial levels. During that time, the project’s general contractor declared bankruptcy—and right under the eaves of the construction site itself, four executive committee chairmen cycled through the second seat of power under former mayor Gérald Tremblay. In the face of this upheaval, Affleck and de la Riva provided continuity of vision to the project team, resulting in an exquisitely detailed restoration.

Tight institutional budgets were palpable in many projects, where in some cases, they resulted in strategic architectural decisions to focus design efforts in selected areas, to positive effect. However, the projects that rose to the level of design excellence recognized by awards 8 canadian architect 12/13

were generally those with plumper budgets. The Bibliothèque Raymond-Lévesque, located on a suburban site in St-Hubert, resulted from a highly successful ongoing program of design competitions for municipal libraries, won in this case by Manon Asselin of Atelier TAG with Jodoin Lamarre Pratte Architectes in consortium. A budget of $12.3 million for the 4,000square-metre building allowed for an intelligent de­ploy­ment of the program, structured around an outdoor reading courtyard and incorporating sculptural rainwater retention basins.

Generous budgets were also evident in a series of public galleries sponsored by private patrons, a phenomenon last felt in Quebec with Phyllis Lambert’s leadership in creating the Canadian Centre for Architecture, and with Daniel Langlois in founding the Excentris cinema and performing arts centre. Two award winners—Centre Phi, by Atelier in Situ with Shapiro Wolfe and Fondation Guido Molinari by _naturehumaine—are architecturally ambitious adaptive reuse projects created, respectively, through the funding of Minto Group co-owner Phoebe Greenberg and the estate of artist Guido Molinari. One hopes they thrive in contributing to the city’s vibrant contemporary arts culture.

While Quebec boasts one of the most evenly distributed income spreads in the country, a significant share of the province’s wealth resides in the hands of a select upper class. This wealth was evidenced in the strong showing of singlefamily home submissions in the current cycle, many of which were secondary residences. Alain Carle’s Les Marais was one of several stunning projects by the architect that demonstrated a continuing maturation of a distinctive Quebec style that combines timber structure, landscape integration, and crisp geometric forms.

Partially because of linguistic barriers, Quebec continues to remain relatively insular as a design culture within Canada. OAQ president Natalie Dionne told me that the Examination for Architects in Canada (ExAC) originated as an OAQ initiative spurred by NCARB’s decision to cease administering a French language exam.

However, some of the province’s most successful architects are those who have ventured outside of Quebec. Witness Saucier+Perrotte Architectes, whose Faculty of Pharmaceutical Sciences at the University of British Columbia landed the Grand Prize for Architectural Excellence. One hopes that the ExAC and plans for recipro­city ease the movement of interns and licensed architects across provincial lines, further spreading Quebec’s strong architectural values throughout Canada.

Elsa Lam

elam@canadianarchitect.com

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Awards of Excellence 2013

Realism and Excellence

The 46th Canadian Architect Awards of Excellence recognize 11 projects that offer thought­ful and realistic inter­ ventions into urban environments and rural landscapes.

Canadian Architect has long been known as a magazine of record, documenting work after the construction dust has settled and polished photographs have been produced. However, once a year since 1968, the magazine looks towards the future, recognizing commissioned yet unbuilt projects along with exceptional student proposals. During the design phase, projects often exhibit clarity of intention, innovation and ambition to a degree that can be later compromised by the demands and constraints of construction.

This year’s jurors—Karen Marler, Marianne McKenna and Marc Simmons—selected 11 award winners whose proposals embodied qualities of innovation and overall design excellence that, with the proper support of both architect and client, would realistically translate into built work. As McKenna notes, “In terms of selecting the Awards of Excellence, we were looking for the combination of qualities that anticipated that the eventual built work would produce architecture of substance, that was responsive to local context, program and climate.”

According to Simmons, the jury was particularly seeking projects with “controlled discipline” that “stand out in terms of their aspirations in the

Jurors Karen Marler, Marc Simmons and Marianne McKenna carefully evaluate the 208 submissions to the 2013 awards program, many of which generated substantial dis­cussion.

Above

contemporary Canadian design landscape.” McKenna was critical of work that “appeared to be derivative.” She says, “We saw many of the same forms coming up repeatedly. The projects that were selected for awards were ones that were solidly grounded in an understanding of the site, and placed program to create a thoughtful narrative with clear ideas about how to create community through architectural form and space.”

The selected projects traverse geographies, including the recognition of initiatives in rural middle Canada, an important area of population growth with its burgeoning resource industries. “It’s important to recognize that two-thirds of Canadians live in the southern region of the country—but there’s another set of people that live in the other two-thirds of our land base,” says Marler. “So we need to understand and engage with the good things that are happening in the northern communities.” The jury drew on their broad collective experience to evaluate projects where remote location, shortage of skilled labour, and demanding climactic conditions posed distinct parameters for architectural merit.

In terms of building types, Marler notes, “The main building typologies 12/13­ canadian architect

11

DIALOG Perkins+Will Canada DIALOG

The jury commended the design involvement of DIALOG in Wagner Station, a light-rail transit stop for the City of Edmonton. Middle For Ottawa’s light-rail transit, Perkins+Will Canada created a vocabulary of parts that could be deployed across the system, an approach that the jury would have liked to see developed further. Bottom The UBC District Energy Centre by DIALOG was noted as a mannered architectural approach to an infrastructure building.

Top

12 canadian architect 12/13

that we observed in the award submissions this year can be summarized into relatively few categories. These were infrastructure, pavilions, singlefamily homes, and ultimately, civic and institutional projects were a strong player.” Marler, along with the other jurors, was “disappointed by the lack of private-sector multi-use residential projects,” a category that has garnered several Canadian Architect awards in past years, and which saw only a modest number of submissions in the current round relative to the prominence of this building sector.

On the other hand, the jury was cheered by a series of submissions that involved architects in infrastructural development, even though these projects did not rise to the level of excellence they deemed requisite for award recognition. “It was interesting to see the first waves of new transit initiatives that are beginning to happen in Canada, such as in the submission for Wagner Station in Vancouver and the Ottawa Light Rail project,” says McKenna, who serves on the Board of Directors for the Toronto-area agency Metrolinx. “In the Ottawa example, the designers are looking for a typology of elements that then can be used across the length of the system, which seems the correct approach to developing better accommodation, legibility, and elegant and repeatable solutions to encourage transit use. In this case, we remarked upon the short timeframe that the architects have been given to develop a system for transit that will be with us for many decades. How do we get to design excellence? ‘Good enough’ should not be acceptable for these kinds of public initiatives and we need to support respectful processes to achieve excellence.”

Marler continues, “Another infrastructure piece that we saw was the UBC District Energy Centre. You have to applaud the institution for taking the step of bringing architects to a project that’s effectively an energy plant in the middle of campus and giving it an architectural overlay. Generally speaking, at UBC the quality of architecture has increased exponentially over the last few years, particularly with the infrastructure projects and the public realm.” Says Simmons, “In the UBC District Energy example, while it’s a great achievement to decide that these infrastructure buildings actually need designed enclosures and a process is in place to do that, maybe that process needs to be pushed further in terms of ambition, because it’s quite mannered as an actual design.”

Throughout the jury process, there was recognition that support for architectural excellence is necessary from multiple levels. “We need champions of design excellence, from architects, clients and from the general public who, when it comes to infrastructure and institutional projects, should be asking for excellence,” says McKenna. “As the world becomes more global and more competitive, public discourse in Toronto these days is engaged in a dialogue around what excellence means within the public realm and the urban fabric of our cities. I do think we are beginning to see an appreciation of the real value of the investment in innovation and design excellence from many sectors as they understand the need to improve the offering in transit infrastructure as well as in academic and community buildings. There is a lot of good new work in Canada but we still need to push harder, and be aware of what is happening elsewhere in Europe and the US.” All jurors expressed the hope that their choices would advance an overall culture of design excellence in Canada. Simmons notes, “In terms of design excellence, I don’t think budget is the issue. I think it’s actually a cultural and design question between the architects, the construction manager, and the ownership about what their ambition is collectively.” McKenna concludes, “Given the material provided, it is often challenging to fully appreciate whether the final results will meet the architectural promise of the submissions. One hopes that these awards support the ambition of these projects and can be used to leverage the commitment of the early design work.” CA

Karen Marler

Marianne McKenna

Marc Simmons

Karen Marler, Architect AIBC, AAA, SAA, OAA, FRAIC, received her undergraduate degree from the University of Manitoba, studied architecture at the Architectural Association, and graduated with her professional degree from the Technical University of Nova Scotia in 1984. Shortly thereafter, she joined Roger Hughes Architects, a predecessor of Hughes Condon Marler Architects (HCMA), and in 1998 Karen became a partner.

HCMA’s work encompasses a broad range of project types, including recreation, education, civic, residential, commercial and cultural. The firm believes that better buildings, created by leveraging the power of design, contribute to better, stronger and healthier communities.

This dedication to design excellence has been recognized by several Governor General’s Awards, Lieutenant Governor of British Columbia Awards, and Canadian Architect Awards of Excellence. A recognized leader in sustainable design, HCMA continually strives to develop architecture that integrates environmental, social and economic considerations. Their work is both regionally and nationally focused with active projects across Canada. These projects are contextual yet contemporary in their expression, practical yet innovative in their execution, and most frequently concerned with the articulation and enhancement of the public realm.

Karen is a frequent guest critic and thesis advisor at the University of British Columbia School of Architecture. She has presented HCMA’s work at the University of British Columbia, Dalhousie University, BC Institute of Technology, Urban Design Institute of BC, Canada Green Building Council conferences, and at International Living Future conferences. Karen was appointed a fellow of the Royal Architectural Institute of Canada in 2010.

Marianne McKenna, OC, OAA, OAQ, FRAIC, AIA, a founding partner of KPMB Architects, was born in Montreal and educated at Swarthmore College (B.A. 1972) and Yale University (M. Arch. 1976).

In 2012 she was appointed as an Officer of the Order of Canada for making “architecture that enriches the public experience.” Marianne has directed a diverse range of projects in the spheres of culture, education, business and hospitality. This work includes the recently com­ pleted Orchestra Hall Renewal in Minneapolis, Le Quartier Concordia (in joint venture with Fichten Soiferman et Associés, Architectes), an integrated vertical campus for Concordia University in Montreal, the Mike & Ophelia Lazaridis Quantum-Nano Centre at the University of Water­loo, the Rotman School of Management Expansion at the University of Toronto, the JacksonTriggs Niagara Estate Winery, and the Torys LLP offices in Toronto and Calgary. Marianne’s internationally acclaimed design for the Royal Conservatory TELUS Centre for Performance and Learning and Koerner Hall earned KPMB its 11th Governor General’s Medal, Canada’s highest honour for architecture. In recognition of her achievement, Marianne was made an Honorary Fellow of the Royal Conservatory in 2011. Current projects include the revitalization of Toronto’s historic Massey Hall and new buildings for the Kellogg School of Management at Northwestern University and the new Computational Sciences Building at Boston University. In 2010 Marianne was named one of Canada’s Top 100 Most Powerful Women. She has taught at McGill University, the Université de Montréal and the University of Toronto, and lectured and acted as guest critic at Yale University. She has juried a range of art competitions for integrated artworks, and currently serves on the Board of Directors for Metrolinx.

