DQ Spring 2012

Showcasing BC & Alberta’s architects and interior designers

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SPRING 2012 Vol. 12 No.4

VanDusen Botanical Garden Visitor Centre Architect Walter Francl | Kitchen & Bath | Furniture | Flooring 2012 Wood WORKS! BC Awards

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SPRING 2012 Vol. 12 No.4 www.designquarterly.ca PUBLISHER Dan Gnocato dang@mediaedge.ca Managing Editor Cheryl Mah Graphic Design Tang Creative Inc. CONTRIBUTING WRITERS Allison Andrew-Harris, Robin Brunet Tim Craik, Jennifer Mehalko Cara Murphy, Kelsey Myers Trinh Nguyen, Glen Peloso Shelley Penner, Tom Tittemore B.C./ALBERTA SALES Dan Gnocato 604.549.4521 ext. 223

06 Designer Profile Walter Francl

Architect Walter Francl has been contributing to Vancouver’s urban landscape for more than two decades with a variety of complex civic and institutional projects.

PUBLISHED BY

PRESIDENT Kevin Brown

12 project profile VanDusen Botanical Garden

The VanDusen Botanical Garden Visitor Centre is garnering worldwide accolades and attention as it aspires to achieve Canada’s first Living Building Challenge certification.

16 Spotlight Railtown Design District

A small corner of Strathcona in Vancouver is taking the first steps to brand itself as an official design district.

Features 22 Kitchen & Bath

Tile Sophistication Kitchen Hardware The “Live-in” Kitchen

30 Flooring

A Natural Beauty Flooring that Lasts Luxury Vinyl Tiles

34 Furniture

Buy Less, Buy Better Office Furniture Demand IMM Cologne 2012 Outdoor Styles

departments 04 From the Editor 42 IDIBC What is the Design Concept?

44 Architects in Alberta Looking Forward 46 Design Headlines

vancouver office

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On the cover: VanDusen Botanical Garden Visitor Centre.

Photo credit: Nic Lehoux

The purpose of Design Quarterly is to reflect and represent practitioners and professionals in the architectural, interior design and design resource communities throughout British Columbia and Alberta.

Spring 2012 | DESIGN QUARTERLY 3

::::::: from the editor :::::::

good listening

G

ood listening is an important skill in all aspects of our lives. Raising two young children has taught me much about good listening — the need to help them develop the skill early and the need for me to improve my own.

Good listening is certainly an important aspect of good design. Architects and designers not only bring experience, creativity and problem-solving skills to the process but just as importantly, a capacity for listening.

Careful listening to the client has been key to Walter Francl’s success as a leading Vancouver architect. For our profile, I had the wonderful opportunity to talk with him about his career and the quality of building design in the city.

Gracing our cover is the eye-catching Visitor Centre at the VanDusen Botanical Garden. The building form is inspired by the shape of a native B.C. orchid, resulting in a truly beautiful and sustainable design by Perkins + Will. The centre is aiming to achieve the ambitious goal of Living Building Challenge certification.

Also in this issue, we put the spotlight on another up and coming Vancouver design destination: the

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DESIGN QUARTERLY | Spring 2012

Railtown Design District. Read about how a group of carpet, flooring, furniture and fabrics specialists are striving to brand the three-block long Railway Street. Next time we will take a look at the design district in Calgary centred at 11th Ave SW. Other features you will find inside these pages include furniture, flooring and kitchen & bath. According to industry expert Ellen Cheever, the integration between kitchen space and adjacent living space is a current big trend. Read about her “live-in kitchen” concept along with a look at kitchen hardware technology and tile trends in the bath.

In our flooring section, experts talk about the versatility of recycled rubber flooring, hardwood flooring and benefits of luxury vinyl.

Cheryl Mah Managing Editor

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5

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Meaningful Engagement P h o t o Br a d La u gh ton

By Cheryl Mah

Creekside Community Centre.

F

or architect Walter Francl, meaningful engagement with communities and user groups is not only fundamental to a successful project but what he enjoys most about the design process.

“I love the discussion. I love the debate.

I like the engagement on urban design issues as an architect. I really enjoy the public interaction,” he says during our interview.

“Long term we want the community as well as the client to be happy with the new developments as they are built.”

As one of Vancouver’s leading architects, Francl has been contributing to the city’s

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DESIGN QUARTERLY | Spring 2012

urban landscape for more than two decades with a variety of complex civic and institutional projects.

The principal of Walter Francl Architecture is clearly passionate about what he does and the city in which he practices.

“We live in Vancouver. It’s a marvellous environment to build in,” he says. “I find the city itself and the people who live here and their aspirations for the future development of this community to be a real source of inspiration and motivation for me in terms of how I want to see this city grow and how I want to see it develop as both a more sophisticated and more inclusive urban environment.”

Walter Francl

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H e c tor L o

Trout Lake Ice Arena

Born in Vienna, Austria, Francl grew up in Edmonton and took an early interest in building.

“I’ve always been interested in building things,” he reflects. “Whether as a kid building forts or dog houses or small construction projects around the house, I’ve always been interested in building things, construction, in how we shape our environment.”

Following in his father’s footsteps, he attended the University of Alberta to study structural engineering. After graduating with a Bachelor of Science in 1973, he realized being an engineer was not what he wanted to do.

“I realized as an engineer you’re essentially doing a lot of what you’re told — you’re not the prime consultant. It’s the architect who decides what’s going to get built,” he says. “I wanted to get out in front of the design process and help guide it and shape it so I decided I wanted to be an architect.”

He moved to B.C. and received a Bachelor of Architecture from UBC in 1979, followed by a Master’s degree from Harvard University's Graduate School of Design in 1985.

His early career involved working with a number of local Vancouver architects including Derek Neale and James Cheng.

“I was at Jim Cheng’s office for 5-6 years and I learned a lot from him about design and architecture,” says Francl, who like 8

DESIGN QUARTERLY | Spring 2012

many young architects also admired icons like Arthur Erickson and Bruno Freschi.

In 1988, he formed a private practice with Brad Lamoureux known as Francl Lamoureux Architects. The two collaborated together for five years before Francl set out on his own in 1994.

“Our early work tended to be modest and prosaic. We did early work for local industrial office park developers doing tenant improvements,” he recalls.

Commitment to a high level of design has resulted in several national and international awards for the firm…

Today, the firm’s work encompasses a broad range of project types including residential/mixed use, commercial/retail, institutional and transportation. Commitment to a high level of design has resulted in several national and international awards for the firm over the years.

The most recent accolade was a 2010 Lieutenant Governor of British Columbia Medal Award for the False Creek Energy, an innovative sewage heat recovery plant.

Other notable projects include Trout Lake Community Centre and Ice Rink, Creekside Community Centre, Rennie Art Gallery & Offices, and Jameson House.

As the sole principal, Francl is hands on with all projects and leads a team of 21 dedicated design professionals and support staff.

The firm has two associates: Stefan Aepli and Scott Mitchell.

“I work in collaboration with a very talented group of individuals,” he says, comparing his role to that of an orchestrator. “I try to bring to bear the talents and the vision that I think will best further a project and serve a client’s needs.”

Current projects include the new 30,000 square foot Wesbrook Place Community Centre at UBC, a multi-tower residential development proposal at the Rogers Arena site, Still Creek works yard in Burnaby and the 13th and Lonsdale mixed use development in North Vancouver.

“Most of our work right now is in the fairly early stages — rezoning work,” notes Francl. “Our variety of projects is something we find inspiring and keeps interest up and juices flowing.”

Of course, a successful project hinges on more than just a creative solution. Francl believes good design also requires careful listening to the client.

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M ic h ae l E l ka n

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“Making sure they know that they are being heard and understood and that you’re working in their best interests has certainly been a key to our success,” he says.

Sustainability is another important aspect of the firm’s work.

“The whole issue of sustainability in building design is driving a lot of the agenda in our design practice. It’s something we realize will be an ever larger part of what we do as architects,” says Francl, who is LEED accredited along with a number of 10

DESIGN QUARTERLY | Spring 2012

others in the firm. “It’s something we’re getting increasingly proficient at and we hope to continue to deliver on and expand our capabilities in.”

With a diverse portfolio, volume of work has been steady despite recent economic uncertainty.

“Vancouver has been a very fortunate place to be over these last 3-4 years. The market has remained fairly buoyant,” says Francl. “I have colleagues from New York, L.A., San Francisco who have had a much

more difficult time in their practices. There was a bump in the road back in ’08-’09 here but it certainly was nothing near what happened to the rest of the design community in North America.”

In addition to design work, Francl has taught as a sessional instructor at UBC — something he would like to do again. His expertise is also sought out for design competitions, thesis presentations and urban design panels. He currently sits on the Surrey Advisory Design Panel.

“It’s a very good exercise to try to understand the work of other architects and then to come up with a lucid and relevant commentary that hopefully brings some positive contribution to it,” he says.

Francl has been actively involved within the profession, serving on numerous professional committees. He is a past president of the AIBC and has served three times on the Vancouver urban design panel (twice as chair).

Improving the quality of urban spaces and shaping the future built environment is a responsibility that he appreciates.

“I recognize that what we see now or what we’re building now is the future for our family, our children and our community,” he says.

“That’s a responsibility for the architectural community at large and a motivator for me as well.”

Outside of the office, he enjoys sailing, skiing and running. Francl has been married for 24 years and has a daughter and twin sons. DQ

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Centre of Attention

By Cheryl Mah | Photos Nic Lehoux, courtesy of Perkins + Will Canada Architects Co

“The most beautiful architecture is one that is in complete harmony with nature.”

