Design Quarterly | Summer 2018 by MediaEdge

Showcasing BC & Albertaâ&#x20AC;&#x2122;s architects and interior designers

Summer 2018 Vol. 19 No.1

PM 40063056

d e s i g n q ua rt e r ly

Indian Residential School History and Dialogue Centre Acton Ostry Architects | Technology | Green Design

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in this issue

06 Features 06 Designer Profile

Acton Ostry Architects has been influencing the urban landscape in Vancouver for more than two decades with their powerful and elegant designs.

12 Project Profile

The Indian Residential School History and Dialogue Centre uses meaningful materials to reflect Aboriginal history and culture.

16 Green Design

▶ Active Design, Passive Systems ▶ Charting New Territory ▶O pen Spaces: the Need for Rehabilitation

▶ Embracing Biophilic Design

24 Technology

▶ Data Driven Design ▶ Complex Steel Fabrications

Departments ON THE COVER: The Indian Residential School History and Dialogue Centre at the UBC campus. Photo courtesy of UBC/Paul Joseph.

04 FROM THE EDITOR 28 AFBC Raising Design Awareness 30 Design Headlines Summer 2018 | DESIGN QUARTERLY

from the editor

Outside the Box

summer 2018 Vol. 19 No.1

www.designquarterly.ca PUBLISHER Dan Gnocato dang@mediaedge.ca Managing Editor Cheryl Mah Graphic Design Tang Creative Inc. CONTRIBUTING WRITERS Pete Atkinson Shanna McKinnon Terri Meyer Boake Natalie Goulet-Sorenson Melissa Higgs Sarah Jones Jim Toy Aubrey Tucker B.C./ALBERTA SALES Dan Gnocato 604.549.4521 ext. 223 PUBLISHED BY

Having grown up in Vancouver, it’s amazing to see the many changes that have made the city one of the best in the world. I’ve travelled to many different cities, and every time I come home with a new appreciation of how special Vancouver is and why so many people want to move here. But the appeal of the city and its population growth bring challenges. The city is struggling with many issues and the “affordability crisis” is at the top of the list. While densification is being explored to address gaps in current housing options, thinking outside of the box solutions will become increasingly important to meet the city’s needs. Finding solutions to complex issues is at the heart of architecture and one that Mark Ostry and Russell Acton enjoy. As principals of Acton Ostry Architects, the two have been contributing to Vancouver’s urban landscape for 25 years and understand the city’s growing pains. Their success is based on a shared vision, values and complementary strengths that have earned the practice a steady stream of work and industry accolades for pushing the boundaries on building typologies. For our project, we take a look at the Indian Residential School History and Dialogue Centre located on the UBC campus. The project reflects on a dark Canadian period by offering a sanctuary to meet and discuss the history of Indian residential schools. Architect Alfred Waugh uses symbolic materials to express the building form, ensuring the new centre and the landscape were meaningfully integrated.

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DESIGN QUARTERLY | Summer 2018

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.

DESIGNER PROFILE

UBC Aquatic Centre

DESIGN QUARTERLY | Summer 2018

DESIGNER PROFILE

Elevating the

Ordinary By Cheryl Mah

Ema Peter

Vancouver architects Russell Acton and Mark Ostry have been designing collaboratively for more than two decades. As principals of Acton Ostry Architects (AOA), they found a compatibility almost right from the start that has grown to the point where they can finish each other’s designs and even each other’s sentences. “I think our similarities have helped us to be successful partners. There’s no ego involved. We respect each other’s ideas and decisions. Many partnerships don’t last this long,” says Ostry. Indeed, their paths were similar in many ways — both decided on architecture at an early age and went on to obtain their respective architecture degrees. Acton completed a building technology diploma at BCIT before graduating with a Bachelor of Architecture from Carleton University. Ostry received his architectural training at the Technical University of Nova Scotia, completing a Bachelor of Environmental Studies and Bachelor of Architecture. As intern architects, they were both mentored by acclaimed Vancouver architect Richard Henriquez, who taught them the nuts and bolts of running a successful practice. Their paths crossed socially and

Russell Acton (L) and Mark Ostry

professionally as they began their careers at different firms — Acton with Peter Cardew and Ostry with Tony Robins. “We both registered quickly and shared the goal of having our own architectural practice,” says Ostry. In 1992, they established Acton Johnson Ostry Architects with partner Greg Johnson (who eventually left the firm 10 years later). In its first decade, the firm focused on working on what would become the foundation of the practice — public institutional and multi-family residential projects. Their work ranges from community and recreation centres and places of worship to schools, university facilities and multi-family residences. The firm earned early recognition with

projects such as the Chief Matthews primary school and the Har-El Synagogue and Community Centre. It was a deliberate decision to focus on institutional, says Acton, and not wanting to be pigeon-holed as house architects — typical for many starting firms. “We were lucky to begin our practice by doing institutional buildings — it’s a very unusual start for a new practice,” says Ostry. “One of our challenges was convincing people to give us a job. We stuck to our principles and managed to develop an exciting portfolio in our first 10 years.” Their early success led to the decision to expand the practice and to take on larger and more complex projects. That vision carried the firm forward, and since then AOA has