Marc Simmons is a founding partner of Front Inc. and is the Ventulett Chair in Architectural Design at the Georgia Institute of Technology School of Architecture. He has more than 20 years of professional work experience, and holds both Bachelor of Environmental Studies and professional Bachelor of Architecture degrees from the University of Waterloo. Marc has been responsible as lead consultant for many seminal projects over the past decade. Projects include the Seattle Public Library with OMA/LMN, the new West Block Canadian House of Commons on Parliament Hill in Ottawa with ARCOP/FGMD, the Morgan Library and Museum in New York, the Stavros Niarchos Foundation National Library of Greece and the National Greek Opera with Renzo Piano Building Workshop, the China Central Television HQ in Beijing with OMA, the Toledo Museum of Art with Sejima and Nishizawa, the Walker Art Center with Herzog & de Meuron and the Wyly Theater in Dallas with REX/OMA. Prior to Front, Marc worked with the structural engineering firm Dewhurst Macfarlane & Partners as the associate and team leader responsible for the New Yorkbased structural glass and façade design group for challenging projects that were executed throughout the USA and Europe. His specialist façade and architecture work experience was built upon previous work at Meinhardt Façade Technology, Foster and Partners, KPMB Architects and Shin Takamatsu Architect. Marc also lectures widely on the subject of façade design and innovation.

In addition to his previous seven-year role as lecturer at the Princeton University School of Architecture, he has given presentations at universities worldwide, including the National University of Singapore, Technical University of Delft, Ryerson University, the 2008 Greenbuild Conference in Chicago, and at various AIA events.

12/13­ canadian architect

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Winners

The office of mcfarlane biggar architects + designers (omb) is an energetic design studio based in North Vancouver. Led by principals Steve McFarlane and Michelle Biggar, the practice is supported by the creative energy of associates Nick Foster, Rob Grant and Tracey MacTavish, along with 20 other design professionals dedicated to the goals of design excellence and exceptional service. The firm’s history includes local, national and international acknowledgement through multiple Lieutenant Governor of BC Awards, several Wood Design Awards, and a multitude of awards for interior design.

In 2012, the team was honoured with a Governor General’s Medal for Architecture for their work with the College of New Caledonia in northern BC. Intentionally multidisciplinary in its approach, omb focuses on architecture and interior design while also embracing urban design, environmental graphics and branding. Their current work includes the expansion of the

UBC bookstore, an innovative residential tower in Vancouver, the new local headquarters for Telus, the design innovation centre for Lululemon, urban design and architecture for Prince Rupert’s evolving waterfront, and Phase Two of the North Vancouver Civic Centre. The studio strives for clear and relevant resolution, and is unwavering in its commitment to delivering succinct and artful intention for all projects, regardless of scale or complexity.

They seek to balance the lessons of the past with the responsibilities of the future, and define sustainable practices and rigorous creative exploration as the key drivers for innovation and timelessness in their work.

Rounthwaite Dick and Hadley Architects (RDH) is a Toronto-based architectural studio specializing in the design of public architecture. Originally founded in 1919, RDH is one of Canada’s oldest practices. Over the last century, the firm has produced a wide range of work, from large turn-ofthe-century mansions and corporate headquarters to industrial facilities, academic buildings, recreation centres and libraries. The core of their current work is dedicated to the public realm, and although they do not restrict the nature of work they take on, they have become first and foremost public architects. This type of work brings them a great degree of satisfaction, both professionally and personally, as it is work that enhances their

shared environments and affects the lives of the community as a whole.

RDH is an intergenerational practice led by managing partners Rob Boyko and Bob Goyeche and design partners Tyler Sharp and Geoffrey Miller.

While the firm is almost 100 years old, in many ways, it now feels and acts like a young emerging studio whose 94-year legacy provides a solid backbone of technical experience which augments a rigorous and energetic design process.

14 canadian architect 12/13

Left to right: Michael Townshend, Nick Foster, Adam Jennings, Beth Denney, Rob Grant, Michelle Biggar, Steve McFarlane, Nicholas Standeven, Kevin Kong.

Left to right: Bob Goyeche, Andrew Cranford, Soo-Jin Rim, Dan Herljevic, Tyler Sharp, Sanjoy Pal.

Hariri Pontarini Architects (HPA) is an award-winning architectural practice known for creating such modern landmarks as the internationally lauded Bahá’í Temple for South America, the acclaimed McKinsey & Company headquarters in Toronto, and the Governor General’s medalwinning Schulich School of Business. Founded in 1994 by Siamak Hariri and David Pontarini, they are a Canadian firm that has delivered a broad range of institutional, commercial and residential projects, including libraries, schools and academic buildings for a wide variety of clients. These designs and buildings have been recognized by their peers and client groups, who have rewarded them with more than 50 national and international awards, including the Royal Architectural Institute of Canada’s 2013 Architectural Firm Award. Today, they design projects of exceptional quality that meet and exceed the creative and economic desires and aspirations of each individual client. HPA’s 70 professional and technical staff members are overseeing the design and construction of nearly 50 institutional, cultural, commercial and mixed-use projects including the recently completed Richard Ivey Building for the Ivey Business School at Western University, the expansion of the French language institute Alliance Française de Toronto, the 75-storey One Bloor development in the heart of the city of Toronto, and Edmonton’s exciting new mixed-use Arena District.

B+H Architects has been in the business of shaping the built environment for 60 years with award-winning architectural, planning and interior

design services delivering innovative sustainable design solutions to largescale, technically complex projects around the world. They believe in intelligently planned buildings, providing high returns for low cost, and enhancing the experiences of their users in terms of performance, relationships and environment. B+H’s integrated global practice has offices in Toronto, Calgary, Vancouver, Seattle, Shanghai, Hong Kong, Beijing, Ho Chi Minh City, Singapore, Delhi, Dubai and Doha, and spans all major sectors—commercial, education, entertainment, health care, hospitality, industrial, institutional, mixed-use, residential, retail, sports and transportation.

Casey House design team in top left photo­—Back row, left to right: Norberto Rodriguez, Eric Tse, Patrick Cox. Fourth row, left to right: Faisal Bashir, Jeff Strauss. Third row, left to right: Howard Wong, Rico Law, Cara Kedzior.

Second row, left to right: John Cook, Edward Joseph. Front row, left to right: Siamak Hariri, Michael Boxer, Doron Meinhard.

University of Toronto Faculty of Law design team in top right photo—Back row, left to right: Eric Tse, Paul Kozak, Rico Law. Fourth row, left to right: Kate Slotek, Howard Wong, Dominique Chen. Third row, left to right: Elmutaz Elrabaa, Judith Martin. Second row, left to right: Paul Gogan, Michael Boxer. Front row, left to right: Kevin Stelzer, Douglas Birkenshaw, Siamak Hariri, Lindsay Hochman.

12/13­ canadian architect

15

MacLennan Jaunkalns Miller Architects (MJMA) is a group of dedicated designers and architects who are invested in the ideals of civic placemaking that amplifies the quality of life and gives value to social and cultural aspirations, whether they are centred on education, wellness and recreation, or the workplace. MJMA has evolved from a 25-year legacy of making community buildings to building communities—in towns and cities, on cam­puses, within organizations, and across playing fields—developing hybrid civic projects that combine overlapping public programs, supporting both personal and civic wellness. With a deep legacy of sports and recreation expertise, their design skills have led to work across numerous build-

ing types at various scales. Their increasingly diverse portfolio speaks to a culture of innovation at MJMA that drives their designs. This spirit of innovation, cultivated with clients who are enthusiastic about creating meaningful architecture that positively contributes to the built environment, has resulted in more than 75 national awards.

Top row, left to right: David Miller, Robert Allen, Viktors Jaunkalns, Olga Pushkar, Jeremy Campbell, Siri Ursin. Bottom row, left to right: Tarisha Dolyniuk, Luis Arredondo, Aida Vatany, Jason Wah, Jedidiah GordonMoran, Timothy Belanger.

Atelier TAG is a small husband-and-wife practice led by Manon Asselin and Katsuhiro Yamazaki. Based in Montreal, the firm’s output has one of the country’s most consistent track records of design excellence. Since its inception, the studio has worked to reinterpret the civic function of architecture through the careful study of socio-cultural contexts within which a given program operates in order to create meaningful spaces. Atelier TAG’s growing body of work has allowed it to develop a design methodology focused on building technique and materiality. The work of the studio is a quest for simplicity, where the built space—through the calculated play of light and materiality—embodies the physical, the cultural, and the poetics of architecture. In recent years, Atelier TAG has been awarded two Governor General’s medals and the prestigious Prix de Rome in architecture by the Canada Council for the Arts. In parallel to her practice, Manon Asselin is a professor of architecture at the Université de Montréal.

Jodoin Lamarre Pratte architectes was established in 1958 and has acquired a reputation for excellence in all aspects of construction and design, pursuing the approach to quality set by its founding partners. The firm has been involved in the realization of numerous award-winning projects including the Bibliothèque Raymond-Lévesque in St-Hubert, the Longueuil Campus of the Université de Sherbrooke, the Salle de Spectacles Dolbeau-Mistassini, and the Théâtre du Vieux-Terrebonne, recent recipients of the Canadian Architect Award of Excellence.

Clockwise from top left: Manon Asselin, Pawel Karwowski, Nicolas Ranger, Sergio De la Cuadra, Katsuhiro Yamazaki, Mathieu Lemieux-Blanchard, Cédric Langevin, Éole Sylvain.

16 canadian architect 12/13

Based in Winnipeg, Peter Sampson Architecture Studio was established in 2008 and is developing a broad portfolio of institutional, experimental, and community-scaled work across central Canada. The studio commits to the practice and research of low-impact architecture emerging from both the natural and unnatural resources of the contexts in which it works. It takes pleasure in designing from the conditions of place. Peter Sampson teaches at the University of Manitoba and has taught at the Universities of Toronto and Waterloo. In 2012, with Will Bruder Architects, his studio was shortlisted for the Inuit Art and Learning Centre addition to the Winnipeg Art Gallery.

firm’s LEED-accredited architects and professional interior designers are involved in a wide range of large-scale institutional, commercial and resi­dential projects across Canada, the United States, and abroad. Recently, they received an Award of Excellence in an international design competition sponsored by the City of Portland, Oregon. In addition to working with Peter Sampson Architecture Studio, the firm has collaborated with other practices on projects as far flung as Nunavut, Barbados and Ukraine.