— Peter Busby

U

sing a plant as inspiration for the creation of a living building is not only a wonderfully apt metaphor but has resulted in one of the most striking pieces of architecture in the City of Vancouver.

The Visitor Centre at VanDusen Botanical Garden is a bold and ambitious statement about what is possible in the pursuit of beautiful and sustainable design.

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DESIGN QUARTERLY | Spring 2012

Wrapped by tall glass walls and a dramatic undulating green roof designed to resemble giant orchid petals, the centre aspires to be one of the first certified living buildings in Canada.

Designed by Vancouver based Perkins + Will, the 20,000 square foot building marks the new and unique entry point to the 55 acre botanical garden. It is expected to double the number of visitors to the renowned city tourist destination.

Although the firm received the commission in 2007, market conditions and funding issues slowed the project down.

When the federal funding stimulus plan was announced in late 2009, the long awaited project was finally able to move ahead with Ledcor Construction breaking ground in late April 2010. Ledcor successfully delivered the $22 million project in 17 months.

::::::: feature project :::::::

Officially opened in October, the single storey facility houses a large reception area, four classrooms (three with movable walls to allow for different configurations), volunteer lounge, library and gift shop.

When the architectural team undertook the design of the facility, the goals were primarily threefold: to increase the visibility of the garden, add more needed space and include a casual food service. The original plan was to demolish the aging existing buildings which house administration offices and the Shaughnessy restaurant, according to Jim Huffman, associate principal and project lead at Perkins + Will.

Instead a new site was chosen with the new building fronted closer to Oak Street (on the southeast corner of the property) which greatly increased its visibility. Another important change was the decision to pursue the Living Building Challenge (LBC).

“When we started the project, we were aiming for LEED Platinum but through discussions with the client, the idea of the Living Building Challenge came up,” recalls Huffman. “We really pushed for sustainability and explained how this project would teach the rest of the city how to live and how to move on to the future. The client loved the idea.”

The overarching goal became about creating a truly sustainable, self sufficient building — a fitting complement to the ecology of its surroundings.

The design strategy focuses on integrating the building seamlessly into the landscape both visually and ecologically, explains Huffman. An overall site plan was developed working closely with noted Cornelia Hahn Oberlander and Sharp & Diamond Landscape Architecture. The result is a building profile that flows and undulates across the site in harmony with its natural setting.

Most impressive is the dramatic free-form roof structure and a front entrance overhang that reaches high into the sky. The building form is inspired by the shape of a native B.C.

the design strategy focuses on integrating the building seamlessly into the landscape both visually and ecologically… orchid with the central lobby as the stem and building’s wings and roof as the petals.

“The roof is incredible,” says Huffman with a laugh. “No two pieces are the same. And at the beginning we didn’t know how to build it. It really came about through collaboration with the contractor and sub-trades.”

The complicated geometry of the wooden curved roof was one of the biggest construction challenges. The 71 unique glulam panels were all prefabricated off site and included

electrical, insulation, sprinklers and ceiling finish components. Prefabrication of the modular roof panels was critical to facilitate faster construction, avoid winter rain exposure and ensure high quality installation.

“These panels are as large as 15 feet wide and 60 feet long and upwards of 12,000 pounds a piece. It was a very exacting process lifting these panels into place,” says Ledcor project manager Rebecca McDiarmid. “There are no straight lines on this project. Every four feet your details are changing fundamentally.

Because nothing was typical it required a phenomenal amount of coordination.”

The garden setting also posed site constraints.

“We had the tallest free-standing crane in Vancouver for about 5-6 months to build this single storey building,” says McDiarmid.

“Because of the fair amount of trees that could not be touched, the crane had to be tall enough so that the boom cleared the top of the trees.”

Inside, visitors are greeted by a spacious 50 foot central atrium featuring a dramatic wood ceiling with an oculus that brings in natural light and exhausts hot air. A prominent asymmetrical perforated aluminium yellow panel hangs inside the operable glazed oculus creating a solar chimney. This “heat sink” aids in the cross ventilation of the building, explains Huffman. “We’ve done this heat sink in a number of other buildings but Spring 2012 | DESIGN QUARTERLY

13

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usually it’s hidden away. Here we were able to get it in a prominent location.”

The design intent was also to give the illusion of the roof floating above the building.

“There is at least three feet of glass separating the walls from the roof to create this idea of floating so especially at night with the lights on the effect is amazing,” says Huffman.

FSC certified wood (primarily Douglas fir) is used extensively throughout the structure along with glass, concrete and rammed earth walls.

“The overall power of the project is this simplicity of materials — natural and durable — which is quite unique,” says Huffman.

Reclaimed wood was also used. Lumber salvaged from an existing breezeway was used to construct several new exterior bridges. Within the building, all the doors and millwork are from recycled wood from an off site source, notes Huffman.

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DESIGN QUARTERLY | Spring 2012

Adding to the complex design and construction details of the project was the pressure to meet the tight deadline dedicated by the government funding. Work commenced well before drawings and specifications were finalized.

“When we started the project, there were no Living Building Challenge certified projects in the world,” says McDiarmid. “It’s an incredibly ambitious program. While many contractors in Vancouver are familiar with LEED, this was the first time any of our trades had heard of the Living Building Challenge. There was a real learning curve for everyone.”

The LBC is considered to be the most rigorous measurement of building sustainability and excellence. To be a living building, a project must meet a range of prerequisites including capturing and treating its own water; incorporating only nontoxic, appropriately sourced materials; and gen-

erating all of its own energy through clean, renewable resources.

A number of state-of-the-art technologies have been used for the centre to achieve a net zero footprint including a geo-exchange system, solar photovoltaics and solar hot water tubes, rainwater collection and black water treatment system. Electricity is generated with the solar tubes as well as an energy exchange with the Shaughnessy building.

By far the most difficult task was procuring the right materials, according to Huffman. The LBC has a strict “red list” that includes many materials that are so ubiquitous that avoiding them is an onerous exercise. A great deal of research had to be conducted to determine what kinds of materials were appropriate for use.

“There are many differences between LEED and LBC, mostly on the material side.

It’s trying to get the material credits that was difficult,” says Huffman. “There is a restriction on distance for materials travelled based on weight as well as a red list of banned materials like mercury, cadmium, heavy metals and vinyl that you can’t have. We took a long time to specify products and it is a huge amount of paper work.”

PVC and vinyl were particularly difficult to avoid especially in many mechanical and electrical products. For example, says Huffman, “no one makes wiring without vinyl covering on it in North America.” He shares another example of where the team had to be inventive to solve the problem of not using PVC foundation drain tile. “The contractor ended up using HDPE pipe and drilling thousands of holes in it.”

Obtaining approval from the city for water and sewage was also challenging. Municipal bylaws require potable water to be chlorinated, say Huffman, so this required an exemption under the LBC. Meeting the LBC requirements, the complex roof design and speed of construction proved to be a tall task for the project team but the result is an iconic building that will pave the way for others to look beyond LEED Platinum.

“Although every living building claims to be beautiful, I think this project stands out because it’s exceptionally striking compared to most. It’s a testament to what can be done given the current state of technology while also creating a building that’s incredibly beautiful,” says Huffman.

The landmark facility is already garnering international accolades for its innovative design and as a showcase of best practices in environmental sustainability. Following one year of operation, the project hopes to receive living building certification, making it one of only a handful of structures worldwide to receive such recognition. DQ

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Railtown Design District

::::::: spotlight :::::::

A small corner of Strathcona in Vancouver is taking the first steps to brand itself as an official design district. By Robin Brunet | photos by B. Mills

I

n his office above a showroom of exotic rugs and carpets, Colin Campbell president Chris Dragan stares through the window at Railway Street below. The Edwardian buildings lining the thoroughfare and the port cranes directly north give Railway a narrow, old-world industrial appearance — not a place one would initially regard as a key Vancouver destination.

But Dragan and a group of carpet, flooring, furniture and fabrics specialists are intent on branding the three-block long Railway and the corresponding length of adjacent Alexander Street. “Many of us are fairly new to the area and others have been here since the 1980s, but enough of a critical mass has developed for us to have a collective identity — the Railtown Design District,” he says.

Several doors west, Layers & Layers coowner Sharon Laxon explains the reason why branding is desirable to her interior décor business, which moved to the neighbourhood less than a year ago. “Every city my partner 16

DESIGN QUARTERLY | Spring 2012

and I visit is way ahead of us in having an official district that caters to the design community,” she says. “Toronto has Designer’s Walk; Montreal has a thriving design locale; there’s a comparable zone in Seattle, and even Calgary has a specific region where clients grab a coffee and wander from one showroom to the next. As far as I’m concerned, our branding is long overdue. I’m impatient for it to happen.”

Given the prominence of William Switzer & Associates Ltd., Crown Wallpaper & Fabrics, Inform Interiors and other Railtown denizens, plus the fact that many architects and designers have been patronizing Railway and Alexander streets for the past 20 years, an observer might be compelled to wonder why branding has suddenly become a priority. “My experience has taught me that whenever a group of companies get together to promote a common purpose, it enhances everyone’s individual success and increases our prominence,” says Switzer Cult Creative co-owner Renee Switzer. “And that’s impor-

tant to us because we don’t have the volume of traffic enjoyed by our counterparts in Toronto or other large cities.”

Railtown is sandwiched between the docks to the north, Hastings Street several blocks south, Gastown to the west, and capped at Railway’s eastern terminus by Alexander Centre, a sprawling office and showroom complex with a lattice spire visible from miles away. No clear parameters exist as to what constitutes a district in zoning terms, but one thing is certain: a lot of history has occurred in this tiny corner of Strathcona.