Summer 2018 | DESIGN QUARTERLY

Above: Brock Commons Right: The Duke

DESIGN QUARTERLY | Summer 2018

grown its portfolio as well as its team to about 36 today including two associate principals and six associates. The desire to create impactful, eloquent, and sustainable buildings has guided the firm’s work, resulting in well functioning architecture that give shape, form and character to communities. “Our design approach is very pragmatic. The design has to make sense and be functional, affordable, and technically sound — also with some elegance to it,” says Acton. “The budgets for our projects are very ordinary — very modest. We like that challenge. If only all architects would put more effort into elevating the typical and ordinary, our cities would be much richer.” Both architects remain very hands on, leading project teams to develop designs. They point out that owners often comment on the fact that they are both personally involved (and seen often) throughout the design and construction process. “Every single day we are solving new problems and we love solving problems. That’s what we do — that’s what design is — problem solving,” says Ostry. Resolving challenging design problems have resulted in notable projects such as the Congregation Beth Israel, St. Augustine School, 999 Seymour and UBC Aquatic Centre. These award winning projects are part of a

long list of local, national and international awards given to the firm over the years. That list continues to grow with AOA enjoying a very exciting year so far with Brock Commons Tallwood House at UBC earning an armful of design honours including a 2018 AIBC Innovation Award and a record win in three categories at the 2018 Wood Design Awards in BC. The success of Brock Commons has generated plenty of interest from developers wanting to work with mass timber, says Acton. “In the last two or three months, we’ve been juggling a handful of opportunities. We were approached by developers before, but no one was prepared to take the next step.” At 18-storeys, Brock Commons is currently the world’s tallest mass timber tower. With a “keep it simple” design approach, the tower features encapsulation of the mass wood structure. Rather than creating a showpiece for the tall wood movement, the goal was to demonstrate mass timber can be an economical solution for a structural system. The push for taller and bigger wood structures hasn’t come without challenges. Major hurdles have been building codes, obtaining project approval and cost. “It’s going to be modest and economical encapsulated mass wood buildings that are going to affect our cities and future sustainability of

cities. They will have a more significant impact than having a handful of showcase, high profile, high cost — few and far between — exposed mass wood buildings,” says Acton, who has travelled the world presenting on tall wood. AOA is in the early stages of its next mass wood project, The Arbour. Located at Toronto’s George Brown College, the 10-storey exposed mass wood institutional project in collaboration with Moriyama & Teshima Architects will be the first project of its kind in the world. The firm has also delivered inventive solutions for projects that are often pushing the boundaries of their typology into new territory.

Michael Elkan Photography

DESIGNER PROFILE

Congregation Beth Israel

AOA is currently undertaking childcare centres and combining them with elementary schools and parkades.

DESIGN QUARTERLY | Summer 2018

For example, AOA is currently undertaking childcare centres and combining them with elementary schools and parkades. “There is a new collaboration between the Vancouver School Board and the City of Vancouver to address the lack of childcare spaces in the city. We’re working on two of the very first of that typology in the city,” says Acton. “We are also putting a prefabricated Passive House, low carbon, net zero energy childcare centre on top of an existing parkade in Gastown.” Another unique building typology to Vancouver is The Duke, a recently completed rental only building in Mount Pleasant. It features a 12-storey open-air atrium with a translucent rooftop canopy inspired by a precedent project in England. The project is in line with the city’s goal to address housing affordability. Under a new housing plan, Vancouver has committed to several ambitious targets (eg. 20,000 new purposebuilt rentals) as well as strategies to increase density such as permitting duplexes in all single-family home neighbourhoods. “The City of Vancouver is grappling with density and densification,” says Ostry. “What is happening today is the city and province are looking for

ways to increase the supply of alternative forms of housing — incentives for rentals, co-ops, below market... and unconventional forms of housing to fill gaps.” As one of Vancouver’s leading architecture firms, AOA will have a major role to play in shaping the city’s future urban landscape just as it has already done for the past 25 years. Acton and Ostry say the firm’s 25th anniversary is a time for reflecting on both the past and the future. As it did at the 10-year mark, the firm is taking the milestone as a strategic opportunity to grow the business as well as for succession planning. “As the practice gets larger, we also want the talented and experienced staff here to take on more leadership and oversee projects in a similar manner as we do,” says Acton, adding as part of the planned growth, the firm expanded its office early this year from 6,000 square feet to 10,000 square feet. “We’ve been renovating and reconfiguring for that future growth. Our strategy is to grow slowly and steadily so we don’t lose control of design quality.” Both credit the firm’s success and longevity to persistence and tenacity. Acton points out firms that started at the same time they did are no longer around or have merged with others.