Left to right: Monica Hutton, Mathew Piller, Dirk Blouw, Ed Calnitsky, Peter Sampson, Bob Martin, Andrew Lewthwaite.

Calnitsky Associates Architects is a Winnipeg-based multidisciplinary architectural and interior design firm that was established in 1986. The

Pelletier de Fontenay is an architectural practice based in Montreal. Founded in 2010 by Hubert Pelletier and Yves de Fontenay, the studio is specifically interested in the relationship between the abstract concepts of architecture and their material incarnations, aiming to achieve a synthetic expression of form and culture. In their practice, geometric manipulation is a recurring design tool bringing coherence to their work. In the past three years, the firm has been shortlisted in a series of local competitions, and

was named the winner in the Aéroports de Montréal Entrance Signal competition. Parallel to their practice, Pelletier de Fontenay is working on an ongoing research project called Invariations, an abstract creative exploration of fundamental principles of architecture that was twice awarded grants by the Quebec Arts and Letters Council.

Left to right: Hubert Pelletier, Yves de Fontenay, Étienne Issa.

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Francis Ng, born in Hong Kong and raised in Vancouver, has been intrigued by the arts and the built environment since a very young age. He decided to pursue his architectural passion at McGill University, where his interest in historical studies was cultivated. Having spent the past six years in Montreal, Francis became particularly interested in the widespread phenomenon of disused and abandoned churches. His thesis advisor, Professor Martin Bressani, was greatly influential with respect to his thesis concerning latent memory and recreating the lost atmosphere of these religious sites. In recognition of his outstanding work, he was awarded the prestigious Royal Architectural Institute of Canada Student Medal, and he is also a recipient of the A.F. Dunlop Scholarship, which will enable him to travel to historical sites of memory in Italy and Germany. Francis has interned at various architectural offices in Vancouver, Hong Kong and Singapore, and is currently working at Heatherwick Studio in London, UK.

Faisal Bashir is a Toronto-based designer who began his architectural design experience at the office of Khoury Levit Fong in 2010. There, he participated in over a dozen international competitions—two of which were winning submissions. In the summer of 2013, he joined Hariri Pontarini Architects, becoming part of a team responsible for prominent cultural and institutional projects. Faisal holds an undergraduate degree in Industrial Design from the College for Creative Studies in Detroit and received his Master of Architecture degree from the University of Toronto. His 2013 thesis project Responsive Geometries was judged to be the school’s most outstanding thesis and won the prestigious Kuwabara-Jackman Gold Medal. Bashir’s continued interest in the relationship between architecture, civic identity and computational design has earned him a nomination as the University of Toronto’s candidate for the Prix de Rome in Architecture for Emerging Practitioners awarded by the Canada Council for the Arts.

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Award of Excellence

Fort McMurray International Airport

office of mcfarlane biggar architects + designers inc (project commenced by predecessor firm McFarlane Green Biggar Architecture + Design) LOCATION Fort McMurray, Alberta ARCHITECT

The new Fort McMurray Airport Terminal Building (FMAA) creates a relevant and meaningful portal for visitors and residents of the Regional Municipality of Wood Buffalo in Northern Alberta. Geographically, the area is characterized by an impressive natural beauty that embraces the density of boreal forest, the expanse of the prairie horizon, and the limitless sky with its northern lights. It is the gateway to the North, with seasonal temperatures ranging from -40°C in the winter to +30°C during the summer months. Economically, it is host to a burgeoning oil industry that has thrust the small community onto the global stage and contributed to unprecedented growth, with the population expected to double by 2030.

Forecasted growth has inspired the FMAA to undertake an ambitious plan to create a new greenfield airport, complete with a new terminal building, aircraft apron, taxiways, approach road, and parking areas. The 8,040square-metre building responds to the unique challenges of the context while seeking to define a meaningful place for a growing community whose identity is continually evolving. It includes all of the typical airport terminal functions: check-in, security screening, domestic and international arrival and departure areas, retail baggage screening, and administrative offices for airlines and the airport authority.

The building form uses simple means to generate an iconic and memorable presence in the landscape, exemplifying modesty and directness that resonates with the community it serves. A collection of robust volumes are deployed to express their programmatic functions, further layered and 1 check-in hall 2 Arrivals hall 3 services 4 art screen wall 5 passenger screening 6 holdroom 7 concessions 8 offices 9 Departures curb 10 Arrivals curb 11 entRANCE TUNNEL Cross Section

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Arriving passengers exit at grade while a raised roadway accesses the departures level. Opposite, top to bottom The check-in hall includes a cross-laminated timber wall and glulam beams; A view of the double-height arrivals hall.

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stratified to facilitate easy expansion through simple extrusion and with minimal disruption to airport operations. The quiet interplay of solid and void, expansion and compression, and framed and filtered views add spatial richness and variety within the simple formal framework.

The material expression is derived from the incumbent palette of the industrial landscape: weathering steel, bitumen-coloured metal cladding and unfinished concrete. These tough materials are complemented with more sophisticated yet durable materials to further refine the interior spaces: unitized triple glazing, terrazzo flooring, acoustic wood panels and exposed mass timber structure.

The issue of building technique is paramount in the Wood Buffalo region, as much of the skilled labour force is utilized by the local resource industry.

In response, the terminal building is designed to employ off-site fabrication to the greatest degree possible. This approach improves quality, minimizes the construction duration, and imparts an honesty of expression that reverberates with the spirit of place. Two distinct modular systems are incorporated: mass timber and precast hollow-core concrete.

Designed with a full complement of innovative features, the FMAA will establish itself as an exemplar of green building practice. The unique demands of an extreme climate coupled with the complexity of an airport typology challenged many of the limitations of popular green building rating systems. In response, the design team pursued a “first principles” approach to sustainability, blending good practice with the monitoring approaches of 8 7

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several diverse rating systems in lieu of pursuing one individual system such as LEED. The building orientation was predetermined by the relationship to the runway; however, special consideration was given to the deployment of the programmatic elements in order to optimize the relationship to the energy of the sun. A large south-facing courtyard is complemented by expansive western-oriented glazing to passively harness the energy of the sun and reduce energy consumption.

The concept of reduction informed the building throughout the design process. Wherever possible, measures were taken to reduce the extent of materials necessary; to build with less and minimize the resources necessary to create a robust, durable and efficient building that is responsive to its use and setting. The design centres on the most meaningful building practices applicable to an airport typology, including the following highlights: passive solar orientation, energy optimization, super-insulated building envelope assemblies, in-floor radiant heating, displacement ventilation, and sophisticated heat-recovery systems. Low-emitting materials are used throughout to promote healthy interior environments for passengers and employees. Mass timber assemblies provide both structure and finish, while imbuing the building interior with the warmth of this renewable resource.

The project addresses several programmatic elements in unique and innovative ways to expand the architectural potential of mid-sized airport terminal buildings. Acknowledging that the future of the Fort Mac airport will be continually adapting to change was a critical driver for the design.

KM: A striking architectural response to a harsh environment. This project factors in the remote, rapidly expanding community it is being built for by using a robust material palette and a high-performance building envelope.

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The architects have creatively addressed the local shortage of labour and seasonal constraints and have achieved design excellence through prefabrication as the means of construction.

MM: The solution feels appropriate to the context as the elongated form

hunkers down in a northern climate to offer a unique point of entry and exit from this active northern community. The design presents a strong image and I imagine people will feel very comfortable in this airport in both winter and summer—with its exterior court space.

MS: The designers took the pragmatism of the problem to heart, and then

made a few key moves that resulted in a rather elegant building. The interior spaces are really beautiful. The long-span spaces, clear structure, and simple shifting of the levels are legible and enjoyable.

CLIENT Fort McMurray Airport Authority ARCHITECT TEAM Steve McFarlane, Michelle Biggar, Rob Grant, Beth Denny, Nicholas Standeven, Jennell Hagardt, Adam Jennings, Heather Maxwell, Hozumi Nakai, Lydia Robinson, Jing Xu, Jordan VanDijk, Mingyuk Chen, Justin Bennet, Seng Tsoi, Simon Clewes, Kevin Kong, Adrienne Gibbs, Nick Foster, Mike Townshend STRUCTURAL Equilibrium Consulting Inc. MECHANICAL/ELECTRICAL Integral Group LANDSCAPE PWL Partnership INTERIORS office of mcfarlane biggar architects + designers inc.

CONTRACTOR Ledcor Construction Ltd. IT + SECURITY Faith Group LLC WAYFINDING + SIGNAGE The Design Office CODE GHL Consultants Ltd. VERTICAL TRANSPORTATION JW Gunn Consultants Inc. LIGHTING Total Lighting Solutions ACOUSTICS BKL Consultants SPECIFICATIONS Morris Specifications AREA 8,040 m2 BUDGET Withheld COMPLETION Summer 2014

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Award of Excellence

Waterdown Library and Civic Centre

ARCHITECT LOCATION

RDH Architects Waterdown, Ontario

The Waterdown Library and Civic Centre is a new 23,500-square-foot facility housing the Waterdown Library, the Waterdown Public Archive, two multipurpose rooms for community recreation use, a satellite municipal 1

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services outlet, a community information services office, and police services. The new design provides for a single-storey, split-level building with the library as principal tenant occupying the largest portion of area. The library is located to the west at the highest elevation and accommodates for a new computer commons, reference, adult, and popular materials sections, an elevated reading atrium, and a pre-school, children and teens area.

The project is located at 163 Dundas Street West in the former Township of Waterdown, now part of the greater municipality of Hamilton, Ontario.

Dundas Street is the main commercial high street of the old town of Waterdown. The site is located immediately west of the existing town centre, adjacent to an existing mid-century residential neighbourhood.

Waterdown and the site are located at a significant elevation on the Niagara Escarpment. The site drops approximately three metres from its high point towards Dundas Street to the south. Across Dundas Street, the topography continues to fall in elevation until it reaches Lake Ontario.

The design process began with an acknowledgement of this dramatic site.

The new design takes advantage of the topography, using the change in elevation to provide expression and access to the different programmatic elements contained within the building. The scheme engages and responds to the site in an attempt to harness south-facing views toward Dundas Street, the escarpment, and Lake Ontario beyond.

The architecture as a whole is conceived as a topography, like the geological landform it sits upon. Movement between programs is seen as fluid, allowing users to flow from one terrain to another along gentle slopes. To achieve this, the building has been organized as a single-storey, split-level facility which exists on six levels. Each of the six levels is arrived at by way of barrier-free 1:20 sloping walkways. The split-level organization allows for two entry points, one at the lower street-level elevation and one at a midlevel elevation adjacent to parking.

The topography is extended into the library which is organized as a series of four terraces. The highest level of the library sits exactly one storey above the recreation centre at its lowest point. A large reading atrium is situated at this high elevation, providing striking views of the escarpment, tree cano­ pies, and Lake Ontario in the distance.