For example, Alexander Centre’s tenants (which include W.D. Western Designers Upholstery Ltd., William Switzer, Crown Wallpaper and the newly-formed Switzer Cult Creative, among many others) know their building was headquarters of the American Can Company back in the day. However, far less known is the fact that American Can expanded the building to obliterate a series of brothels run by Madame Dolly Darlington in

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::::::: spotlight :::::::

the 1910s. According to local historian James Johnstone, Railtown was also home to Western Canada’s very first Japanese language school, built in the 400 block of Alexander in 1906. Seventy-one years later it even spawned the West Coast punk rock scene, via a raucous concert at the Japanese Hall.

But if Railtown’s past is a dim memory, reminders of a bygone era are an integral part of its appeal, case in point: the showrooms of its dozen-odd design-related companies have been renovated to exhibit a pleasingly gritty blend of old structural elements and modern finishes. “You can also spot artifacts simply by taking a walk,” says Laxon. “Just outside our building a patch of asphalt has worn away to reveal wood cobbles underneath.”

While some activists solicit City Hall or the general media to achieve brand awareness, Railtown’s inhabitants are counting on cyberspace (and this trade publication) to make things happen. Specifically, they have created a website, www.railtowndesigndistrict. com, containing up-to-date news, company information and a blog page. “The website is the result of us meeting every other Tuesday at eight a.m. since last October to hash out the image we want to project and what 18

DESIGN QUARTERLY | Spring 2012

form the branding should take,” says William Switzer sales representative Jan Fairweather.

“A website is a great tool, because the younger generation of designers and architects are constantly using the net, smart phones and tablets: they’re not as hands on as baby boomer designers or even the gen-X crowd.

We need to lure them here.”

According to local historian James Johnstone, Railtown was also home to Western Canada’s very first Japanese language school…

The website is just the start of the branding initiative; community events such as lectures and showings will follow. “We [Colin Campbell] recently hosted German rug designer Jan Kath at the Vancouver Urban Winery around the corner from us, and drew a large crowd of designers,” says Dragan. “We anticipate that the District’s collective events, commencing with our first event on July 19, will also be popular outings for our clients.”

Although some Railtown entrepreneurs prefer not to, it’s impossible to discuss branding without referring to Vancouver’s betterknown design destination, the Armoury District. The similarities between the Armoury District and Railtown are remarkable: both are populated by warehouses that served industry from a bygone era. And of course both are keen on attracting more business.

Dragan and colleagues may solicit City Hall in the near future, and perhaps accessing municipal funding is an option. For one thing, Crown Wallpaper showroom manager Rosalie Wald would like decorative banners installed along Railway and Alexander.

Adds Laxon, “One of our key branding objectives is to be known as open, friendly and casual — the way the districts in other cities are.”

In the meantime, Railtown is quiet, even at high noon when neighbourhoods like Gastown (literally a few minutes’ walk away) are choked with pedestrians. “We’re not completely deserted: we get food trucks setting up shop here during lunch, and that brings plenty of feet onto the street,” says Dragan.

“But even though we’re relatively quiet, we’re also a safe place.”

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::::::: spotlight :::::::

That wasn’t always the case. When W.D. Western Designers, one of Railtown’s very first design-related companies, moved to the district in 1988, Railway and Alexander streets weren’t for the faint-hearted. “Initially it was us, William Switzer and Robert Allen who located here because of the great spaces and affordable leases, and very slowly other companies came,” says president and general manager Gary McCaw. The design-related companies helped gentrify Railway and Alexander streets, and so too have later arrivals like the social media platform HootSuite and Vancouver Urban Winery. Moreover, the upgrading of Gastown and large-scale redevelopments such as the Woodward’s building are cumulatively pushing urban improvement eastward. “Even nearby Strathcona Park, which was a hot bed for street-level drug trade, has 20

DESIGN QUARTERLY | Spring 2012

Railtown Design District is all set to shine as the one-stop shop for designers and architects… been cleaned up,” says Inform Interiors director Paul Sjaarda. “Meanwhile, companies like HootSuite and Aritzia have infused this district with a young, hip vibe.”

But mindful that popular perceptions die hard, Dragan avoids mention of proximity to the Downtown East Side when directing visitors to his neck of the woods. “We tend to use Gastown as a reference point,” he says.

Railtown’s zoning is predominantly light industrial, which Sjaarda believes will safeguard the district’s integrity. “Gentrification ad even our own branding efforts might have

long-term negative effects like raising rents, but there will be a limit to how drastically we change,” he says. “We’ll always have a gritty feel down here next to the docks, a sense that we’re an engine to the city. And that resonates with what we do.”

So apart from the inclusion of banners and perhaps another café or corner store (Dragan wants a few more places to dine, while Laxon wants to buy supplies before heading into her office), the Railtown Design District is all set to shine as the one-stop shop for designers and architects everywhere.

“In some ways we’re an experiment in urban planning,” says Sjaarda by way of conclusion. “We serve a community function with our businesses, plus I think we’ll grow in a methodical, responsible way. Our potential is enormous. It’s an exciting time for us.” DQ

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Creative Director, Kelly Deck Design From HGTV to some of the finest residences in Vancouver, Kelly brings a wealth of creativity and passion to her work.

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tile sophistication

By Jennifer Mehalko

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orth Americans are evolving into European trends of application of bathroom tile. Not just tile on the floor, in the shower or one row across your vanity splash but creating stunning bathroom spaces with tile everywhere. With the creation of so many stunning tile alternatives on the market and the ingenuity of a great designer, tile can recreate a bathroom space like no other finish material. The trends for bathroom tile applications today are as vivid and dynamic as those that don the runways.

Spring is here and the biggest trend of the season is COLOUR. The tonal variety and depth that can be found in tile products this season is paramount. Take designer Sara Baldwin’s jewel glass collection as an example. Vivid 22

DESIGN QUARTERLY | Spring 2012

patterns, such as that from her Ikat Collection, draped across entire bathroom walls create an exotic escape in saturated hues of tanzanite, aquamarine, gold and turquoise.

The trends for bathroom tile applications today are as vivid and dynamic as those that don the runways.

If the thought of too much colour is overwhelming the same patterns can be found in neutral quartzite and glossy mirror slivers to up the glamour ante.

A classic go to is and always will be a simple brickfield. The sizes have evolved from the standard 3x6 into larger and smaller rectangular shapes, 1x3, 2x4, 12x24, and 13x36. The application of this shape into any space, contemporary to classic is like that of a little black dress; unassuming and timeless in a neutral stone like Paperwhite or Thassos, either stacked or offset, the shape lends as a stunning backdrop to accessorize with jet cut patterns such as ‘Tamara’ from Sara Baldwin’s Silk Road Collection. Framing out a panel in a shower or mat in a powder room are stunning ways to create understated opulence.

Have a love for being green? There is a growing passion for sustainability and it can be found in a plethora of materials. Andy

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Fleishman has created a timeless collection of etched concrete tiles that deliver an innate vintage quality. Sand, gravel and cement are mixed, additive free and air cured in moulds. The intricate pattern options give such juxtaposition with the industrial quality of its body. Ideal for a bathroom floor application as concrete’s qualities enhances radiant heat performance through absorbing and slow release of warmth.

Every homeowner should enjoy the space they start and finish their day in. Creating a romantic getaway in the WC has escalated to the top of a homeowner’s wish list. This ambiance of amour is easily created with soft organic stone materials through various textures and shapes. Create a soft surface with the time worn limestone field created

by Giovanni Barbieri. Especially dreamy in soft gray with pillowed edges, undulated surface and strangely enough, a high honed surface, which gives an understated polish.

Classy and romantic paired with soft whites, pinks and nickel or sexy and bold with saturated mustards, moss greens and gold.

Go big! How much pattern and life can you inject into your little powder room?

The more, the better! Keep in mind that the powder room should still be a reflection of the rest of your space, but get out of your comfort zone and get inventive. Invest in a daring geometric or organic floral from floor to ceiling — in colours you love. Or keep it simple on the walls with a larger field to elongate the space and map out an enchanting pattern on the floor. Top it off with a

great mirror, some interesting sconces and all you’ll have to worry about is losing your guests to your lovely loo!

Whatever the trend may be, bathroom spaces should reflect a homeowner’s personality, innate style and always be reminiscent of things they love. Bathrooms have evolved from pure function to rooms of luxe sophistication, comfort and ambiance. Covering a space in a solid surface may sound cold and impersonal, but it has been re-imagined with the myriad of tile choices. Head to the privy and incite something fabulous. DQ Jennifer Mehalko is senior designer at Empire Kitchen & Bath, specializing in cabinetry, millwork and tile Design. www. empirekitchenandbath.com Spring 2012 | DESIGN QUARTERLY

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2012 Wood WORKS! BC Wood Design Award winners Awards evening held on Monday, March 5th, 2012 - Vancouver Convention Centre, West

Residential Wood Design

Multi-Unit Residential

Green Building

C.C. Yao, Read Jones Christoffersen

Paul Hammond, Chow Low Hammond Architects

Craig Duffield, McFarland Marceau Architects

Linear House, Salt Spring Island

Camas Gardens Supportive Housing, Victoria

École Mer et Montagne, Campbell River

Institutional Wood Design: Large

Western Red Cedar

Wood Innovation

Gerald Epp, StructureCraft Builders Jesse Garlick, McFarland Marceau Architects

City of Courtney and Martin Hagarty, Architect

École au Coeur de l’ile Comox, Comox

Courtenay City Hall Renovation, Courtenay

Sponsors

Event Sponsors

Silver Sponsor Mill & Timber

Commercialization of Mechanically- Fastened CLT (Cross Laminated Timber) at Fire Hall 15, Vancouver

Brian Woudst

Comm WoodW at Alberni D

More than 350 distinguished design and building professionals, including architects, engineers, project teams, industry sponsors and their guests gathered to honour the nominees and winners of the 2012 Wood WORKS! BC Wood Design Awards. The annual awards evening recognizes leadership and innovation in wood use while being an opportunity to publicly salute and encourage continued excellence in the building and design community. This year there were more than 100 nominations in 12 categories from all over BC as well as some national and international submissions.