“Another aspect of our success is we really limit what we do take on,” adds Ostry. “It’s hard to say no to projects in your wheelhouse but we don’t want to diminish the quality or services we provide on projects.” AOA’s portfolio is almost exclusively located in Vancouver with the occasional project further afield. Both partners say there is more than enough work in the city to keep them busy and currently the market is booming. “It’s a perfect environment for our growth strategy,” says Ostry. Ostry and Acton’s commitment to the city extends beyond architectural excellence. They are both actively involved in the industry and community. They have sat on the Vancouver Urban Design Panel and the University of British Columbia Advisory Urban Design Panel as well as community boards. “Vancouver has always had good design architects. We’re lucky to be in this community with architects practicing at a high level,” says Ostry. And Vancouver is lucky to have two such passionate architects that will continue to contribute creative solutions for livable and vibrant communities. DQ

Michael Elkan Photography

DESIGNER PROFILE

PROJECT PROFILE

Symbol of

Resilience By Cheryl Mah | Photos courtesy of UBC/Paul Joseph

The

Indian

Residential

School History and Dialogue Centre (IRSC) is a small and modest building on the Vancouver UBC campus, but it embodies a very big message about a period of Canadian history that should not be forgotten. Officially opened in April 2018, the centre provides Indian residential school survivors and their families access to records gathered by the Truth and Reconciliation Commission of Canada which document the history and abusive nature of a system that operated in Canada for more than a 100 years. Affiliated with the National Research Centre for Truth and Reconciliation in Winnipeg, the IRSC is meant to support research, but also dialogue, by offering a place on the West Coast to meet and discuss this difficult history. It is the first centre of its kind in B.C. 12

DESIGN QUARTERLY | Summer 2018

“The centre will provide the UBC community an opportunity for greater reflection on a difficult chapter in Canadian history,” says UBC president Santa Ono. “Recognition of our past is of critical importance to UBC and to all Canadians in planning our future. The centre will help us to collectively rethink the relationship between Indigenous and nonIndigenous peoples in this country.” The 6,700-square-foot IRSC is located at the heart of the campus, nestled between the two main libraries in a landscape bowl. Built on the south side of the garden and occupying a portion of the old Sedgewick Library, the centre was designed in conjunction with the revitalization of the surrounding landscape precinct. Formline Architecture worked closely with PFS Studio to ensure the landscape and the new centre were meaningfully integrated.

“We stretched the building out along the edge of the landscape bowl to help enliven that space — to have the building overlooking it which reinforces First Nations architecture’s strong relationship with nature,” says architect Alfred Waugh, principal of FormLine Architecture. “It’s very symbolically strong to have the IRSC in the heart of the campus to ensure that this unfortunate memory of Canadian history is not forgotten.” One of the biggest challenges was to have the design evoke Indigenous culture without representing any one specific community. Waugh, a status Indian of Chipewyan descent, successfully addressed that by delivering a modern design focused on transparency and tactile materials with symbolic meaning. Extensive glazing is used for the two-storey centre, bringing in daylight

PROJECT PROFILE

A cedar woven accent wall is an interior feature along the stairs to the lower level.

DESIGN QUARTERLY | Summer 2018

and connecting the inside to the natural landscape. Opening the building out to the garden and water feature provides relief from the emotional content within the building. “Often residential schools had these small windows and students often felt confined and imprisoned so it was important for the building to have large amounts of glass,” explains Waugh, whose mother went to a residential school. The upper level pavilion is a highly transparent space for meeting rooms, research, and administration. The lower level at the bottom of the landscape bowl (a former storage room for Sedgewick Library) houses the digital exhibit space. The centre will also act as a hub for academic and

community research, education and public programming. “It was about creating this dialogue between the dark vault of memories and a light airy upper pavilion and making sure cultural genocide doesn’t happen again,” says Waugh about the design concept. A set of grand stairs, on the inside and outside, guides people down to the exhibit space. The building is designed with extensive wood features including an interior cedar woven accent wall, charred wood cedar siding and CLT (cross laminated timber). “Charring the wood makes it more resilient, like the families that survived and became stronger,” says Waugh. “Rain water drains to a glass waterfall feature set between two copper clad columns that goes into the stormwater retention pond at the bottom of the landscape bowl. Again, a subtle, symbolic gesture of all the tears of the people that went through residential schools.” The building also showcases an eye-catching low slope, copper clad roof comprised of CLT panels. Copper was selected for its symbol of dignity. Initially a green roof was considered in accordance with UBC policy, says Waugh, but because the building sits low in the landscape, a planted roof would have made it disappear. “Some elders said it would be like hiding history again,” he says.