From Dundas Street, the building appears as a luminous pair of boxes. Above, clockwise from top left A view from the main entrance on the north side of the building; The entry lobby serves all program areas; Generous skylights illuminate the library; An exterior pathway echoes the sloping corridors inside, engaging the topography of the site.

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KM: A success with this project is the legibility and clarity of the program elements. It is easy to navigate and to understand wayfinding through the building. I appreciated the simple manner in which the presentation reveals the challenges and opportunities in the design concept as it relates to its program and site.

MM: This project has an understated quality—it isn’t fighting its complexity

of spaces with an overwrought level of detail. It is simple, restrained and materially balanced, and offers a legible revitalized community facility to Waterdown. The ramps move through the building and connect six levels in what seems to be a low-rise building. It’s an elegant, choreographed resolution to the site’s topography.

MS: Universal accessibility is exploited very well. The horizontality of the building affords ramping space that becomes programmatically useable. The ramps give the building a little bit of height, a little bit of stacking, and yield a façade presence to the street that becomes the signifier of the project.

CLIENT City of Hamilton and the Hamilton Public Library ARCHITECT TEAM Tyler Sharp, Bob Goyeche, Andrew Cranford, Sanjoy Pal, Soo-Jin Rim STRUCTURAL Halsall Associates Ltd. MECHANICAL/ELECTRICAL Jain Associates LANDSCAPE NAK Design Group INTERIORS RDH Architects CONTRACTOR Bondfield Construction AREA 23,500 ft2 BUDGET $6.8 M COMPLETION January 2015

library recreation centre municipal services public archive sloping corridor Movement Diagram

Program Composite

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Award of Excellence

Faculty of Law, University of Toronto

ARCHITECTS Hariri Pontarini Architects (Design Architect), B+H Architects (Executive Architect) LOCATION Toronto, Ontario

The competition-winning design for the renovation and expansion of the historic Faculty of Law at the University of Toronto responds directly to the client’s ambition to create a law school among the finest in the world. The redevelopment called for significant upgrades to the buildings that house the Faculty including Flavelle House—with its 1902 heritage building as well as its 1960s extension—and the addition of significant program elements to ensure the University of Toronto remains Canada’s pre-eminent law school.

The design responds with three simple gestures: a crescent-shaped

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classroom and office wing overlooking Queen’s Park, the renovation of an outmoded library as a luminous pavilion connecting to Philosopher’s Walk, and the creation of a unifying gathering space, the Law Forum, which will bring a new heart to the Faculty.

Following the movement of Hoskin Avenue, the new crescent-shaped three-storey building converses with the convex form of the Finance Building at the southeast edge of Queen’s Park to create a strong urban identity and edge along this fast-moving throroughfare. On the opposite side of the facility, viewed from Philosopher’s Walk, the Bora Laskin Library takes on the countenance of a transparent pavilion in a park—its interior reconfigured, its exterior reclad, and its base carved away to open up to the landscape.

Between these two elements appears the Law Forum—the dynamic central gathering place and the heart of the Faculty of Law. Working from the insight that the quality of the social network and unified sense of community are the most important advantages a law school can confer upon its students, the Law Forum answers the need for a galvanizing social space to bring students and faculty together in a central space, permitting the previously fragmented faculty to function as a unified, coherent community. In

A finned façade hugs the curve of Queen’s Park Crescent. Opposite bottom A model shows the incorporation of the heritage Flavelle House and its 1960s extension. Above The Forum serves as a central gathering space, equipped with an oversized hearth.

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addition, the new design carefully weaves the history of the existing buildings with a contemporary vision of community while providing the Faculty with much needed additional space.

In a contemporary expression of the language of building columns so eloquently expressed in the Flavelle House portico, the crescent-shaped pavilion introduces an elemental palette of oversized glass panes punctuated by vertical nickel fins which sit upon a stone base of dry-laid Wiarton limestone—a material whose softly figured, dove-grey patina works beautifully with the gold-tinted silver hues of the nickel. The glass panels of the reskinned library pavilion sandwich a layer of brass mesh, giving it its own warm expression.

Sustainability has played a key role in the building’s design and construction. Targeting a LEED Gold rating, the Faculty’s sustainability strategies centre around energy (high-performance building skin, thermal mass, heating and ventilation strategies), environmental quality and comfort, materials and landscape.

The Faculty’s prominent location required a sensitive design response that connects the site to the surrounding public realm. The design of the new building takes advantage of the site by introducing new physical and visual connections with both Queen’s Park and Philosopher’s Walk, em­ bedding the Faculty into the cohesive campus system and rendering it an integral part of the cityscape.

The scheme creates an institutional landmark that will accommodate and augment the Faculty’s historic buildings, engage and inspire members of our community, and reflect a commitment to leading-edge environmental sustainability and physical accessibility—all while playing an important part in the architecture of the city.

KM: The design successfully strengthens connections between Philosopher’s Walk, the subway, the main university campus and Victoria College.

There is a rigour and finesse in its contextual fit that will reinforce this as a landmark building on campus. The extensive façade studies have been

fruitful. The crescent façade is quite elegant with its vertical stone and nickel fins. It is a contemporary response but achieves a classically formal expression.

MM: This reinvestment into the existing U of T Law School exemplifies the

very present challenges that universities are facing as they struggle with ageing infrastructure and the need to keep pace in a competitive academic environment. The challenges are to retain historical fabric, juxtapose a new building, and create a learning environment that is focused on interaction and collaboration, as well as the stated program for teaching and study. This scheme is ambitious and implies a level of risk for the University that is mitigated by design excellence. All the right decisions have been made in establishing the two elegant shapes that frame a central “forum” to create the “space in between” for community, and in engaging the existing heri­tage house as integral to the plan. The texturing of the façade evidences deeply held beliefs in an architectural investigation that will create a strong new image for this faculty along one of the city’s major arteries.

MS: This is an incredibly resolved, well-executed design. It has a material

richness, and I really enjoyed the formal language of the façade. It’s an ordered, rich and textured composition of glass interlaced with solid concrete elements, sub-articulated with nickel fins. It’s iconic and beautiful, while also being very intelligent and performance-oriented.

CLIENT University of Toronto ARCHITECT TEAM Hariri Pontarini Architects—Siamak Hariri, Michael Boxer, Howard Wong, Dominique Chen, Rico Law, Jimmy Cho, Lindsay Hochman, Eric Tse, Paul Kozak. B+H Architects— Douglas Birkenshaw, Paul Gogan, Kevin Stelzer, Guy Painchaud, Elmutaz Elrabaa, Judith Martin, Kate Slotek, Emily Lin, Melissa Liu, Philip Pham.

STRUCTURAL Read Jones Christoffersen Consulting Engineers MECHANICAL/ELECTRICAL Smith + Andersen Consulting Engineers CIVIL MMM Group LANDSCAPE Hariri Pontarini Architects with B+H Architects INTERIORS Hariri Pontarini Architects CONSTRUCTION MANAGER Eastern Construction AREA 14,860 m2 BUDGET $37.5 M COMPLETION 2015

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Award of Excellence

Branksome Hall Athletics & Wellness Centre

ARCHITECT LOCATION

MacLennan Jaunkalns Miller Architects Toronto, Ontario

The Branksome Hall Independent Girls’ School is situated in the residential South Rosedale Heritage Conservation District in the city of Toronto. The new Athletic and Wellness Centre project redevelops a site previously occupied by a dining hall, constructed in 1964 on the west campus. Proposed is a two-storey building with a mezzanine and green roof, whose program includes teaching and training pools, gymnasium, fitness, yoga and dance studios, dining room, servery, kitchen, meeting rooms and office space. The building is sited on a ravine edge, surrounded by heritage buildings and connected to the east campus by a pedestrian bridge, and strives to become the hub and new “social heart” of the campus.

The site is bounded by Mount Pleasant Road to the east and the Toronto Ravine Conservation Authority to the west, set back to help re-establish a healthy ravine edge. The existing non-permeable asphalt will be replaced with a soft permeable landscape. Renaturalization of the top of the ravine’s bank will promote a visible amenity to the ravine experience.

The proposed building respects the height of adjacent heritage buildings,

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The school swimming pool is naturally lit by street-level windows. Opposite, top to bottom An existing pedestrian overpass links directly to the Centre; A view of the dining terrace.

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and the existing pedestrian overpass structure will be reclad with new glazing and will link directly to the new building at the second-floor athletics level. The double-height aquatics centre is located at the lower level providing privacy, but will achieve a maximum amount of natural daylight with large ground-level ceramic-fritted windows.

This new building will act as a connector, bringing together Junior, Middle and Senior School staff and students from both the east and west campuses.

It will be a place that allows students to combine athletics, health, nourishment and study, facilitating a reconnection with themselves and each other.

The seamless interior, exterior and elevated courts become the social heart of the new centre and will serve as a holistic meeting and gathering space, providing places to watch sport and to engage in informal study. A series of internal walkways encourage students passing by to see aquatics, athletics and dance—inspiring involvement in these activities. The kitchen will be open, allowing diners to engage the source of the food and its preparation.

Masonry and glass will be used in both the interior and exterior, relating

to the existing century-old heritage brick buildings on the east and west campuses. The larger gymnasium/fitness and dance/yoga volumes sit on a glowing glass base elevated in a similar way as the existing pedestrian bridge. The bridge is anchored on the east campus at its existing masonry stair tower. In response, the new building’s masonry mass touches down and anchors the west ravine side with an exterior stair from the roof garden down to the heritage court.

The dance/yoga and gymnasium/fitness spaces are containers of light, which are elevated and visible from the street. Exterior glazing allows views of the activity within and simultaneously allows Branksome Hall to be present in the city and connected to its community, creating a public identity that is open and inviting.

KM: The Centre provides a dynamic and modern counterpoint to the rest of the campus and neighbourhood and is a sensitive response to its context.

While the project can be commended for its environmental sustainability goals, I also appreciated how the architects creatively resolved the great diversity in program to collectively reinforce the school’s social sustainability agenda of health equity, wellness and liveability for the students.

MM: This is a bold solution for Branksome Hall as it places the large-scale

elements of pool and gymnasium against the high-traffic environment of Mount Pleasant to the east, and buffers the lighter more scalable elements of the program against—and into—the sloping Rosedale Ravine to the west.

The layering is successful and the new composition creates a new identity and dramatically improved facilities for the school, speaking to the importance of educating mind and body. The challenges of slipping the large volumes into the more delicate fabric of Rosedale appear to be addressed at the project level but require skillful resolution in material, palette and detail.