Wood WORKS! is a national industry-led initiative of the Canadian Wood Council, with a goal to support innovation and provide leadership on the use of wood and wood products.

Wood WORKS! BC provides education, training and technical expertise to building and design professionals involved with non-residential construction projects throughout BC.

Jim Taggart, 2012 BC Premier’s Wood Champion.

Commercial Wood Design

Interior Beauty Design

David Poiron and Ben Checkwitch, Checkwitch Poiron Architects, Vancouver and Nanaimo Nanaimo Cruise Ship Terminal Building, Nanaimo

tra, StructureCraft Builders

mercialization of the Wave © Structural Panel District Secondary School, Port Alberni

Antoni James, Warner James Architects “Art’s Place” – a Food Services Outlet – Fine Arts Building, University of Victoria, Victoria

Architect

Institutional Wood Design: Small

Darryl Condon, Hughes Condon Marler Architects Steveston Fire Hall, Richmond

Engineer

Sean Barrington Pearson, RUF project (Rural Urban Fantasy Project) Gulf Islands Residence & Boat House, Salt Spring Island and Football Training Centre, Soweto, South Africa

Fast + Epp Structural Engineers Samuel Brighouse Elementary School, Richmond

www.wood-works.org

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kitchen hardware

By Glen Peloso

I

’m always surprised that clients think of the kitchen in terms of the aesthetics only with no real thought to the functions of the space. I often find myself repeating the same phrase: “Form follows function.”

The kitchen is first and foremost a place to be able to prepare meals. In working with a series of professional chefs, you quickly realize that “the look” of the kitchen rarely comes into the discussion at all; it is just the function and the flow of the kitchen.

There have been huge innovations in the kitchen, largely because the kitchen is turning into the hub of the home and the requirements are more demanding. At Interzum in Europe, there were several new materials for drawer fronts, including stone both natural and manmade to create a seeming “block” that could be both a functioning kitchen and a furniture piece. There was a concept kitchen that was presented originally just at the idea stage but was later turned into reality. In a few words, it could best be described as a kitchen intersecting with an Ipad. (If you’re 26

DESIGN QUARTERLY | Spring 2012

really interested search concept kitchen 2015 on Youtube and see it in action).

So much has changed about the way the kitchen is used and as a result the technology adjusts to the way that we live. We now shop differently than in the past and buy much more in bulk. The weight that we now require our drawers and slide out shelves to hold has increased significantly. At the Interior Design show in Toronto, Hettich introduced a slide called Arci tech which is capable of handling up to 200lbs of weight on a full extension sliders, while still maintaining the soft close. With kitchens that are coming out of Europe made sometime with stone drawer fronts, the ability of the slides to deal with that amount of weight will become more important. All of the slides Hettich makes also have a self clean feature and metal bearings.

The kitchen can be a dirty dusty place, particularly if you are a baker with the flour and sprays that get used. Over the life of the kitchen, slides of a lesser quality will start to

fail. Naturally there are other suppliers of slides, some that you can find sold at big box stores but none will have the engineering and the precision the Germans have come to be known for.

It has now become unusual to see stationary shelves on kitchens of any quality anymore. The full extension slides allows you to see what you have stored in the kitchen from last week’s shopping trip, when you are about to prepare a meal. Naturally the soft close has become a standard with any good quality manufacturer as well. The depth of drawers has also changed as has the widths.

The suppliers that offer prefabricated and integrated systems allow manufacturers to keep costs down. Without having to customize each drawer, driving up the cost to the consumer, the integrated systems allow the same drawer box to be adjusted to suit.

Another great addition to the drawers and shelves is a system to organize the interiors and the adjustability of those organizers as your needs change over time. When

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Another prominent option is automated drawer opening and closing systems. you consider the quantities and variety of foods that a young family may purchase as opposed to the requirements of a household full of adults, the adjustability factor is vital to the longevity of the kitchen. Inserts which may or may not fit the drawers you have were available in the past as well as customized systems which added significantly to the cost, so the combination of adjustability and custom fit is very helpful to the cook.

Combine that with LED interior cabinet lights and you are one happy chef.

Another prominent option is automated drawer opening and closing systems. The need for this feature as our population ages is increasing significantly. It is also something that makes sense so that you don’t have to try to open doors and drawers while your hands are covered in “cooking.” In the concept kitchen the cupboard shelves ascend into a

box above along with the oven, therefore using the space that would normally be difficult for us to reach, leaving the lower spaces available for accessible storage.

To think that it wasn’t all that long ago that our grandmothers were shocked by the idea of a “dishwasher” and were exclaiming “what will they think of next”. With all of the incred-

BRADFORD hardware

ible advances in the last few years, you have to wonder what they will think of next! DQ Glen Peloso has been designing spaces for commercial, corporate and residential clients for two decades. He makes regular appearances on various magazine styled TV & radio shows across Canada.

101 - 1626 west 2nd avenue, vancouver, bc p: 604.569.0783 | 888.422.2217 www.bradfordhardware.com Spring 2012 | DESIGN QUARTERLY

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the “live-in” kitchen A New Design Approach By Cheryl Mah

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lients are looking for a kitchen design which positions the gourmet space in a more central location within the great room. This is the big trend now — the integration between kitchen space and adjacent living spaces.

“The change ahead of us is not so much a great room where the kitchen is in one corner of a multi-purposing space but rather a change in where the functioning work stations in a residential kitchen are located within a large area,” said Ellen Cheever.

That’s what a packed room heard at the annual Buildex Vancouver tradeshow where Cheever, an industry expert and design trend analyst, shared a new design approach to the kitchen planning process.

Coined the “live-in kitchen”, the new kitchen revolves around changing where traditional work centres are placed within an expanded roomscape still labelled as a kitchen.

Several years ago, she began experimenting with a new kitchen layout strategy aimed at better integrating family activities and the primary storage/preparation/cooking work centres in one large living space.

Instead of creating kitchens that are tucked into the corner of a larger space, they’re now taking centre stage, sometimes with 360 degrees of access. Formal dining rooms and hallways are eliminated and, instead, one large table is integrated into the kitchen.

“Simply what’s happening is that in larger spaces people rather than gathering in the kitchen are gathering around the kitchen,” explained Cheever.

Although her presentation focused on planning large spaces, she was quick to add that the concept also works for smaller spaces.

“We’re going to see not bigger houses but bigger spaces inside houses because from new construction to major renovations, consumers…notably younger consumers are tearing down walls that separate single purpose spaces,” she said. “I’m talking about 1,800 to 2,500 square foot house that the only spaces that are separated by walls are bedrooms and baths. And artfully and carefully the general living spaces are all in one area.”

How to begin thinking about planning a kitchen in the middle of the room?

Be prepared — working out from the middle of the room out is much more difficult than “stepping” along predetermined wall lengths.

“I’d like you to think of the plan…as a wonderful circular interactive space rather than a path through the woods,” she said. “I want you to stop thinking about sequential activities and start thinking about concurrent activities.”

Citing examples and projects, Cheever highlighted several different ways of approaching the planning process including broadening the information gathering stage to ask specific questions about non-related cooking activities; thinking in blocks of space rather than individual sizes; rethinking centre island shapes and drawing the room completely.

“Kitchen designers typically have drawings in half inch scale. I urge you to do the entire room in quarter inch and then bump up the kitchen,” said Cheever. “And have a clear understanding of what the construction parameters are…think of the orientation of the house as it relates to the sun coming in and what the views are.”

According to Cheever, another change happening across North America and Europe is getting rid of wall cabinets.

“What I see people doing is more pantry type storage, floor to ceiling storage and that makes sense,” she said, adding sheet rock

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“Center State” Great Room Kitchen

Traditional Great Room Kitchen

constructed walk-in pantries will continue to grow in popularity in kitchen designs because this type of enclosed open storage structure allows a busy family to be able to find everything.

Other key planning details outlined by Cheever included: 1. Become familiar with furniture sizing 2. Think about zones of activity and their required space, as well as people “traffic patterns” before developing conceptual space solutions 3. C reate aesthetic “vistas” into the space for visitors as well as the cook 4. Pay special attention to the lighting plan 5. The ventilation system is of key importance 6. Consider adding the sale of chairs/bar stools to your product offering 7. R enew or establish collaborative working relationships with area interior designers.

If your specialty is cabinetry, counters and appliances — the idea of outfitting an entire space that includes the kitchen can be daunting, she noted. Partnering with an interior designer who handles all the furniture and decorative details of the live-in room can simplify the creation of this great gathering space. She also advised to keep up to date on kitchen technology (eg. ventilation options, LED lamps).