“I fought for the copper roof and pointed out copper is used on parliament buildings.” While the centre is not seeking LEED registration, it has been designed to LEED Gold standards, according to Waugh with features such as operable windows, displacement ventilation and heat recovery. The project broke ground in fall 2016 and was substantially completed in June 2017 by Bird Construction. The building was officially opened almost a year later (after the installation of the digital and interactive exhibits) with UBC president Ono delivering a statement of apology for the university’s involvement in the system that supported the operation of Indian residential schools in Canada. IRSC is the first project at the campus for Waugh, a UBC graduate. As one of the few registered First Nations architects in Canada, he is especially proud of this project and calls it one of his best. “It holds strong symbolism for me — of the resilience of First Nations people. This project was an opportunity for abstraction of ideas which is different from other work we’ve done,” he says. “A big success of the project was also about re-activating that landscape area. It was a dormant site and now we’ve created a contemplative spot on campus for everyone.” DQ

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green design

Active Design, Passive Systems How current approaches to sustainability and new design tools are flipping the process Pete Atkinson

There is a seemingly paradoxical shift currently happening in the green building industry that is transitioning from a focus on hightech active mechanical and electrical systems towards an increased call for passive design approaches. The high-tech approach over the past two decades is giving way towards the passive systems as a realization is beginning to settle in that any unnecessary energy consumption is problematic. At the same time, the ability to move the analytical process forward into the design process is better than it has ever been. This shift from active to passive building systems is counterbalanced by a similar shift from a passive to an active design process. 16

DESIGN QUARTERLY | Summer 2018

Passive Design and Active Systems One of the early limitations on architects designing green buildings was the need for specific project performance metrics without adequate tools in place to allow iterative feedback into the design cycle. The process of building an energy model was lengthy and typically happened nearing the completion of the design in order to minimize the duplication of effort expended in the creation of this model. While economically logical, this lag separated the process of design from any potential analytical feedback loop, meaning the architect was left to design projects relying on input from mechanical consultants and rules of thumb. By the time

modelling was complete, most real opportunities for design changes were long past, and the ability for the architect to gain the knowledge from the results was weakened. The design didnâ&#x20AC;&#x2122;t have the opportunity to respond to the energy analysis, leaving the design in a passive state. This lack of feedback loop was largely ignored due to LEEDâ&#x20AC;&#x2122;s energy modelling methodology of comparing two identical buildings together with only mechanical and thermal inputs being adjusted to produce a relative decrease in energy savings. This method put all the emphasis for energy reduction on relative efficiency of the HVAC system rather than holistically looking at energy consumption of an entire project.

green design

Active Design and Passive Systems The current shift in sustainable design is the realization that LEED’s relative energy savings metric was largely irrelevant, and that absolute energy consumption is key. With that change, terms like Energy Use Intensity (EUI) — total energy use of a building per unit of floor area, and Thermal Energy Demand Intensity (TEDI) — the amount of heating energy that is output from any and all types of heating equipment, per unit of Floor Area — have allowed for a fuller conversation about energy consumption in buildings and have in turn shifted the industry to begin to consider passive systems in order to minimize total energy use. Passive system principals are fairly simple to grasp at a high level: control the envelope of your building in order to limit the energy needed to maintain a thermal comfortable space. The common approaches are to make your building air tight, create a continuous plane of thermal insulation, locate windows to maximize passive solar gains when desired, use high performance windows and capture any heat you can. It seems simple enough. But what we are finding is that as we strive for net neutral or even positive design, there is a deep sensitivity to each one of these components that are driving us to more actively design these passive approaches. The spinoff effect of the early LEED work is that energy modelling has become commonplace in the industry. Coupled with the development of accessible computer

...[shifting] the industry to begin to consider passive systems in order to minimize total energy use.

programming, we are amazingly starting to get to a point where programming is realistically becoming accessible to non-computer programmers, like architects, to help quantify and solve analytical problems. Programs like Grasshopper and Dynamo are allowing for iterative 3D parametric analysis to test ideas that can, among other things, revolve around passive building performance. This process allows the feedback loop to be closed and architects can learn from the data in real time and adjust their work while there is time to do so. At this point, the design process becomes an active one. Changing our approach Our studio views the glimpse into the use of computer to conduct parametric iterative analysis on passive systems as a gateway to challenging other design and construction processes. As computer programming is allowing architects to break down the black box of energy modelling and gain valuable knowledge regarding thermal comfort and

energy consumption, we are also beginning to look for similar insights into possibilities for material use reduction and material selection control (ie Red List), and especially higher levels of coordination through detailed fabrication modelling. Internally, our entire delivery method is being questioned to determine if we can build better processes to teach ourselves how to construct better, more efficiently, and with dramatically less impact in order to be more responsible with the resources our projects are consuming. And if all this process is possible, what will the skill set of an architect in the future look like? DQ Pete Atkinson is a co- founding principal at Human Studio in Vancouver, along with principal Bruce Haden. Human Studio was founded in 2017 with specific focus on community based social interaction and using built form to create regenerative environments that increase our overall wellbeing, both locally, and at the global climate impact level. Summer 2018 | DESIGN QUARTERLY