CLIENT Branksome Hall ARCHITECT TEAM David Miller, Viktors Jaunkalns, Robert Allen, Olga Pushkar, Jeremy Campbell, Siri Ursin, Jason Wah, Kai Hotson, Luis Arredondo, Tarisha Dolyniuk, Aida Vatany, Jedidiah Gordon-Moran, Andrew Ng, Timothy Belanger, Chi Nguyen, Tamira Sawatzky, Chen Cohen HERITAGE E.R.A. Architects STRUCTURAL Blackwell Engineering MECHANICAL/ELECTRICAL Smith + Andersen CIVIL MGM Consulting LANDSCAPE PMA Landscape Consultants PLANNING CONSULTANT &Co. INTERIORS MacLennan Jaunkalns Miller Architects CONSTRUCTION MANAGER Gillam Group AREA 64,000 ft2 BUDGET Withheld COMPLETION Fall 2014

MS: This project needs to be applauded as a tight, interlocked, nuanced

program that’s woven into the existing complex of buildings. It’s great to see that a smaller-scale private institution can achieve comparable results in terms of architectural quality to larger institutions.

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Award of Excellence

Casey House

ARCHITECT LOCATION

Hariri Pontarini Architects Toronto, Ontario

The expansion and renovation of Casey House, a specialized health-care facility for patients suffering from HIV/AIDS, has initiated a reexamination of the changing nature of this socially stigmatized disease. This project’s design em­bodies the contemporary needs of patients and health-care providers while providing a home-like user experience for all.

The project will establish a strong presence for Casey House along the Jarvis streetscape, retaining the heritage character of the street while providing much needed additional space for clients and staff in a welcoming environment.

Rather than assume the form of a standard

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hospital/hospice, the design team worked closely with the client to first understand the contemporary needs of the patients and health-care providers. With a firm grasp of those needs came the desire to also create a comfortable user experience. Through extensive consultation and research, the metaphor of embrace emerged as a unifying theme—one of warmth, intimacy, comfort, privacy, connectivity and solidity.

Referring to the goals of Casey House, it also describes the design of the architectural form, the user experience and the atmosphere in the building itself.

The project is a physical manifestation of an embrace in both the vertical and horizontal planes; the new four-storey, 58,000-square-foot extension reaching over and around the existing

three-storey heritage-designated Victorian mansion, and the new addition surrounding a fully glazed garden courtyard at the centre of the building, visible from every corridor.

As one of the original mansions to be built along Jarvis Street, the retention of the existing 1875 building (known colloquially as the “Grey Lady”) will maintain the original character of the street, while the addition introduces a dignified juxtaposition of the old and new. Emphasizing the relationship between the two, the heritage building’s brick will remain exposed in the Living Room—the new central gathering space, while a bridge will connect them on the second floor. The mass of the third and fourth floors of the addition hover around and above the Grey Lady to allow direct sunlight into the Living Room, providing warmth to this important shared space. The careful restoration will also provide Casey House with key administrative and outpatient facilities.

Fundamental to the design of the project is the inner courtyard from which all other spaces emanate. This outdoor space allows direct sunlight into the core of the building on all floors.

Given the private nature of the facility, it provides protected outdoor space for users, as well as trans­parency and clear sightlines across the project. The courtyard is also visible from each of the 14 private bedrooms (12 regular care and two respite beds) on the third floor.

Medical advances made over the years have drastically changed the treatment and life expectancy of patients with HIV/AIDS. As a result, the spectrum of services offered by Casey House has broadened beyond palliative care and counselling; their Day Health program has become a significant part of their remit. In order to streamline the traffic brought on by this diversification, private, semi-private and public floors were established and program elements organized accordingly. This ensures the privacy of the in­ patients located on the top floor from the daily traffic of the outpatient facilities on the second floor (which services a roster of 200 registered clients), while the ground floor remains a shared open space for all.

The quilt is inextricably linked to AIDS as a symbol of the disease. As if to wrap the building, this relationship was taken up to resolve the façade. Reclaimed brick, tinted mirrored glass and crust-faced limestone will line the exterior of the new addition and have been chosen to mimic the texture and variety of the quilt. Their syncopated rhythm along the façade belies the purposeful placement of the slit windows of the inpatient rooms which align with the sightlines of clients lying in their beds.

Several sustainable features were inherently related to clients’ health care and overall comfort.

Opposite A private courtyard is visible from community spaces and each of the patient rooms. Clockwise from TOP LEFT The facility has a welcoming presence on Jarvis Street; Inpatient bedrooms incorporate warm finishes and generous windows; A sketch section studies the entry of natural light to the ground floor living room.

KM: The new addition is a simple but sophisticat-

ed backdrop that reinforces the heritage character of the existing house. The imaginative way in which the architects have organized the spaces fac­ing into the interior courtyard is very contemplative, peaceful and respectful of the residents.

MM: This is a pragmatic use of the long urban site.

Maximizing the footprint by going edge to edge and including a courtyard is a thoughtful move that

reinforces both edges and maximizes the spaces within. The commitment to the respite and visual release of a single-loaded corridor is very responsive to the program. There is a meditative, spiritual quality to this building. It’s compassionate architecture that responds to the heritage context with an addition that is decidedly modern.

CLIENT Casey House ARCHITECT TEAM Siamak Hariri, Michael Boxer, Edward Joseph, Doron Meinhard, Howard Wong, Jeff Strauss, Patrick Cox, Rico Law, Eric Tse, John Cook, Faisal Bashir, Cara Kedzior, Norberto Rodriguez, Jimmy Cho, Christopher Laycock, Jimmy Farrington, Abdollah Tabrizi STRUCTURAL CH2MHILL MECHANICAL/ELECTRICAL MMM Group LANDSCAPE Hariri Pontarini Architects, Mark Hartley Landscape Architects INTERIORS Hariri Pontarini Architects PLANNING AND URBAN DESIGN Urban Strategies HERITAGE E.R.A. Architects SUSTAINABLE DESIGN Enermodal Engineering HEALTH-CARE PROGRAMMING KG Healthcare Consultants AUDIO-VISUAL Engineering Harmonics ACOUSTICS Swallow Acoustics Consultants Ltd. FOOD SERVICE Kaizen Food Service Planning and Design Inc. CODE David Hine Engineering Inc. BUILDING ENVELOPE R. Kendall Consulting Inc. COSTING Hanscomb Consultants Ltd. ELEVATORS KJA Consultants Inc. TRAFFIC AND PARKING BA Consulting Group Ltd. AREA 6,090 m2 BUDGET $36 M COMPLETION 2016

MS: I think this is a phenomenal project. The lantern element is massed three-dimensionally to engage the heritage house. Compositionally, it’s a tripartite building where the addition is a shifted Cartesian addition to the existing building.

There’s also a complete clarity of intention in the materiality and composition of the façade that is no longer about commodity baseline systems.

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Thus, they were seamlessly integrated into the design. For instance, primarily private green spaces, such as the courtyard and roof garden, can be enjoyed by patients, and high-efficiency tinted glass ensures privacy from the street, protecting users from UV rays and infrared while mini­mizing heat gain. The courtyard and operable windows allow for cross ventilation for fresh air and temperature control. Bike racks, rainwater collection cisterns and locally sourced and reclaimed materials also add to the sustainability profile of the project.

By focusing on the user experience, the design for Casey House has transformed their operations, enabling them to provide and deliver the best care possible to all Casey House clients.

The new building integrates seamlessly with the neighbourhood while offering a warm, safe and welcoming environment with privacy, mobility, flexibility, accessibility and control.

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interactive space community kitchen activity room office

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17 therapy room 18 interfaith room

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Award of Excellence

Fifth Pavilion—Montreal Museum of Fine Arts

ARCHITECTS Manon Asselin + Jodoin Lamarre Pratte Architectes In Consortium LOCATION Montreal, Quebec

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The cultural campus of the Montreal Museum of Fine Arts (MMFA) is comprised of four existing pavilions: the Michal and Renata Hornstein Pavilion (1910), the Liliane and David M. Stewart Pavilion (1976), the Jean-Noël Desmarais Pavilion (1991) and the recent Claire and Marc Bourgie Pavilion (2011). This new addition is the fifth pavilion of the campus, and will be built on Bishop Street. Whereas Sherbrooke Street has grown over the years to include larger-scale towers, Bishop Street has retained (as has most of this commercial area of Montreal) its 19th-century scale of Victorian houses. The project was conceived to address both of these scales simultaneously.

The cultural campus of the MMFA consists of an assemblage of distinct pavilions, each of which functions somewhat autonomously, as much from an architectural perspective as from a programmatic one. The museum’s pavilions evoke their own specific eras and provide commentary on the particular roles that the institution has played in society over time. This is expressed through the diversity of architectural styles and anchored in the unique circulation concepts of each respective addition.

In the fifth pavilion, intergallery spaces are integrated to promote a

shared cultural experience between visitors. The proposed spatial concept shapes one’s encounter with the works of art and their environment by offering an experience that is at once more intimate and participatory.

In addition to functioning as a jewel box for collections, the space of the museum participates in the mediation of art, rendering it more accessible to the public.

The socio-spatial apparatus of an event stair unfolds into an informal architectural promenade, suspended in the city, animating the Bishop Street façade and offering visitors a momentary interlude from the con­tem­ plative experience of the galleries. This pause allows them to re-establish a connection to the city and the community beyond the walls of the MMFA. As an interior urban promenade, fluid and filled with light, the stair offers spectacular views of the mountain and the river, which become important reference points that help to orient museum visitors. The event stair is also a place for meeting and socializing intended to instigate a sense of belonging; it facilitates active public participation by enabling a shared cultural experience and encouraging impromptu conversations on art.

In order to unify the two distinct volumes comprising the project, the Fifth Pavilion is dressed in a delicate lacework of limestone. The pivot point joining the two building masses is expressed on both interior and exterior surfaces by a vertical ruled surface that delineates the porte-cochère from the alleyway. Beyond the porous textured surface of the stone, the Fifth Pavilion appears as a cohesive whole that is animated by changing light throughout the day. In the evening, the museum’s illuminated gallery spaces emit a soft backlight that dematerializes the delicate stone lacework and brings to life the activity on the event stair. This warm space, clad in wood, is revealed to the city. Through the filigree veil of stone, visitors are able to perceive all the different functions of the lobby and of the vertical space that bridges between the life of the city and the life of the museum.

The history of the MMFA is tied to the use of white Vermont marble.

However, it is interesting to note that the material’s association with the museum is an almost mythical one, in particular because the Maxwell brothers originally proposed the use of locally sourced limestone for their design in 1910. This grey sedimentary stone contributes greatly to the city’s urban identity, and the new addition’s realization in limestone will allow for a more coherent integration with its immediate built context. The limestone will be detailed and realized by using prefabricated construction processes.

The stone lacework, porous and ethereal, dematerializes the stone’s veining, creating a pattern of void and mass.

KM: I particularly like the “lacework” of the limestone façade and its verticality. Behind this screen, the architects have created a playful route up to the various galleries with controlled vistas down Bishop Street and into the courtyard gardens at different levels. The transparency, the upper levels projecting over the sidewalk, and the animation from the people moving about inside will signify the building’s importance.

A daring cantilever projects the Fifth Pavilion into Montreal’s urban fabric. Above Stacked vertical public spaces form a dynamic interface between the street and museum.