Cheever believes the best kitchens are when interior designers, architects and builders partner with a NKBA kitchen specialist. DQ

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www.designquarterly.ca

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a natural beauty

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t the beginning of any design project, as soon as I meet with the client and begin to form an understanding of where the design will take us, I immediately start to mentally picture how I 30

DESIGN QUARTERLY | Spring 2012

S h o w cas e P ia n o s b y W H G De s i gn

By Trinh Nguyen

envision the finished space will feel and I create a design concept in my mind. Oftentimes this vision in my head will include wood as one of the key design elements. Living on the West Coast my whole life I’ve been brought up with a strong

respect and appreciation for natural materials. Wood seems to be that one standout material that never fails to produce the many emotions from the design that I need it to; natural wood conveys a rich, warm and welcoming feeling and it is able

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It has been written that wood flooring was first used as a design element in the Palace of Versailles in 1963. Solid-plank wood floors were handcrafted and very expensive and therefore could only be afforded by the wealthiest people. Even today hardwood floors are still considered to be a premium product and an important investment. It is one of the only finishes that is completely sustainable and can also be refinished again and again to update the look of any interior and can therefore last a lifetime. Due to the hard-hitting recession in the U.S., buyers are now transforming.

They are no longer easily segregated as either a luxury goods consumer versus a bargain shopper. Both types of consumers are now seeking to purchase good value, and to invest in a long-lasting, beautiful and updatable hardwood floor that surely delivers as a good investment.

The first decision to make when looking for a hardwood floor is solid wood or engineered wood? Solid wood, while seen as prestigious and high-end has some limitations. It should not be installed below grade, it should not be installed over concrete, and it should not be used with radiant floor heating. And while it can be argued that solid wood allows for a more minimal gap between planks, solid wood can actually be prone to more gapping, crowning and cupping (excess space between planks and slight curving in the planks due to humidity). One of the best features of using a solid wood floor is that it can be sanded and refinished multiple times.

Engineered wood also has many great features and has substantially risen in popularity due to innovations in manufacturing. Engineered wood is currently the most common type of wood flooring used globally, although in North America solid wood currently has the larger market. However, in North America engineered wood floors are quickly catching up. Engineered wood is composed of two or more layers of wood in the form of a plank. It provides dimensional stability, can be installed “floating” alone or with radiant heating. It allows for easy replacement of boards and typically installs faster and at a lower cost than solid wood flooring.

Another quality that makes hardwood flooring a universally popular choice is the innumerable options available. There are many different options of wood species, grades, plank widths and lengths and also stain colours and finishes available. Trending for 2012 is hardwood floors with wider plank widths. Open plan living

Hardwood floors can make gorgeous features when installed on walls, ceilings and almost anywhere… has further fuelled the demand for wider boards and it is seen as a more contemporary and clean spin on the traditional thinner planked parquet style floor. Also trending for 2012 are pale tones of grey and white-washed floors. Lighter grey tones offer sophistication and versatility to a space as these subdued tones complement both contemporary and classic inte-

riors. This colour palette can also help a smaller space appear larger and brighter.

Oiled and hand-scraped finishes are also becoming extremely popular as they emphasize the natural beauty of the wood.

And who says it has to be installed on the floor? Hardwood floors can make gorgeous features when installed on walls, ceilings and almost anywhere else to make a stunning impact. Whether it is for a residential space, a hotel, a restaurant or a retail store, no matter what the project a beautiful hardwood floor will always be a good investment, both in design and in cost. Get creative! DQ Trinh Nguyen, Cert. I.D., is the founder and principal of Stylelab Design and also a senior designer with WHG Design specializing in hospitality and residential design. Contact her at trinh@stylelabdesign.ca.

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flooring that lasts

By Cara Murphy

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istorically, recycled rubber flooring was most commonly used in the sports industry.

More recently the durability, low maintenance and acoustic qualities of recycled rubber flooring have contributed to its increased use in commercial sectors such as museums, banks, schools and health care. When architects start to plan their building design, the end user is always forefront in their minds. In many cases, the group of people who most benefit from a well thought out design are the employees who work day to day in the building.

In an effort to improve the workplace environment, the focus to create a space that allows views to the outside, creating flexible and private work spaces while offering easy maintenance and comfort becomes top priority. With this in mind, recycled rubber flooring has been chosen for several public buildings, including BC Hydro. Part of this flooring’s appeal is its slip resistance and ergonomic benefits by reducing fatigue and increasing the comfort for the employees.

This was also the reason recycled rubber flooring was chosen for the Centre of Excellence at Okanagan College in Penticton.

In complementing the other flooring choices, 20,000 square feet of recycled rubber flooring was installed in the classrooms as a product that met the needs of faculty and students to provide a durable, resilient finish without compromising the performance of the radiant flooring system that was installed throughout the building. Along 32

DESIGN QUARTERLY | Spring 2012

with its slip resistant, sound reducing and impact absorbing characteristics, recycled rubber flooring is simple to maintain.

As Robert Parlane, an associate with CEI Architecture, summarizes, “A main factor in choosing recycled flooring was the maintenance of the surface. Purchase cost is one thing, but maintenance cost is a whole other thing… maintenance can become very expensive over the life of a building.”

The flooring doesn’t require waxing, making things so much easier on the custodial staff. By using a no-wax flooring option that reduces VOC emissions and improves indoor air quality, the project is showing its commitment to using environmentally responsible materials in its buildings without forgoing quality and longevity.

This is also evident at the Whistler/Blackcomb Mountain Ski Resort ticket/lobby area where recycled rubber flooring was installed more than 10 years ago. After years of thousands of visitors trekking in ski boots across its surface, the flooring doesn’t show its wear.

Instead, Whistler/Blackcomb Mountain continues to replace other areas within the Resort with the recycled rubber flooring because it is so durable. Not only found in ski resorts across North America, but also in ice arenas where hockey players are walking in sharp skates, the recycled rubber flooring continues to perform and show its hardiness.

For any facility — commercial, retail, school, museum, recreational — creating

an inviting atmosphere is important. This is done using colours, textures and embellishments. Recycled rubber flooring is available in a variety of colours where the SBR (tire component) is combined with EPDM (coloured granules) to create whatever the imagination can conjure. With the process of the two compounds mixing, the final result often matches the look of stone or carpet, but has all the excellent properties of recycled rubber.

Also, a logo or design can be incorporated into the floor — so, whether it’s a store name, a team logo or even a directional sign, valuable floor space is used. And with the option to use an interlocking tile format, patterns in the floor are easy to create and recreate just by moving the tiles around. Using an interlocking tile will also double the floor life — in areas of high traffic, simply switch out the tile with a less used area, or flip the tile.

When comparing recycled rubber surfaces to other flooring products, the life cycle cost of the rubber far exceeds other materials as most companies will take back the old floors, regrind them and put the granules back into other products, proving the sustainability of recycled rubber flooring, and also helping projects to achieve LEED credits. DQ Cara Murphy is marketing manager for DINOFLEX Group LP, a leading manufacturer of high-quality rubber flooring.

For more information, 1.877.713.1899 or www.dinoflex.com

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luxury vinyl tiles

by Kelsey Myers and Tim Craik

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tyle is often an afterthought when it comes to selecting easy to maintain and durable flooring. Choice in vinyl was always limited to sheet vinyl, or peel and stick with its contrived designs and faux finishes — and let’s not forget VCT. A renaissance of sorts is underway in the vinyl flooring industry, with the emergence of luxury vinyl tiles and planks as the new “go to” product for both professionals and consumers. No longer is our choice limited to the designs our grandparents fawned over: the floors that seemed too ugly — out before they wore out. Now inspiration is coming from none other than Mother Nature. Tiles and planks representing real stone and natural timber lack many of the drawbacks associated with using a natural material, particularly below grade, or in high traffic areas, retail and seasonal homes.

benefits of luxury vinyl (LVT) We couldn’t talk about luxury vinyl without mentioning its many attributes. Like its forefathers, LVT is durable by nature, and well suited to high traffic areas. Unlike some of its natural counterparts, it will not splinter, chip, or crack. Brands like Karndean are suitable for an environment with pets as they are more scratch resistant than hardwood.

Luxury vinyl is a great option for creating a healthy living environment for families, as it does not hide dirt, bacteria, and allergens. Look for the GreenGuard logo to certify indoor air quality (www.greenguard.org).

Luxury vinyl has better moisture resistance, allowing clients to have the look of hardwood without the concerns brought on by fluctuations in humidity. Spill a drink? Unlike hardwood, any spills on luxury vinyl can be wiped up easily without damaging the floor.

Clients love that luxury vinyl is warm to the touch and quiet underfoot, unlike many natural surfaces and laminate. Minimal cleaning effort is required to keep luxury vinyl looking great. No sanding, polishing or sealing is required. Luxury vinyl flooring is the perfect solution for spaces with high traffic, kids, dogs, or the possibility of a spill.

breath-taking realism When done right, luxury vinyl is virtually indistinguishable from the natural surface it is designed to replicate. Technological advances allow luxury vinyl suppliers to produce luxury vinyl that both looks and feels realistic. Karndean creates some of the best looking products available in this category. For example, Karndean relies on natural products for their unique designs. One of the best examples can be drawn from their Van Gogh, Barnwood design, which was developed using a scorched length of timber found smoldering at the site of a recent barn fire.

vast array of design options Beyond the practical price and durability reasons for selecting LVT, perhaps it is the ability to incorporate design elements into an LVT project which makes it a real standout. Its ease of installation and the vast ar-

ray of design components offered by some manufacturers open up a world of possibilities, whether you are a professional designer or a consumer wanting more control over the outcome of your floor. Design strips, decorative borders and emblems can transform a regular space into a spectacular talking point. Style is often an arrival point for clients, but with your expertise coupled with a talented flooring specialist one can break down the complexities of these exciting elements and a world of difference can emerge.