Green design

Charting new territory Designing Passive House public buildings By Melissa Higgs

Clayton Community Centre â&#x20AC;&#x201D; natural ventilation illustration

DESIGN QUARTERLY | Summer 2018

Passive House (PH) is the worldâ&#x20AC;&#x2122;s fastest growing building performance standard, focused on significant reductions in heating and cooling loads and offering improved occupant comfort. The German standard focuses on reducing building energy demand rather than seeking to satisfy demand by using renewable energy. While this standard is experiencing spectacular growth in the residential construction industry across North America, its applicability in the public and commercial sector is still largely new territory. However, its advantages and applicability could offer significant value in these sectors, where operational costs are often carried by the building owner. As a rule of thumb, designing residential buildings to the PH standard requires careful consideration of the envelope continuous insulation and airtightness, the performance of windows and doors assemblies, and the efficiency of the mechanical heat

recovery ventilation. But how much of this is applicable to non-residential buildings, where uses and occupant loads vary greatly and where energy gains and losses tend to be less predictable? Our firm is currently working on two non-residential passive house buildings: the 76,000 square foot Clayton Community Centre in Surrey, and the 31,000 square foot Fire Hall 17 in Vancouver â&#x20AC;&#x201D; both slated to be the first of their kinds in North America. Both projects have faced challenges that are providing key learnings and insights, some of which may lead to evolution of PH standards to suit more complex building types. In contrast to residential PH projects, significant challenges are created by internal heat gains, which proved to be enormous contributors of heat in the buildings. The community centre, which will house a community library, and include a variety of recreational uses including

a gymnasium and fitness centre, visual and performing arts spaces and a preschool, is expected to operate from 6am until 11pm daily. The long operating hours combined with intense usage result in high internal heat gains, largely from occupants and equipment. The centre anticipates an average of more than 650 people using the facility on an hourly basis, and has a lighting load almost 40 times higher than a typical residential load. Considering these high internal heat gains, a very efficient PH certified HRV system helps reach an overall heating load that is half of the PH limit. However, this also leads to an overheating situation for many months of the year, and has a drastic impact on the cooling loads of the building, pushing them to more than five times than permitted by Passive House. The solution required a significant re-evaluation of the thick insulation layer around the building that

Green design

...applicability [of Passive House] in the public and commercial sector is still largely new territory.

is typically prescribed by Passive House. Lowering the overall R-value of the envelope increased transmission heat losses, but not enough to address the high cooling requirements. The addition of a passive ventilation system combined with strategic solar shading brought the heating and cooling loads into balance and in conformance with PH requirements. Another challenge was the primary energy renewable (PER) that describes how much more renewable energy is required to cover the final energy consumed by the building, including all losses incurred along the way. PH certification limits the PERs to 60 kWh/m2 per year, which is significantly lower than a typical Canadian residential building. The PER added a new consideration for project teams as each appliance or light fixture chosen needed to be accounted for in the overall energy use of the building.

For Firehall 17, the used-gear driers run up to 20 hours per day. This, combined with significant IT equipment, use of on-site fitness devices and a communal kitchen, led to high energy loads. The final PER calculated for the building is twice the PH requirement. Given that the building use cannot be fundamentally changed to address this overage, the team worked with Passive House Institute to receive an exemption for the necessary usage demands of this highly technical and very specific building type. This exercise has great value in paving the way to potential modifications to PH standards to increase its application in a wider range of building typologies, including firehalls and community centres, in both North America and globally. Determining PER accurately is an in-depth process, and should be factored into the design process. It requires significant work for both the architectural team and the client

team at very early stages of schematic design to document all anticipated appliances and plug loads. It may lead to potential shifts in clientsâ&#x20AC;&#x2122; expectations and usersâ&#x20AC;&#x2122; behaviours. In both projects, for example, the process of determining the PER led to questions including whether air-conditioning was necessary, and whether alternative models of fitness equipment might be considered. In this way, we have the potential to reduce consumption through behavioural changes, as well as reduce losses through rigorous design. Other lessons from both projects included the premium cost of construction to capture the risk for trades to construct to PH standards at this scale of building for the first time, and the challenge of sourcing certified products in North America. Not being able to find airtight overhead doors for the firehall forced the team to divide the building into two different certifiable

zones, with the apparatus bay being exempt from the airtightness requirement. Charting this new territory is a challenge but also an incredible opportunity. Ultimately, achieving PH requires a significant shift in how we practice. It requires significant work up front, and a great deal of testing and modelling of the design along the way using not only the PHPP (Passive House Planning Package) early (and often), but potentially supplemental analysis software. It also requires a significantly more collaborative and iterative design process. We encourage every project team targeting PH to be truly integrated in their design process, and to have open communications among all stakeholders to find effective solutions. DQ Melissa Higgs is a principal at HCMA Architecture + Design. She is currently the principal-in-charge of Surreyâ&#x20AC;&#x2122;s Clayton Community Centre, anticipated to be the largest Passive House building in Canada and the first certified community centre of its scale in North America. Summer 2018 | DESIGN QUARTERLY

green design

OPEN SPACES: the need for rehabilitation By Natalie Goulet-Sorenson and Shanna McKinnon

Open spaces reinvigorate neighbourhoods.