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MM: One hopes the architects can achieve the level of transparency that’s

shown here. They have pushed the main stair to Bishop Street allowing a clear reading of the activity within, whereas the galleries are pushed to the east out of the light. The cantilever is a bold move within the context of Montreal’s earlier fabric of these north-south streets.

MS: The strength of this project is in the way it addresses the street as an

infill mid-block building. It’s contextually sensitive, and at the same time incredibly bold. From a façade standpoint, the selection of stone as a material for a filigree screen overlaid onto the all-glass façades is a great move in terms of the specific urban condition.

CLIENT Montreal Museum of Fine Arts ARCHITECT TEAM Manon Asselin Architecte (Atelier TAG)—Manon Asselin, Katsuhiro Yamazaki, Pawel Karwowski, Mathieu Lemieux-Blanchard, Éole Sylvain, Cédric Langevin. Jodoin Lamarre Pratte—Nicolas Ranger, Sergio de la Cuadra.

STRUCTURAL Nicolet Chartrand Knoll (Jacques Chartrand, Guillaume Leroux) MECHANICAL/ELECTRICAL SMI Enerpro (Pierre Levesque, Fabien Choisez) LANDSCAPE/INTERIORS Manon Asselin + Jodoin Lamarre Pratte Architectes en Consortium CONTRACTOR Pomerleau Inc. RENDERING Doug & Wolf ACOUSTICIAN Jean-Pierre Legault BUILDING CODE GLT+ (Serge Arsenault) ELEVATOR Exim (Pierre Grenier) AREA 3,870 m2 BUDGET $17.5 M COMPLETION July 2015

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Award of MERIT

Gillam Town Centre

ARCHITECTS Calnitsky Associates Architects & Peter Sampson Archi­tecture Studio Inc. LOCATION Gillam, Manitoba

Gillam Town Centre is a multi-phase, multi-year, multi-programmed project designed to strengthen the liveability and physical core of Gillam, a small urban settlement south of Churchill, Manitoba. Seen as a potential anchor tethering the emerging demographic and economic growth of the region, the design of Gillam Town Centre evolves from locally specific qualities of life, history, people and place. It accepts haphazardness with a touch of dirt, cold, snow and black fly, and out of these, looks for an architecture that captures past and present into a picture of the future for the residents of this small northern town.

Like other Canadian resource towns situated in the mid-latitudes of our country, Gillam is a case study of an emerging urban “North.” As the epicentre of Manitoba’s burgeoning hydroelectric economy, Gillam is expected 2

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to grow from its current population of 1,500 to 5,000 in the next 15 to 20 years, primarily as a result of hydro dam construction and the resulting changes to road infrastructure that will shorten the three-hour drive from Thompson by 1.5 hours. Tourism is also expected to grow, as the region around Gillam is not only a hunter’s and fisherman’s paradise, but an internationally known destination for observing the aurora borealis.

Gillam Town Centre is an 80,000-square-foot mixed-use development that seeks to establish an urban core in advance of pending residential sprawl. The architects were invited to propose a replacement of an existing derelict shopping mall. The proposal-winning response was to replace that mall with a new concept for a liveable core that is specific to Gillam, a concept that would also provide shopping opportunities but not be limited by them.

Early studies included numerous community meetings and site visits which resulted in the construction of a large-scale (yet transportable) massing model of Gillam. The development can be assessed immediately in terms of its impact on the fabric of the town. The master plan strengthens the core by extending Radisson Drive to Railway Avenue, creating a new entry into the centre of Gillam. Density is increased along the extended public street by locating a new professional-services building on the east side of Radisson at Mattonnabee. Pedestrian-friendly streets, an indoor sidewalk, and street parking will increase activity at the centre of town. Parking areas are situated so as to be shared by multiple and adjacent programs.

The Town Centre is organized around interior public “routes.” As spines that link various programs and provide passage through the Centre, these walkable routes encourage a porosity and an interior town-like experience that is more than retail-driven. Corridors will be lined with historic artifacts that tell the story of Gillam, its people, its resources, its hard histories with the aboriginal people of the region, the demise and resurgence of the

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railway’s relevance to the region, and the promising futures of sustainable energy resources for the continent.

Sparse and automobile-dependent, Gillam as it exists today is a fractured town plan with no real core to speak of. The efforts of this scheme zero in on the nature of a northern pedestrian experience and the idea of a liveable urban core. Housing is added along with improved access to commercial, retail, professional and social services. The planning merges around the development of existing footpaths and the introduction of a new street that forms the groundwork for the design of this communal town centre.

Permafrost is not only rampant, but moving throughout Gillam. Sites with bedrock—such as those found at the centre of Gillam—offer inherently stable building areas. The move to minimize parking lots and develop the core thus establishes a sustainable strategy of building where the land is appropriate, and not according to a paper plan. Sustainability at Gillam Town Centre is also about promoting the idea of liveable urban areas in Canada’s North, places to stay and establish roots. If Gillam Town Centre reduces flights and road trips out of Gillam for services previously unavailable in town, it has done its small part to sustain a liveable footprint here.

To accommodate existing micro-businesses that operate out of living rooms and kitchens across Gillam and Fox Lake today, the Town Centre includes a flexible micro-business market that will be evolved in Phase Two. The market will support seasonal and crafts-oriented businesses and personal services in a casually structured schedule to accommodate the proprietors’ other full- or part-time jobs.

A large community gathering space at the head of Mattonnabee Avenue is a space that is communal and social in spirit, a place for theatre, potlucks, day-to-day interaction, music and events.

The inclusion of long-stay townhouses and short-stay dormitory-style residential units in Phase One of the project aims for two outcomes: first, an increase to the density and mixed-use quality in the town core; second, an infrastructure for attracting operators for the Town Centre’s retail and professional services programs.

The building envelope of the Town Centre will exceed conventional commercial-grade “mall” construction. Early in the design process, the architects co-ordinated the drafting of a Charter with Manitoba Hydro’s skilled research and development department. Manitoba Hydro has also adopted the position that it has a kind of social contract with place and the people and employees of Gillam, providing a similar commitment to excellence in

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retail micro-business market kiosk space grocery restaurant canada post Gillam Insurance

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Assiniboine Credit Union public gathering café fitness Manitoba Hydro offices Gillam recreation centre schoolyard

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new daycare MTS building Town offices Aurora Hotel existing houses

sustainable construction and experience as it has achieved at its awardwinning headquarters in Winnipeg.

KM: The municipality should be applauded in forecasting a strong growth period over the next 15 to 20 years. They’ve focused on building community and in doing so they are creating a town centre and framework that has the potential to serve their residents well into the future. Although the building forms and the planning thus far seem very modest, it will be interesting to see if the town’s vision is realized as the buildings develop and evolve over time.

MM: The master-planning strategy emphasizes an adjustable framework of

simple elemental forms and the spaces in between. These exterior spaces which create the interesting tension between the forms demand an equal level of design dedication over phased development. I appreciate the very straightforward method of construction implied in the presentation. It should be noted that the high-performance envelope takes lessons learned from larger green buildings and reproduces them at a smaller scale.

MS: I like that this project sees itself as an armature, like a framework or a

chassis. This is a very low-density site with a series of industrial buildings around it, and it doesn’t try to artificially create a Main Street. It seems to me very nuanced, realistic, and carefully considered with respect to what kinds of spaces the town can actually sustain.

CLIENT Manitoba Hydro ARCHITECT TEAM Peter Sampson, Andrew Lewthwaite, Dirk Blouw, Mathew Piller, Monica Hutton, Liane Veness, John Duerksen, Kyle Munro, Ed Calnitsky, Bob Martin STRUCTURAL Wolfrom Engineering Ltd. MECHANICAL/ELECTRICAL Nova 3 Engineering Ltd. INTERIORS Calnitsky Associates Architects & Peter Sampson Architecture Studio Inc. CONTRACTOR Gardon Construction Ltd. (Phase One) AREA 80,000 ft2 BUDGET Withheld COMPLETION Phase One—2014; All Phases—2018

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Award of MERIT

Guelph Civic Centre Market Square Pavilion

ARCHITECT LOCATION

RDH Architects Guelph, Ontario

The luminosity of the pavilion is striking against the reflecting pool. OPPOSITE BOTTOM Two images of the elliptical pavilion in Guelph’s historic civic context.

ABOVE

The Guelph Civic Square Pavilion is a small structure designed to accommodate changing and rest areas for a skating rink in the winter season and a splash pad in the summer months. Further to this, the pavilion houses a Zamboni machine, mechanical spaces, a water collection cistern and chillers for the ice rink/splash pad, an accessible washroom/change room, public lockers and donor wall recognition.

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The project is a single building component situated within the larger context of a civic square landscape design. The architects were brought into the project by a prominent landscape architect to develop the civic square pavilion. The role of architect as subconsultant has given an interesting perspective to the design process. The focus has been one of experimentation within the boundaries of a small-scale architectural object, concentrating on technical innovation and formal exploration.

The pavilion is situated on a civic square located at 1 Carden Street in the heart of historic downtown Guelph, Ontario. The square sits in front of the newly redesigned City Hall building. The pavilion is located on the north side of the City Hall building and to the east of a centrally located reflecting pool/splash pad and ice rink.

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The pavilion location accommodates Zamboni access to the water feature to the west and to a civic centre service street to the east. The north edge of the square is framed by an intact section of historic building fabric which will offer significant commercial amenity for the use of future visitors to the square, such as skate rentals, skate sharpening, cafés and restaurants.

The pavilion uses perspective to its advantage to facilitate a dynamic eastern edge counterpoint to the mass of the City Hall building. The luminosity of the new glazed pavilion will help to further accentuate its position on the site and in the city. Beyond the many associated technical functions it accommodates, the essence of this pavilion is as a space of rest and change for users of the amenities offered in the plaza. The pavilion is both a place of refuge from the elements and an urban marker for the newly designed civic square.

The driving force behind this design process has been to use the pavilion as a testing ground for formal and material constructional systems which had not previously been used by the office. The explorative process included compound curvature, radiused structural glass products, custom ceramic frit patterning, LED lighting possibilities, and custom hardware components. Some of these elements have been touched on in other projects but in a much less extensive manner and without the same level of explorative rigour. New three-dimensional modelling programs have been utilized and ongoing research with fabricators has led to a much greater understanding of how one can study complex forms and how these forms and materials can be constructed during the building process.

The conceptual approach of using a small-scale architectural object as a vehicle to study these techniques has been fruitful to this particular project, and with proper communication, will be put to use and further developed in future projects. The project illustrates that an experimental design process can work in step with the development of a civic building project.

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7 suspended fireplace 8s ervice stair—access to mechanical spaces 9 Zamboni storage area 10 telecommunications room

KM: This is a simple, elegant solution to a simple program. I appreciate how the pavilion contrasts and complements the stone heritage façades. The luminosity of the glass façade is quite beautiful the way it’s been rendered.