Take as an example a simple Keyline border installed six inches off the toe kick in the kitchen; it can mean the difference between what the 20 neighbours next to your client have in their kitchen and an expression of one’s individual style.

the verdict The benefits of vinyl have been known for some time; it’s warm, quiet, comfortable, hygienic, easy to maintain and practical.

What makes a quality LVT standout from traditional vinyl and many of the commoditized products are realism, individualism, and versatility. With more and more clients wanting something different, we think this is the way forward. DQ Kelsey Myers is marketing coordinator for MIRA Floors and Interiors, a full service flooring supply and installation store in Surrey. www.mirafloors.com. Tim Craik is general manager for Go Resilient Canada www. goresilient.ca Spring 2012 | DESIGN QUARTERLY

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buy less, buy better

Ma r ti n Te ssl e r

By Shelley Penner

O

ur p+a furniture motto, “buy less, and buy better” (perhaps not the wisest slogan for a retail and contract furniture company) peaked my interest to re-visit more notable mottos and quotes, such as:

mediocre on all levels, unsustainable, and many times marketed under the guise of a celebrity endorsement.

Analogous to Apple products, mid-century modern furniture, even the Artemide Tolomeo designed in 1987 by Michele De Lucchi and Giancarlo Fassina, and the Herman Miller Aeron chair designed in 1994 by Don Chadwick and Bill Stumpf, simply resonate with people. Bill Stumpf admitted as I’m sure most designers feel, “I design for myself.” The Aeron chair was designed around the idea of “I want to sit on this really bad.” Although designed for somewhat selfish purposes, these designers have revolutionized lighting and seating. The products resonate with many because of their soul, authenticity of materials and elegant simplicity.

“Simplicity isn’t just a visual style. It’s not just minimalism or the absence of clutter. It involves digging through the depth of complexity. To be truly simple, you have to go really deep...You have to deeply understand the essence of a product to be able to get rid of the parts that are not essential.” — Jony Ive, Apple Designer

To some extent the above are self-explanatory, other than perhaps “Yes we can”, a slogan for Barack Obama’s 2008 presidential campaign. What started as a catalyzing campaign message, should now read “Yes we can SURVIVE!” More recently in an interview, President Barack Obama jokingly changed the slogan to “Yes we can, but it’s not gonna happen overnight”, which I think we can all agree with, considering the continuing economic shock waves felt globally.

A few years into this experiment of creating a diverse business model, we’re now connecting the dots. The contract furniture market will create the volume to get the costs down on our residential furniture to hit a middle market, where there is still an absence of welldesigned, Canadian-manufactured furniture.

We knew this from the start, but somehow lost our way with the retail and online stores demanding our attention.

“Deciding what not to do is as important as deciding what to do”. — Steve Jobs Reading Jobs’ biography by Walter Isaacson, I was struck by the evolution of the brand, with both failures and successes, and the emotional connection people worldwide have to Apple and its products. For many people, Apple products, like the iPod, iPhone and iPad, are a habit we don’t want to break.

In Charles Duhigg’s book, The Power of Habit, he describes “the habit loop,” whereby an environmental cue automatically leads to a behavioural routine that results in a reward.

Hence, the reason why so many of us desire the latest Apple device is that we’re addicted to the sheer beauty and user interface.

So for the furniture industry, how do we create sought-after sustainable products and brand loyalty, beyond iconic companies such as Herman Miller and Knoll?

it’s not gonna happen overnight

design, design, design!

The recession has greatly reduced the availability of green materials, such as wood panel products, the basis of our casegoods, as manufacturers across North America keep skeletal inventories. FSC-certified, no added urea formaldehyde (NAUF) panel products, are not readily available unless you have the volume. These panels are consider special order and are more costly. Although there may be demand, it is not significant enough to warrant increasing supply.

It is a flashback to the early 1990s. However, today there are many more people co-opting the language of sustainability as strictly a marketing prerogative without integrity, which renders the word “sustainability” meaningless.

Good design and green design are synonymous. Design is an imperative for a sustainable future and should drive engineering, manufacturing and construction. Materials are relevant, but secondary if used efficiently.

The benchmarks that define true sustainability continue to evolve, as do we. DQ

In midst of a struggling manufacturing industry in Canada and numerous furniture retailers going out of business, it has been humbling to acknowledge the vision we have is not going to be realized overnight.

“Design is the fundamental soul of a manmade creation that ends up expressing itself in successive outer layers.” — Steve Jobs The reality is that today most massproduced goods including furniture are

Shelley Penner, BID LEED AP is director of practice at Penner & Associates Interior Design and, president and owner of p+a furniture. pennerdesign.ca pafurniture.ca

“Less is more” — Mies van der Rohe “Doing more with less” — Buckminster Fuller “Less is better” — Dieter Rams, industrial designer “Yes we can” ­— Barack Obama, US President “Yes is more” — Bjarke Ingels, architect “Simplicity is the ultimate sophistication.”

— Apple “It’s not easy being green” — Kermit the Frog, actor

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it’s not easy being green

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office furniture demand

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dvances in technology, shifting work patterns, and greater desires for work/life balance and living sustainably are changing today’s workplace dramatically and will shape office furniture demand in the future.

According to a survey by Canadian furnishings manufacturer Teknion, by 2015, workplace utilization is expected to increase from levels between 35 per cent and 50 per cent today to 85 per cent.

“The survey provides us with valuable insight into the concerns and challenges that are facing our clients. The data will enable us to better design workplaces that anticipate and address future needs,” said Kay Sargent, Teknion vice president of architecture, design and workplace strategies.

Strategies that companies are employing to accomplish increased space utilization include: open, collaborative workspaces with fewer offices; densification of workspaces; reducing square footage footprint through disposition; and having more employees working remotely, from home, satellite or client sites.

Employing more open, collaborative workspaces with less private offices to reduce overall space, however, is a misconception, according to Sargent.

“Companies rarely achieve a decrease in their overall square footage requirements solely by shifting from private offices to open, shared space. The overall square footage usually stays about the same because of the increase in collaborative or meeting areas. Open, collaborative spaces simply provide more options,” she said.

…a greater variety of furniture options will be required to match the growing demand for a variety of spaces.

The “Workplace of the Future Survey” also revealed that 78 per cent of the companies polled have less than 10 per cent of their employees working from home more than one day a week, but expect that to grow by 2015.

“To achieve space reduction, companies are looking to reduce the traditional model of providing every employee with a dedicated workplace,” said Sargent. “Today, an office with 100 employees might only require desks for 80 due to mobile work programs and desk sharing. However, compa-

nies with limited mobility programs, such as allowing staff to work from home one day a week, rarely impact overall square footage because most staff still have a dedicated workspace. Unless employees are out of the office two or more days a week and give up an assigned desk, real estate is usually not affected.”

With all the changes in the workplace today many are asking, “If employees can work anytime from anywhere, do we still need offices?” and “if so, then what does this mean for the workplace and how will it impact the demand for office furniture?”

With the shift away from private offices to open spaces geared towards collaboration where workers gather together to share knowledge, a greater variety of furniture options will be required to match the growing demand for a variety of spaces. Key elements of the modern workspace include furniture that: • Can be easily reconfigured and customized by the user; • Allows for more informal spaces with flexible, casual seating options; • Creates a variety of meeting spaces with various settings; • Maximizes opportunities for knowledge sharing; Spring 2012 | DESIGN QUARTERLY

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…technology is the single largest factor fueling change in the workplace…

• Has a variety of storage options that focus less on paper and more on personal items and technology devices; • Creates alcoves for more private meetings in a lounge-like setting; • Provides smaller offices, or enclaves for concentrative, focus work; • Has components, such as screens or storage units, that are lighter weight and can be adjusted to vary your level of enclosure; • Offers more stand up meeting areas for quick exchanges; • Adjustable height work surfaces that increased movement and promote greater well-being; and of course • It’s critical that all furniture and workspaces integrate technology.

East India Carpets

The nest in contemporary & classic designs since 1948

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eic dquarterly ad design centre 2012 final spring 2012 rev1.indd 2 DESIGN QUARTERLY | Spring 2012 36

Ad number: eic dquarterly spring 2012

Photograph by: Rebecca Blissett

12-04-05 10:48 AM

“Today, the only thing we know will be constant is change,” said Sargent. “It’s inevitable so we need to embrace it. Change today is being driven by demographic shifts, economic volatility, the pursuit of sustainability — both for our buildings and for ourselves. But technology is the single largest factor fueling change in the workplace today, so understanding it is essential.”

The survey also revealed that 89 per cent of the companies reported that they plan to increase their investment in productivityenabling technologies such as voice-activation technologies and video conferencing by 2015. DQ

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imm cologne 2012

The first exciting trends for modern interiors emerge.

M

odern individuals no longer ask themselves what belongs in their living room, but what they want to do in the space defined by that name. The "either-or" model of old is being replaced by an emphatic "both-and" approach. Anything goes, and people are using their homes to let their multifaceted personalities run free. These days, furnishing a home means breaking down the old, traditional boundaries, putting the television in the kitchen area, turning the dining table in the live-in kitchen into a communication centre complete with plush dining chairs and putting the bathtub in the bedroom. Old furniture is being combined with new, winter barbecues are a viable proposition and, at a stretch, the hallway can be turned into a disco. This freedom within one's own four walls allows for a huge amount of identity and creative autonomy.