DESIGN QUARTERLY | Summer 2018

Open space can be defined as ‘land that is undeveloped (no buildings) and is accessible to the public.’ Generally, open space is often associated and related to green space, but just as important are spaces that one wouldn’t necessarily consider to be a green space such as public plazas, waterfront promenades, sidewalks adjacent to streets, or the space that exists within the public realm adjacent to a building. Throughout the year, millions of city dwellers flock to open spaces to connect with nature, reach their fitness goals, spend quality time with family and friends, and to commute to and from work. Of course, there are many ways in

which a person can spend time and use these open spaces but how are they bringing value to the community and those that frequent them? Through changing demographics, and as years pass, these spaces function differently and change how they’re being used. In recent years, cities have been focused on new development and the importance of allocating enough open and green space into new communities being built. The results of this focus have had unexpected (and unintended) consequences. Much of the population has moved outward to the new developments, causing the use in these ‘mature’ open spaces to fall below their full potential. This

has caused mature open spaces to fall off the radar of city maintenance. These areas can become neglected, unsafe, and largely unusable due to failing infrastructure, illicit behaviour, and a loss of community spirit to champion its upkeep. When beginning the journey to rehabilitate an abandoned, derelict open space, some common responses are often heard: “No one uses that space anyways”, or “That area is so unsafe, I wouldn’t go there”. For those ingrained in the worlds of landscape architecture and urban design, this is a great opportunity to deliver the teachings of the venerable Jane Jacobs. “There must be eyes on the street, eyes belonging to those we

Green design

...an important component when... rehabilitating a mature open space is engaging the community...

might call the natural proprietors of the street…” (Jane Jacobs, The Death and Life of Great American Cities). In short, the more people you have in a place (using it properly), the less likely there will be illicit or unsafe behaviour. The more people feel like they “own” a park or plaza, the more likely it will be cared for and respected. Therefore, an important component when considering the options of rehabilitating a mature open space is engaging the community and relevant stakeholders. As outsiders to a project or neighbourhood, this process allows you to discover the current needs and interests of the community. How are these spaces currently being used?

What could these spaces be? Who is currently using these spaces and who do you want to see using these spaces? Perhaps the goal is to deter humans from occupying the space to restore it to its previous naturalized setting. Whatever the intent may be, soliciting feedback from the users is always the best way to gain information and history of the space. Stantec is currently working with the City of Edmonton on the preliminary design of the Beaumaris Lake Open Space Rehabilitation. The success of the project, thus far, stems from how the community was engaged and how the feedback was interpreted into the conceptual design. When meeting and

speaking to the residents, stories and history of the site were shared, influencing the design’s vision and intent. Ultimately, rehabilitating mature open spaces comes down to reinvigorating the neighbourhood and re-creating the ownership and passion for the space. When residents see a space that has been created for them, they will feel the desire to maintain and protect the integrity for their use and future generations. DQ Natalie Goulet-Sorenson, BLA., CSLA, AALA, is associate, landscape architect at Stantec Consulting Ltd. She sits on the board of directors for both the Canadian Society of Landscape Architects (CSLA) and the Alberta Association of Landscape Architects (AALA). Shanna McKinnon, LAT, is urban designer at Stantec. She is a landscape architectural technologist and urban designer with 12 years of experience in creating places for people. Summer 2018 | DESIGN QUARTERLY

green design

Embracing biophilic design principles By Sarah Jones

Currently in the B.C. Step Code, there is a heavy focus on energy efficient buildings, and while this focus will continue as Vancouver aims to be 100 per cent renewable (Vancouver Greenest City 2050 Plan, Vancouver Zero Emissions Building Plan), there is now more than ever room to expand the scope of what building green means. We see the opportunity is ripe to now incorporate biophilic design into all projects, which is ultimately a win for everyone. 22

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For the love of nature We all have an inherent love of nature and a connection to the natural world that is deep and profound. Many of us may not even be aware of this. Why do we think of peace and tranquility when we imagine a beach and palm trees? Or, (as described so perfectly by Browning, Ryan, Clancy, 2014), why is it that “crackling fires and crashing waves captivate us… garden view[s] enhance our creativity… shadows and heights instill fascination and fear… animal companionship and strolling through a park have restorative, healing effects”. These aspects of nature trigger emotional and cognitive responses within us, meanwhile beautiful nature arouses interest, curiosity, creativity, and imagination (Kellert, Calabrese, 2015). It’s no wonder — our minds and bodies have evolved in the natural world. Couple this with our increasing awareness of how perfect a system our planet is (it’s far superior to the invented human world), biophilic design is an obvious choice as we move forward in the green building landscape. Fortunately, biophilic design has become a feature in several prominent building standards (the WELL Building Standard, the Living Building Challenge, portions of LEED).

What exactly is biophilic design? Biophilic design is a strategy that integrates nature into the built environment. Not only does it aim to address the ailments generated by conventional buildings — stress, decreased productivity, a diminished feeling of wellbeing — but it also aims to inspire us, reconnect us to nature, celebrate the natural world, and live more healthful lives. It’s a challenge for project teams to ponder as we re-think how to build while adopting a more bio-centric mindset rather than a strictly human-centric mindset. A peek into the literature There are so many aspects of nature that we can draw inspiration from. Here are a few nature-design relationships, as described by Browning, Ryan, and Clancy (2014). First, examples of Nature in Space Patterns (which addresses physical, direct, and ephemeral presence of nature): • Presence of water; • Thermal and airflow variability; •V isual and non-visual connections with nature; •D ynamic and diffuse light and shadows; •C onnections with natural systems; and, • A visual connection to nature.