Imagine a light dusting of snowfall at twilight—it would be lovely.

MM: I like the distinctive illusory stance of the pavilion relative to the solidity of the nearby heritage building which is more massive and opaque.

The pavilion has a real transparency as it plays with the ambition to draw glass into a dialogue with water and ice while it transitions from summer to winter.

MS: It’s designed with an appreciation of its adjacency to the ice rink, using

the reflectivity of either the water or ice to enhance its presence. It becomes more impactful through illumination and reflectivity in its context.

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CLIENT City of Guelph ARCHITECT TEAM Tyler Sharp, Bob Goyeche, Scott Waugh, Carlos Tavares STRUCTURAL Halsall Associates Ltd. MECHANICAL/ELECTRICAL MMM Group LANDSCAPE Janet Rosenberg and Studio INTERIORS RDH Architects CONTRACTOR Goetz Construction AREA 2,800 ft2 BUDGET $1.3 M COMPLETION Spring 2014

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Award of MERIT

Ouroboros Residence

ARCHITECT LOCATION

Pelletier de Fontenay Dunham, Quebec

Located near Dunham, Quebec, less than an hour outside of Montreal, the project site is a field surrounded by forest in an area where agricultural land abuts the mountains of the Eastern Townships. The lot itself is a derelict field taken over by wildflowers and small shrubs. There is nothing spectacular about the surrounding landscape or view—there is only farmland and the adjacent forest.

Organized on a single floor, the house establishes a dialogue with the horizontality of the rural context. From a distance, the form is barely recognizable, wavering between object and landscape. There is no privileged point of view in this open horizon, creating a non-hierarchical relationship between the house and its setting, where the irregular angular shape changes continuously depending upon the vantage point of the observer. The jagged roofline recalls the adjacent tree lines and the more distant mountains.

The clients simultaneously expressed their desire for an open floor plan and the need for some form of separation between functions, and the proposal addresses this contradiction by exploring the typological idea of the enfilade, a spatial arrangement commonly found in classical architecture.

All the rooms are arranged sequentially, eliminating any unnecessary corridors. The sequence is wrapped around itself, transforming the enfilade into a continuous loop, which creates a gradient between the public and private functions of the house without having to enclose them formally.

In plan, the interior is the shape defined by the hexagonal outside perimeter and the rectangular inner courtyard. The exact proportions are determined by the function of the four main areas: kitchen and dining room, living room, bathroom and bedroom. Differentiation between the rooms is

Schematic Diagram

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expressed by the pinch between the corners of the four inner courtyard walls and the exterior angled walls, and the spaces flow into one another through the subtle thresholds produced by this expansion/contraction of space. The same kind of variation occurs in section due to the irregular sloping roof, where space is compressed towards the connections and expands vertically as one moves away from the inner walls of the house.

The uninterrupted ring becomes one fluid room where different activities occur. This feeling of continuity is amplified by internal visual connections through the inner courtyard. From certain perspectives one can see into the house, through the courtyard, back into the house and to the landscape beyond. The inner courtyard acts as a neutral buffer and is treated as an abstract contained space that offers a contrasting experience to the openended aspect of the natural landscape.

Arranged in a pinwheel configuration, the interior walls serve both structural and functional purposes, modulating the four distinct spaces according to their respective programs. The concentration of all the services in the thickened walls around the inner courtyard preserves the purity of the uninterrupted floor plan and the continuous exterior walls.

The house is expressed as one continuous form cast in concrete, existing as the finished surface both outside and inside and creating an overall material continuity. Since there is no basement, the floor is a structural slab on grade, and the radiant heating system is integrated in a finished slab poured over the structural foundation. The roof is a straightforward timber structure resting on the load-bearing concrete walls, and is visible on the interior, adding texture and warmth to the otherwise cold materials. Insulated from the exterior, the exposed roof deck is waterproofed and finished with zinc sheets. The large window openings are furnished with triple-pane

The sculptural form of the residence in its rural context. ABOVE Supplementing views to the surrounding landscape, floor-to-ceiling glazing visually connects the living room to the interior courtyard and the bathroom beyond.

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glass and white oak mullions. All four inner courtyard openings possess sliding door mechanisms, while the exterior façade openings are a combination of fixed and operable windows.

A ground-source geothermal heat pump helps with heating in the winter and cooling in the summer, and the concrete acts as a thermal mass adding to the efficiency and comfort of the house. The use of limited, mostly local materials, as well as local manufacturers and simple building techniques requiring few trades and limited phasing, was also important in the design.

Lastly, the design of the sloping roof facilitates the collection of rainwater for household use.

KM: This house stands out from the other single-family homes that we saw in its approach to landscape and in its simplicity of concept and execution.

Scale seems irrelevant. It has a very protective reclusive aspect to the exterior, which is juxtaposed to the interior where there is fluidity between spaces opening onto a courtyard. There is always a connection with the courtyard, giving the house an inward focus.

Floor Plan

MM: The relationship to landscape is key to the success of this project. The

design ambitiously wraps a sculptural form around an open space engaging two distinctive landscapes; the rural farmland and the contained courtyard.

Still conceptual at this stage, there are interesting opportunities for materiality, finish, shaping of views and fenestration, to fully realize the sculptural potential of form in a residential building.

MS: If you were to occupy this house, I think you would have a complete awareness of the whole object as a sculpture. It’s almost like taking a James Turrell skyspace and twisting and turning it into a three-dimensional object.

You can imagine the colours of the walls changing with sunset and sunrise.

The house would be quite dynamic as an index for the passage of the day.

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CLIENT Linda Gaboriau ARCHITECT TEAM Hubert Pelletier, Yves de Fontenay, Étienne Issa STRUCTURAL Thibaut Lefort Ing. LANDSCAPE/INTERIORS Pelletier de Fontenay AREA 190 m2 BUDGET Withheld COMPLETION Winter 2015

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STUDENT Award of Excellence

Memento Mori

LEFT AND ABOVE Three beautifully rendered images of the Église SaintPierre Apôtre are dusky evocations of the past life of the Catholic Church, recast into a monument and archive for artifacts.

STUDENT

Francis Ng, McGill University

During his visit to Montreal in 1881, Mark Twain observed that “you couldn’t throw a brick without breaking a church window.” The Catholic Church, as both an institution and a building typology, was a defining feature in the formation of Quebec’s cultural landscape. However, as its own identity solidified, Quebec sought to free itself from its patriarchal ties to the Vatican. The resulting schism, known as the Quiet Revolution, would strip away the aura that once surrounded these places of worship. The overabundance of churches across the province and the inability to maintain these buildings resulted in closures. The rejection of the Church generates an uncanny recognition of the remaining monuments; what was once so familiar is now alien. The secure House of God has become vacant and haunted by the absence of the very institution that founded Quebec. In dealing with this malaise, it becomes necessary to define a strategy to challenge the immutable nature of churches. The deconstruction of the church generates a process of defamiliarization from an established meaning of the building and its artifacts, allowing for new and varied interpretations to emerge. Église Saint-Pierre Apôtre, a 19th-century Gothic-style church in Mon­ treal, was chosen to represent the very fragility of ecclesiastical architecture in Quebec today. The church is cast into a concrete-like monument that consumes the body of the original building. Parts of it are inverted into its negative cast, while others remain intact. The resulting reliefs retain the shape 38 canadian architect 12/13

and texture of the original features of the building, containing the ghost of its former self. While much of the exterior façade and openings of the original building are solidly cast, the interior church space is preserved as much as possible. The preservation of most of these existing elements enables the church to continue functioning as a profoundly sacred place of worship.

The closure of Catholic churches also meant that their religious artifacts would need to find a new home. Religious art that is of value only to the collective memory of the people in Quebec often becomes a burden for the diocese, and in response to this difficult situation, the thesis proposes a new addition above the existing church to permanently house and archive these disused religious artifacts. The vaulted nave ceilings are removed to establish a visual connection between the church and this new program, reinforcing the vertical relationship between sky and earth, sacred and profane. As such, the church/archive strives to reconstitute these fragments of art, of history, and of memory that represent Quebec’s identity from a time long gone.

KM: This student’s overall presentation exhibits a level of maturity in identifying the essence of the issue. This project is beautifully executed and concise in its concept.

MM: This is a spectacular presentation of an illusion. There is a great rep-

resentational ambition to reflect on faith and the Catholic Church, and an evocative and skillful use of black and white. I admire the technique.

MS: It’s not exactly adaptive reuse—it’s adaptive destruction. The project is

very cogent.

STUDENT Award of Excellence

Responsive Geometries roof beams

platform

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structural arches— built using variable rotation method

structural wall— built using constant rotation method Beam Structure: one-and-a-half bay STUDENT

Faisal Bashir, University of Toronto

This project revisits advances in computation and fabrication in an effort to produce a tectonic de­ sign logic that instills “civic memory” within the context of Karachi, Pakistan. Over the past three decades, Karachi has experienced poor economic development, sectarian violence and an increase in crime. This has led to a flight of human capital to Arab and European countries. The shortage of skilled labour and trained design professionals has partly resulted in the stagnation of architec­ tural development. The project suggests utilizing the surplus workforce from the information technology sector in the construction industry, enabling the production of para­metric archi­ tectural systems that pay homage to Karachi’s architectural heritage as well as encouraging an unskilled work­force to construct complex struc­ tures. Thus, this project proposes metro stations at three unique sites while employing a single architectural system to create complex and per­ formative archi­tectural geometries with an ease of construction.

Responsive Geometries is an attempt to learn from Karachi’s heritage and move forward with a distinct architectural style and building system.

The project also investigates the issue of trad­ itionalism of conservative cultures and contem­ porary architecture. Karachi, under pressure to accommodate a massive population influx, political unrest and socio-economic degradation, is suffering a loss of civic identity. The standards of architectural design and construction practices have declined over the past 70 years and in recent decades, Karachi has tried to adopt contemporary western architecture, but has largely failed, as the buildings produced are devoid of originality or culture.

Karachi Circular Railway (KCR) was launched in 1969 but was discontinued in 1999 due to ad­ ministrative mismanagement and government negligence. As of 2009, a plan to revive KCR was put forward, and this thesis builds upon that plan, using it as a framework for new architectural ex­ ploration. As part of public infrastructure, KCR stations are the perfect site to conduct cultural and architectural design experiments. Three dif­

KM: It is fascinating to relate this student’s work to the other infrastructure projects submitted.

The spatial qualities and materiality are rendered to create intrigue about these terminals while supporting this student’s interest in light and its role within a space.

B T he outside face of the beam is cut away to better modulate light, allowing the interior to be brighter without direct sunlight.

C T he inside face of the beam is shaped to help attentuate excessive interior noise.

A rendering of one of the proposed railways stations in Karachi.

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ferent sites (KCR Stations) have been chosen due to their unique track typology that includes an elevated track, a ground-level track and an under­ ground track. This difference in sites will test the flexibility of the proposed building system.