At imm cologne 2012, a premier show for furniture trends over the next 12 months, four trends were identified: • Naturalness — natural wood, light oaks • Individuality — the interior has to suit the customer • Sustainability — buyers interested in origins • Design — straightforward aesthetic vocabulary with clear brand profile.

naturalness Regardless of what materials they use, manufacturers across the board are endeavouring to create models that blend in harmoniously with the interior ambiance and capture a little of nature’s flair for con-

Leolux Arabella

sumers’ own four walls. Especially when it comes to wood, the imitations are getting noticeably closer to the original in terms of colouring and texture. Light oaks in particular, as well as oak variants with an attractive grain in general, made an appearance at many booths in January. When it comes to colour, various nuances of white and black continue to be popular, green and turquoise shades are also widespread. And many manufacturers are still playing with interesting mixes, i.e. wood in combination with expressive unicolour shades.

individuality Individuality is another very important theme — regardless of whether it concerns a living room suite or a shelf. The consumer wants furniture that satisfies his needs — preferably 100 per cent. Manufacturers have become extremely good at catering to this demand and are developing models that offer a wide variety of alternatives. This applies both to the colours and the characteristics of the products. Rather like a fitted kitchen, what the consumer ends up with is a genuine one-off, even though the furniture is massproduced.

sustainability Sustainability is also becoming an ever more prevalent theme. Many companies are seeking certification for their production processes. Manufacturers are also keen to use materials and components produced in an ecologically compatible way — and are equally keen to communicate these endeavours.

Whereas materials were once used without

hesitation, people are now attaching a great deal of importance to their origin. Many manufacturers are even making furniture out of recycled materials.

design When it comes to design, a straightforward aesthetic vocabulary continues to prevail — frills and flourishes were yesterday. Rounded and romantic forms tend to be the exception. Clear lines are the order of the day. The product presentations are characterised by a similar clarity: an increasing number of manufacturers are counting on a concrete brand profile, which they hope to raise awareness of amongst visitors, trading partners and consumers through their appearance at the imm cologne. This is a totally new development in the furniture industry: in the past, only a handful of manufacturers pursued a consistent strategy designed to establish a distinct brand profile.

On the whole, modern furniture has to fulfil many functions. That’s why it is getting smaller again, because all sorts of different things can be done with it. Sofas, for instance, should be easy to adjust so that bigger seating surfaces can be created.

Desks only need a small workspace because the technical equipment is getting smaller and display cabinets can be narrow because the LED lighting doesn’t take up any space.

Poufs that can be carried around the home are flexible seating options that fit in anywhere. Tables can be extended in next to no time when friends come for dinner, and flatscreen TVs can be made to disappear into the sideboard at the push of a button. DQ Spring 2012 | DESIGN QUARTERLY

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outdoor styles

By Allison Andrew-Harris

E

very year when returning from the furniture shows, people ask me, “What’s new, what’s hot and what are the trends?”

This year many of the vendors have responded to a renewed demand for quality and longevity in their furniture. Attention to detail, passion and flair have all returned for spring and it was in abundance.

old favourites The tried and true Adirondack chairs are at the forefront this year. Patio chairs made out of recycled pop bottles with matching side tables and footstools are once again a must-have.

Another longtime favourite, resin patio furniture by Ratana in two-tone canary grey and soft charcoal with neutral cushions and electric throws in turquoise look impeccable.

Outdoor French Bistro inspired metal tables and chairs in bold primary colours are the perfect choice for customers looking for a little character and charm.

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DESIGN QUARTERLY | Spring 2012

The demand for these items never seems to diminish and it was a pleasure to see that these companies were able to put a fresh spin on such classic pieces. The upgraded quality of the resin, the colour options and the improved comfort are better than ever.

colour, colour, colour Forget the muted tones you may have seen in the past. Bold, intense greens and oranges are in cushions, throws, candles, placemats and all the decor accents that add life and personality to a home.

Eco-friendly and biodegradable dishes made of crushed bamboo and rice husks in cream, orange and lime with table linens, cushions and placemats to match are perfect for summer picnics. Contemporary Chilewich placemats in lime green with matching stripped outdoor mats and Klippan colourful throws in orange, yellow and citrus green will add life to any patio.

oh canada This year we found some wonderful new Canadian lines, which we are thrilled to be bringing into the stores. Standouts are Gallant & Jones water resistant deck chairs made from North American White Oak. These chairs feature interchangeable French fabric slings and matching fabric pillows.

Outdoor toss cushions from Canadian companies Lady Rosedale and Something Extra in fuchsia, green and other bright hues are another great way to change-up the look of patio furniture seasonally.

our favourite newcomer Lee Industries is fast becoming one of our favoured lines. Their quality craftsmanship, comfort, durability, style and variety in shape and fabrics are unparallel. This past buying season we discovered their patio furniture is equally as impressive.

Their uncovered outdoor collection of fully upholstered outdoor furniture is perfect for

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70°

360°

L144 homeowners who enjoy bringing the comforts of home outside. As always, their patio furniture is sophisticated and deliciously comfortable and now able to withstand the elements of a Vancouver summer season.

The trend here is cream slip covered fullsized outdoor furniture with bold coloured decorative accents. As always, the more pillows and blankets the better.

home accents For lazy summer beach days, or weekends at the family cabin we cannot resist picnic friendly Govino plastic glasses that are shatterproof and recyclable. In addition, we have soft, fast-drying Hammam towels that can be multi-purposed as throws, cover-ups and blankets.

Other spring knick-knacks we love are Paddywax candles in Rosemary Citrus and Thyme Olive Leaf made from recycled wine bottles. Vintage champagne buckets brought home from the markets of Provence and hanging glass and terra cotta pots for seedling plants and votive candles add just the right finishing touches. DQ Allison Andrew-Harris is a manager at Country Furniture, one of the largest, independent, home design and furniture stores in Canada. Their latest venture in modern home furnishing located in North Vancouver is The Other Room, www.theotherroom.ca. For more information about Country Furniture and the Designer Discount Program, visit www.countryfurniture.net.

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39

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::::::: idibc :::::::

what is the design concept?

Meccanica Presentation Centre

A

t Insight Design Group, the first question we ask when approaching a new project is: “What is the design concept?” The concept is the most important aspect when creating a unified space with impact and atmosphere. Senior designer Linda Gallo describes our concept development: “For each project here at Insight, we develop a concept to initiate our design process. We flip through magazines, design blogs and various furniture and lighting websites to get our juices flowing. Often, we are simply inspired by our surroundings and each other.”

In terms of concept, presentation centres and display suites for multi-family projects are truly driven by creativity. This is because they are our client’s most useful marketing tool and help to sell a project from onset to move-in. As principal Kari Henshaw puts it, “Presentation centres and display suites give us an opportunity to really let our creative energy flow. They create a distinct experience from entrance to exit.” Developers want 42

DESIGN QUARTERLY | Spring 2012

to offer an exciting project that will stand out from others, and appeal to specific groups of people. Our goal as interior designers is to give future homeowners a vision of how the space will suit them.

We believe communication is the key to achieving consistency within a project. It is the common thread through which a solid, complete vision is created. The first step of this process involves the entire team. The developer will have a general idea of what their vision is, and will collaborate with the team through an envisioning meeting to establish a clear concept.

Recently, we worked to the successful completion of the first stage of Meccanica, a project located at the corner of East 1st Avenue and Quebec Street in Vancouver. Meccanica, completed in a collaborative effort between Cressey Development Corporation, Rafii Architects Inc., Insight Design Group Inc, and Thought Shop Creative Inc., features a design heavily influenced by vintage Porsche styling and details.

The project concept was inspired by a company named Intermeccanica located on the same site

as the proposed development which creates replica Porsche Roadsters and Speedsters, as well as the surrounding Main Street and False Creek neighbourhoods. During this envisioning meeting, questions were asked such as: “Who is our target market, and what drives them? How do we want this space to feel?” The main objective is to fine tune major details and ensure everyone is on the same page. “One thing to keep in mind,” says Henshaw, “is that as much as we want to define what this project is, it is also about what it is not.”

We also collectively ask questions about potential buyers: “What do these people do in their spare time? What is there to do in this neighbourhood?” The next step is to brainstorm how to bring this concept into each area of the project. For us as interior designers, we asked ourselves how we could incorporate this refined “Main Street” feel into the design of the entire project.

One of the first things we do is put together a concept board of images that portray what we envision for the project to help our client visualize the space. The concept board helps drive the design and is a constant reminder of what we’re working towards. Next, the finishes are selected and refined. In this case, the finishes in Meccanica were largely based on the Porsche concept, and Cressey decided to give their buyers options much like a car manufacturer would. After the finishes are finalized, we begin selecting the furnishings for the presentation centre and display suites.

Every item within the suites and presentation centre is meticulously selected to fit seamlessly into the design, and each detail is deliberate and has a purpose in carrying through the specific concept.

“Everything must have a purpose,” says Gallo. “When implementing any design, we imagine how the end users will be living, entertaining, working etc. and create the corresponding mood accordingly.”

At the Meccanica presentation centre there are two display suites, each one designed to appeal to a different type of buyer and lifestyle.

All of these facets come together to form a cohesive design. Our objective is to bring to life a strong design that tells a story from start to finish. Meccanica is an exciting example of a fully developed, collaborative design carried through every aspect of the project, right down to the tag line: “Four walls inspired by four wheels.”

This article was supplied by the Insight Design Team.

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::::::: aaa :::::::

looking forward

By Tom Tittemore Highlands Branch Library

…context is the core of every project for our firm

“L

ooking forward” is what our integrated design team at Marshall Tittemore Architects (MTA) does every day. Recently recognized by three Mayor’s Urban Design Awards, this biennial award acknowledges the important contribution that architects, designers and artists make in improving the quality of life in Calgary, by producing high quality buildings and public spaces. We are extremely proud in receiving these awards because they reflect how context is the core of every project for our firm.