Green design

Then there’s Natural Analogues Patterns (which addresses evocations of nature): • Biomorphic forms and patterns; •M aterial connection with nature; and, • Complexity and order. Finally, Nature of the Space Patterns (which addresses spatial configurations of nature): •P rospect—a view over a distance for surveillance, planning •R efuge—a place for withdrawal, protection •M ystery—a promise of more information achieved through partially obstructed views that compel us to explore; and, •R isk/peril—an identifiable threat with a reliable safeguard. These examples allow us to visualize and put words to how we currently experience the natural world, which allows us to then reflect on where we have experienced these nature-design relationships in the infrastructure we occupy. With these thoughts in mind, we can take it one step further and begin to imagine how these naturedesign relationships can be incorporated into an ideal space. Practical applications of biophilic design Light House has been working with Vancity to make recommendations on biophilic design. As part of standard branch and tower design guidelines several strategies were already implemented pre-Light House: living walls incorporated into several branches; offices pulled away from windows (where appropriate) to let in natural light and avoid blocking views; where windows are not available, architectural photographers were retained to take photos of the site specific community to capture outdoor surroundings

for full wall applications; carpets and pathways that have natural designs (e.g., earthy forest floor, wood plank and grey pebble pathways); natural material selection to include slate, stone, reclaimed wood, wood finishes; natural colours for walls, accents, and furniture, including blues and greens, which are restorative, as well as whites, wood features, and platinum, with pops of colour for operational objectives, mood, or simply a visual break. A well-received pilot at Vancity Centre is the stairwell, designed to look as though you are walking across a bridge while travelling up the stairs. It has an engaging feel, as though you’re on a journey, traveling to a destination. There are plans to extend this throughout all floors. An area being explored after being recommended by Light House is the use of natural sounds (waves breaking, water running) in transitional spaces and for sound masking where privacy is needed. There are challenges to the use of sound — to meet the operational and comfort needs of employees within the tower environment as well as employees and members within branches — so logistics need to be carefully thought out, always considering the needs of occupants. Summing up Biophilic design is an increasingly important aspect of what will define a green building. It can be functional or beautiful for the sake of beauty. Our inherent need to be around nature should be embraced within our cities. Now more than ever, there are practical and exciting ways to re-think how we design our spaces. DQ

Light House has been working with Vancity to make recommendations on biophilic design.

Sarah Jones is junior green building coordinator at Light House Sustainable Building Centre, a social enterprise dedicated to advancing green buildings, thriving communities and resource efficient cities. Summer 2018 | DESIGN QUARTERLY

technology

Data Driven Design Virtual Reality and beyond to the Digital Twin By Aubrey Tucker

Raw ideas will always be born out of need from those who are commissioning new buildings. When we extract data from ideas as parameters, we form the constraints and foundation for the computational approach. In that, we can identify what the key decision factors are and visualize them both as mathematical data and geometry within real-time render engines. It is this future of “real time decision making” that is the product of technology innovation. A design begins by configuring the “program”, or the list of rooms and their needed adjacencies to address the functions to be achieved within the project. This step is often referred as “space planning”. Computational design can assist by analyzing the 24

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criteria for a building, say a school, to evaluate that all the room relationships are being met. The bleeding edge of computational design is attempting “generative space planning”, where the criteria for a building is stored parametrically and then millions of potential design ideas can be created for review and form finding. The potential for external influence being captured as data is rife with opportunity at any scale: looking at the constraints of manufacturing, neighbouring effects within a building site, foot traffic through a plaza or completely abstract patterns from nature. Rationalizing design geometry with data influence is the defining aspect for “data driven design”.

Data-driven design is different from designing to have an efficient plan or to meet BOMA goals because in the latter case, the geometry is attempting to meet a criterion through an iterative process of trial and error. Data-driven design will have geometry react to data and be inherently confined to it. This is like seeing a dashboard of data visualization — the graphic story can be expressed in many creative ways but the graphics themselves are confined to represent the data. As we continue to mature, data visualization will become a paramount skill. Projects inherently generate truckloads of information during design development with the resolutions found in design coordination,

technology

the reasoning behind certain designs that are client driven and the world of things that happen on site during construction. The industry has only just begun visualizing this information but even just categorizing types of Requests for Information (RFI) on one project, the team is able to understand the site priorities through a heatmap and which disciplines need to focus on their construction administration. Visualizing design has become real-time. Tools like Enscape are embedded within the design authoring platform (Sketchup, Rhino or Revit) and allow for real-time edits. This allows for a conversation that

can view design changes instantly, an unprecedented ability within technology that will further help the inabilities of language to properly convey complex ideas with depth and understanding to both the designer and the client. Platforms like Revizto enable yet another spot of data collection with design collaboration. There are many tools for collaboration within AEC but few of them track comments to the meta-data of BIM. Stantec is attempting this type of truly digital review with several clients. With a large hospital authority, the many stakeholders appreciated being able to comment on a design review