MM: The approach gives an ephemeral quality to

concrete, an inherently weighty construction material. It is ambitious in proposing a flexible yet sophisticated construction system using a constrained vocabulary of parts.

MS: I appreciate the combination of materiality

plus complexity.

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A T he 600mm beams are shaped to help articulate sunlight, protect from heat and attentuate noise.

Beam design

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Boldly innovative and visually compelling, Fractals includes a lounge chair, ottoman/bench and settee with a low or higher back that creates a degree of surround and privacy. Fractals was conceived with two criteria in mind — to support individuals and team-based workers in open/collaborative environments, and to provide a modular program that, in its articulation, creates a new level of planning.

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For over 30 years we have been providing quality contracting services in the institutional, commercial, and industrial construction sectors. We employ 3,000 people in 18 office locations from coast to coast and we are positioned in 5 distinct, but related, business sectors: Roofing Systems, Curtain Wall & Glazing, Architectural Metals, Roofing & Glazing Emergency Service/ Preventative Maintenance, and Environmental Solutions (Green Roofing & Photo­voltaic Systems).

www.teknionstudio.com

See it. Believe it.

CORR-SPAN building system

Versatile and beautiful, Galveston’s flame dances on a bed of crushed and silvered glass pieces creating a stunning effect. Designed so the warming heat comes from the front, the sleek, elegant fireplace can be installed snug to the wall or wallmounted for an incredible focal point in any room.

BEHLEN Industries’ CORR-SPAN building system uses engineered steel panels, roofing, and other steel components for a durable, long-lasting performance and quick, easy construction. CORRSPAN delivers spacious facilities with no structural columns and clear, un­ obstructed space up to 300’. Its lightweight structural components allow CORR-SPAN buildings to be more energy efficient than traditional buildings with unobstructed interiors im­ proving airflow and aiding the energy performance of HVAC systems.

1-800-668-6663 www.dimplex.com

www.behlen.ca CANAM: Build differently Canam specializes in the fabrication of steel joists, girders and steel deck, and is the exclusive Canadian distributor of Versa-Dek®, a structural and architectural metal deck solution. Canam also designs, fabricates and installs the Murox building system, Econox prefabricated buildings and Hambro D500™ composite floor system, girders and transfer slabs. Our construction solutions are simple and straightforward. So you don’t get any surprises.

1-877-499-6049 | canam-construction.com

40 canadian architect 12/13

WALLTITE® Eco Polyurethane Insulation/Air Barrier System WALLTITE® Eco is a medium-density polyurethane insulation/air barrier system designed to improve energy efficiency in any type of building. Industryleading performance means substantial energy savings by maxi­mizing the effectiveness of the building envelope.

Its formulation includes recycled plastic and a zero ozone-depleting blowing agent. At BASF, we create chemistry. www.walltiteeco.com www.foammasters.ca 1-866-474-3538

Product Showcase 足

Professional Directory Formica Group, the inventor of laminate, has been surfacing spaces for 100 years.

Today, we globally lead the industry in the design, manufacturing and dis足 tribution of surfacing materials, from high-pressure laminates, specialty laminates and solid surfacing, to sinks, commercial casework, and other re足 lated products. We believe great design is meant for everyone, and we provide surfacing solutions and services for both commercial clients as well as homeowners. www.formica.com

Your product or service could be promoted here!

1/8 PAGE

Ad Sizes 1/4 Page, 100 Words 1/8 Page, 50 Words For information about placing an ad in our Showcase & Literature Reviews, contact:

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Tom Arkell 416-510-6806 Faria Ahmed 416-510-6808 Canadian Architect 80 Valleybrook Dr Toronto, ON M3B 2S9 www.canadianarchitect.com

12/13足 canadian architect

41

Acknowledgements

List of Entrants QUEBEC AC/a Architecture inc., ACDF Architecture et Allaire Courchesne

2013 Awards of Excellence

Dupuis Frappier Architectes, AKA | Andrew King Studio, Arcop Archi­ tecture Inc., Atelier in Situ, Atelier Pierre Thibault, Blouin Tardif Archi­ tecture Envi­ronnement Inc., Consortium EXP et Lemay, Consortium Lemay | Lapalme Rhéault | Les Architectes Associés et DMA architectes S.E.N.C.R.L., Emond Kozina Mulvey Architects—EKM Architecture, Eric Pelletier architectes, Fugère Architects, Gagnon Letellier Cyr Ricard Mathieu & associés architectes, Héloise Thibodeau Architecte Inc., Kanva, Laroche Architecte, Larose McCallum Architects, Les Architectes FABG, Menkès Shooner Dagenais LeTourneux Architectes, Menkès Shooner Dagenais LeTourneux/Provencher Roy Architectes, Michel Lepage Architect | Evelyne Paris Architect, Owen Rose architecte, Philip Hazan Architect, Pierre Morency Architecte, TBA | Thomas Balaban Architecte, Vachon et Roy Architectes.

In addition to this year’s winners, the editors thank the following individuals and firms for participating in the 2013 Canadian Architect Awards of Excellence.

tion Inc.

BRITISH COLUMBIA Acton Ostry Architects Inc., BattersbyHowat Archi­

NOVA SCOTIA Abbott Brown Architects, DSRA Architecture, Fowler

tects Inc., Bruce Carscadden Architect Inc., Campos Leckie Studio with Atelier Anonymous + Ste Marie, DIALOG, Frits de Vries Architect Ltd., GBL Architects, Kenneth E. King Architecture Planning + Interior Design, Lang Wilson Practice in Architecture Culture, Lubor Trubka Associates, Merrick Architecture—Borowski Sakumoto Fligg Ltd., MGA | Michael Green Architecture, Middleton Architect, Perkins+Will Canada, Roger Amenyogbe Architect, Stantec Archi­tecture Ltd., TRB Architecture and Interior Design.

Bauld & Mitchell Ltd., MacKay-Lyons Sweetapple Architects Limited, Omar Gandhi Architect Inc., Rayleen Hill Architecture + Design.

NEW BRUNSWICK Stantec Architecture Ltd. with Design + Communica­

NEWFOUNDLAND Woodford Sheppard Architecture Ltd. OREGON Allied Works Architecture.

CONNECTICUT Pickard Chilton.

ALBERTA Davignon Martin Architecture, DIALOG, GEC Architecture,

STUDENT AWARDS OF EXCELLENCE

Manasc Isaac Architects, McKinley Burkart Architects, Sturgess Archi­ tecture, The Marc Boutin Architectural Collaborative, The Marc Boutin Architectural Collaborative with The Portico Group.

In addition to this year’s winners, the following architecture students were chosen by their schools to enter their thesis projects in the 2013 Student Awards of Excellence program: Brent Bell (University of Manitoba), Bree Bergen (University of Manitoba), Stéphane Bolduc (Carleton University), Jennifer Boulianne (Université Laval), Peter Braithwaite (Dalhousie University), Emilie Brin (Université Laval), Manon Bruel (Université de Montréal), Jason Child (University of Waterloo), Thomas Evans (McGill University), Vance Fok (Carleton University), Newsha Ghaeli (McGill University), Mahdiar Ghaffarianhoseini (University of Calgary), Mohammad Mehdi Ghiyaei (Ryerson University), Suzanne Harris-Brandts (Uni­versity of Waterloo), Kiana Keyvani (University of Toronto), Chris Knight (University of Manitoba), Christopher James Snazel Knight (University of Waterloo), Jerome Lapierre (Université Laval), PierreAlexandre Le Lay (Ryerson University), Shirley Y. Liu (Carleton Univer­ sity), Eric Lizotte (Université Laval), Sindhuja Mahadevan (University of British Columbia), Stephanie Mauer (University of British Columbia), Ayesha Moghal (University of Toronto), Andrea Larisa Nagy (University of Waterloo), Kurtis Nishiyama (University of Calgary), Ryan Pendleton (Dalhousie University), Nicolas D. Robitaille (University of British Columbia), Andrea Savard-Beaudoin (Université de Montréal), Kristin Schreiner (University of Calgary), Regina Lai Man Shing (Ryerson University), Holly Simon (Dalhousie University), Sonnen Sloan (Univer­ sity of British Columbia), Kevin Spaans (University of Calgary), Benjamin Tiffin (Dalhousie University), Don Toromanoff (McGill University), Stephanie Uy (Carleton University), Sze Nga Wong (Ryerson University), Azadeh Asgharzadeh Zaferani (University of Toronto).

MANITOBA 1x1 Architecture Inc., 5468796 Architecture Inc., Cohlmeyer Architecture Limited, h5 architecture, LM Architectural Group.

ONTARIO Anthony Provenzano Architect, architects Tillman Ruth Robin­

son inc., Atelier 3AM, Baird Sampson Neuert Architects Inc., Bortolotto, Bruce March Architect, Cannon Design, Capoferro, Cornerstone Archi­ tecture Incorporated, David Johnston Architect Ltd., Diamond Schmitt Architects, Dubbeldam Architecture + Design, Farrow Partnership Archi­ tects Inc., Frank Alfred Hamilton, George Friedman Architects, gh3, Gow Hastings Architects Inc., H. Kashani Architects, IBI Group Archi­ tects, JP Thomson Architects Ltd., Kasian Architecture Ontario Inc. (with McCallum Sather Architects as a joint venture), Kleinfeldt Mychajlowycz Architects Inc., Kneider Architects, LGA Architectural Partners, LINE Architect Inc., Luc Bouliane Architect Inc., Montgomery Sisam Archi­ tects + Feilden Clegg Bradley Studios, Moriyama & Teshima Architects in joint venture with Kasian Architecture, Moriyama & Teshima Architects with PCL Construction, Paul Raff Studio Inc. Architect, PLANT Architect Inc., Prototype Design Lab/Battaglia Architect Inc., RAW Design Inc., Stu­ dio Tangent Architects, Teeple Architects Inc./Proscenium Architecture + Interiors Inc., Turner Fleischer Architects, Williamson Chong Architects, Zak Ghanim Architect Inc., ZAS + JCK (FABRIQ) architects in joint ven­ ture, Zeid­ler Partnership Architects, Zeidler Partnership Architects in association with DSRA Architects.

42 canadian architect 12/13

The BEHLEN commitment…

“We rely on BEHLEN for commercial building solutions because of their commitment to quality control and architectural flexibility.

In a business where service and scheduling are critical, BEHLEN consistently delivers quality products within deadlines.”

George Constantinides President, Contempora Steel Builders Winnipeg, MB

Customizable to fit your design BEHLEN engineers customize pre-engineered steel buildings to fit your design needs so you can provide the perfect solutions to your customers. From planning and problem solving to manufacturing and assembly, BEHLEN is committed to helping you build success.

© BEHLEN Industries LP 2013

www.behlen.ca

IF YOU CAN IMAGINE IT, WE CAN MAKE IT. Formica Envision™ Custom Laminate

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