An example is our University of Calgary Downtown Campus project. It’s the result of a collaborative effort between a private owner — Northwest Property Corporation, and the University, to undertake the adaptive reuse of a former medical office build44

DESIGN QUARTERLY | Spring 2012

ing. We used the project details and materiality to strengthen the visual relationship between the campus and its adjacent context. We brought an order to the original building façade; and we incorporated a kinetic screen developed within its architectural composition. The result is a provocative project that defines a connection to the urban fabric through the facade treatments and building massing.

In collaboration with BM from London, the 4th Street Underpass is a key infrastructure project with design features to make pedestrians and cyclists more comfortable — an important connection linking East Village/ Beltline communities and Stampede Park.

Apart from wide, pedestrian-friendly sidewalks and dedicated bicycle lanes, it features state-of-the-art LED lighting in its walls and handrails to make the space lighter and more

inviting, and houses a kinetic artwork installation in its canopy.

At the Southern Alberta Institute of Technology, we preserved a critical viewscape between the historic campus and Calgary’s downtown. This new three-level parkade (with BTA of Vancouver), is nestled into an existing hillside creating a green roof playing field and leaving only two sides of the structure visible. These exposed sides are clad in semi-perforated metal screens called ‘Ombrae’, which allows natural light and ventilation into its interior while simultaneously creating a giant exterior art piece. We combined both art and utility, enabling the screens to catch and interact with sunlight to depict a moving cloud-filled sky.

Our MTA Edmonton office is producing notable work in Alberta’s capital city. The Highlands Branch Library renewal project (with shl architects of Copenhagen), is an important and exciting catalyst for an inner-city neighbourhood with a diverse socio-economic strata. It’s intended to be inviting and open to all, and presents information and knowledge in exciting new ways for the residents of its established community.

Finally, we were retained by Alberta Infrastructure and MHPM (prime consultant), as Bridging Architects for the Royal Alberta Museum. Together, MTA/shl established the framework for its design-build proposal. We established and coordinated the critical parameters to guide the new Museum’s design.

This project will see a substantial transformation of a historic inner-city site.

Tom Tittemore, AAA, MAIBC, MRAIC, is principal at Marshall Tittemore Architects.

In order to deliver the best design solutions and environments for our clients, MTA brings the best people on board their 25 person team; the most passionate and most dedicated talent. www.mtalink.com.

::::::: design headlines :::::::

Whistler house Whistler is home to the first B.C. constructed home to meet international Passive House. The Rainbow Duplex designed by Marken Projects, uses up to 90 per cent less energy for heating, cooling and building than a standard house. Solar hot water, subsoil heat exchanger and cross-laminated timber decking are a few of the extensive sustainable building features incorporated into the prefabricated design.

The structure was assembled in four-and-a-half days using a prefabricated panelized system manufactured by BC Passive House.

Gold for Cardew Peter Cardew, principal of Peter Cardew Architects, has been honoured with the 2012 RAIC Gold Medal, the highest honour the profession of architecture in Canada can bestow. Cardew has built an international reputation for timeless, quality design. While modern materials and technology inspire the forms and volumes of his work, it is the straightforward detailing of vernacular building that enhances their accessibility.

As part of this recognition, Cardew will be speaking at the Presidents’ Dinner & Awards Gala during the Festival of Architecture June 13-16, 2012 at the Delta St. John’s Hotel and Conference Centre.

Firms Selected MacEwan University has chosen Bing Thom Architects (BTA) of Vancouver and Manasc Isaac Architects of Edmonton to design its new Cultural Arts and Communications Centre.

The facility will house the programs currently in place at its Centre for the Arts and Communications campus. In November of 2011, the university Board of Governors approved $5 million for design and planning of the facility.

The request for proposals was issued, closed and evaluated between January and March.

Of the 11 firms that submitted proposals, four were shortlisted by the evaluation committee.

Rug Exhibition Colin Campbell, purveyors of fine area rugs, invited the city’s tastemakers to the Vancouver Urban Winery on February 23rd for a rare opportunity to mingle with worldrenowned rug artist Jan Kath. Considered a revolutionary in the rug trade for his ground-breaking designs, the artist enthralled guests with a presentation of his latest award-winning collections. From the old-world inspired “From Russia With Love” to the street-art influenced “Tagged”, each rug reflects a playful intersection between traditional handicraft and modern alienation design effects — the essence of Jan’s signature style. The edgy Railtown space was the perfect backdrop for the interactive exhibition, which also had guests joining Jan’s “Rug Revolution” by tagging a graffiti wall and wearing neon pins with slogans like “Sex, Rugs and Rock & Roll” and “Make Rugs Not War”.

Spring 2012 | DESIGN QUARTERLY

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::::::: design headlines ::::::: RFQ Released

Beasley Honoured Larry Beasley, former director of planning for the City of Vancouver, was the recipient of the prestigious 2012 Leadership Award of Excellence. The award recognized his outstanding contributions to the urban landscape and design aesthetic of Vancouver. The award was presented to him at the second annual IDC/IIDA Vancouver Leaders Breakfast on February 9 at the Vancouver Convention Centre, which was held in conjunction with Buildex. Pixar Studio art director Jay Shuster delivered the keynote address.

Glass Bridge Parks Canada and Brewster Travel Canada are moving forward with negotiations about a proposal for the construction of a glass and steel bridge in Jasper National Park, which will allow tourists and visitors to walk suspended above the Sunwapta Valley and the Columbia Ice Fields.

The proposed Glacier Discovery Walk project will consist of a 400-metre interpretive boardwalk and a glass-floored observation platform extending 30 metres out over the Sunwapta Valley. The tourist attraction would be owned by Brewster Travel Canada and replace a roadside turnout on Highway 93.

Sturgess Architecture of Calgary, RJC Consulting Engineers and PCL Builders Inc. produced the design for the project, which involves the construction of a cantilevered steel frame composed of irregular shapes that match the natural setting.

The project’s design recently won a prestigious international architectural award at the World Festival of Architecture for its stunning design that evokes the surrounding landscape and for incorporation of environmentally friendly elements such as a unique Corten material, a type of steel that will both weather well and blend in with the natural surroundings without using any paint or other colour chemicals.

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DESIGN QUARTERLY | Spring 2012

The Wood Innovation and Design Centre (WIDC) in Prince George is one step closer to construction with the release of a Request for Qualifications (RFQ) to design and construct the building.

The RFQ seeks eligible firms to design and construct the WIDC with a minimum height of six storeys. It is expected that three firms will be shortlisted and be asked to provide proposals to the government through a collaborative RFPs that will begin in July of this year. Construction is expected to be completed by fall of 2014.

The multi-storey iconic wood building will showcase British Columbia’s expertise and global reputation as a leader in wood construction and design, and engineered wood products. Its construction will catalyze new wood product development, commercialization and adoption.

Once complete, the building will house office space for provincial economic development and industry use, as well as academic and research programming with the University of Northern British Columbia (UNBC). It will focus on advancing B.C.’s expertise in wood-related products, and it will highlight new and innovative wood building products and techniques.

ADVERTISING INDEX 2nd Century Rug Co.....................................IBC Ampco Grafix................................................... 4 Bradford Decorative Hardware....................... 27 Brougham Interiors.......................................... 7 Colin Campbell.............................................. 17 East India Carpets......................................... 36 Final Touch Window Coverings....................... 31 Frances Andrew/Kate Holland........................ 15 Inform . ......................................................... 19 Kohler . ........................................................... 9 Livingspace .................................................... 5 Masonite/Moulding & Millwork . ..................... 11 MP Lighting .................................................. 39 Odyssey Wall Coverings..............................OBC Robinson Lighting and Bath Centre............... IFC Wood WORKS BC ................................ 24 & 25

Merger Smith Carter Architects and Engineers has announced that it is joining GENIVAR, one of Canada’s largest engineering and professional services firm. Smith Carter will lead an integrated architectural and building engineering practice.

With the addition of Smith Carter, the alliance will nearly double in size to 400 professionals with a strong U.S. presence in Atlanta and Washington, D.C.

New App A new application for the Apple iPhone, iPad and iPod touch, called the BLANCO Silgranit Sink Selector, helps designers and consumers identify the right granite sink and colourcoordinated countertop for kitchens. The App allows for selection from more than 150 models of Silgranit sinks by a wide range of criteria including size of sink, kitchen cabinetry dimensions and various sink style options. The App is available for free download from the Apple iTunes App Store.

New Tower Construction is scheduled to begin this spring on Phase 1 of Cadillac Fairview’s Calgary City Centre. The project will include a 36 storey LEED Gold core and shell, premium AA office tower and five levels of underground parking. PCL Constructors is the general with the design by Zeidler BKDI Architects.

Mary Tracey, executive director, Wood WORKS! BC.

Wood Study Wood WORKS! BC has released a feasibility entitled “Case for Tall Wood Buildings”, a more than 200 page document which encourages architects, engineers and designers to adopt wood construction on a different scale than has previously been seen.

The study introduces a new construction model for tall buildings entitled “Finding the Forest Through the Trees” (FFFT) which uses mass timber panels and which is intended to help reduce greenhouse gas emissions by supplanting concrete and steel with wood as a primary building material.

“Case for Tall Wood Buildings” was commissioned by CWC on behalf of the Wood Enterprise Coalition (a partnership of Wood WORKS! BC, FPInnovations, and BC Wood Specialties), with support from Forestry Innovation Investment, and prepared by mgb ARCHITECTURE + DESIGN, Equilibrium Consulting, LMDG Ltd, BTY Group.