“collectively”. Typically, their reviews consist of compiling comments made on PDFs into an Excel file that is then distributed back to the design team, often with thousands of comments with hundreds of duplicates. Within Revizto, they’re able to witness and expand comments through additional “chats” on each comment. Once the review is done, the design team can interrogate the comments and address priority for a much more realistic project management perspective. Capturing reality is critical for renovation projects and the close out process of all new projects could greatly benefit from incorporating the technology in place of as-built drawings. Having an as-built scan that is conducted sequentially throughout construction would revolutionize the ability to manage a portfolio of sites and start future design teams with the next renovation. The big problem with as-built process today is that design teams express intent and subcontractors express actuality (sometimes in digital fabrication) but ultimately there is a gap to bridge from intent to actual. A lidar scan converted into geometry does it flawlessly, quickly and cheaper than design consultants. These are the technologies needed for digital twins — digital replicas of physical assets (physical twins), processes and systems that can be used for various purposes. United Kingdom

has just started issuing RFPs for critical infrastructure to have a common data environment (CDE) for the very purpose of running and learning from a digital twin. Digital twins aren’t new technology. Boeing has been using them for decades to evaluate and simulate airplane components and entire aircraft themselves. Now that the technology is becoming more accessible for the AEC industry, representing buildings digitally is a great opportunity for improving design within engineering and building maintenance. Data visualization comes back into the picture to visualize all the data points collected through the physical (real) building systems and IoT (internet of things) devices. Creating the digital twin environment is the new digital design business that was previously master planning for a client. It’s an intimate relationship that educates a designer on what aspects of a building product matter to the business of the client. Understanding their business and how they manage their data will create lasting relationships to that client since the team would understand what data matters and how the building fits into the master plan physically and digitally. DQ Aubrey Tucker is an associate, innovative technology developer at Stantec in Vancouver. Summer 2018 | DESIGN QUARTERLY

technology

Complex Steel Fabrications Digital possibilities versus practical realities By Terri Meyer Boake

Left: If the design intentions are for a seamless appearance, then a fully welded approach may be essential. Below: A discreet connection will locate the bolts in such a way as to preserve clean, tight lines.

Since the advent of BIM and subsequent advancements in computer aided design, the fields of design and construction have enabled a departure from regular orthogonally based buildings. Almost anything goes. Such a shift has been facilitated by digital design software that is fully capable of handling highly complex angular geometries as well as curves. Where early software offered no interoperability between architectural design, engineering and fabrication software and the associated technical requirements, more recently the level of interoperability has soared. Currently, Cloud based systems permit architects, engineers and steel fabricators to simultaneously create a comprehensive set of documents. This level of communication has the potential to speed up design 26

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and detailing as well as minimize conflicts in all aspects of the construction process. There is still a wide gap between what can be designed within an advanced 3D architectural model, and what can be realistically fabricated — within a budget. The demands on the design and fabrication of steel systems that are characterized by chaotic and non-repeating geometries require a significant understanding of the implications on fabrication by design intentions. Contemporary fabrication processes, though using high level digital design tools themselves, still rely on a significant level of craft and human intervention for optimal results. Although some computer assistance is used to cut complex shapes (particularly plate material), control repetitive

procedures such as the drilling of holes and for some welding, the majority of the process has remained a craft that is carried out by a highly skilled ironworker. This means that project success still largely rests on the expertise of the welder and the judgment of those involved in the erection process.

Constructability A successful project requires thoughtful and willing communication among the architect, engineer and steel fabricator/erector. Just because it can be readily modeled in 3D, doesn’t translate to “easy to fabricate and erect”. From the perspective of the level of architecturally exposed structural

technology

This is a digital model of the entry pavilion at Brookfield Place in New York City, prepared by the fabricator, Walters Inc. to set out the connections and details of a highly complex AESS structure.

steel (AESS) required on the project, the Canadian Institute of Steel Construction developed a comprehensive guide and set of specifications to make this part of the process clearer. The CISC AESS Guide allows the team to accept standardized aspects of the fabrication so that they can focus on the more challenging and unique details of the project. The American Institute of Steel Construction recently launched a virtually identical set of documents, making work across the border simpler in this respect. A focus on welding The impetus behind the approach was to have designers better understand the implications of widespread welding and grinding on projects. The weld is essential to join the steel pieces, and so it must be pre-determined if the welds may be left “as is” or should be ground smooth. We look at a distance factor of 6m as a means to allow welds to remain un-remediated, appreciating that if the surface is too far to actually see, then the surface finish requirements can be eased, resulting in significant savings to the project. Ceilings, high level trusses and skylights don’t need the same smooth finish as do the bases of columns and other near to touch steel. Welds done in the shop tend to turn out better due to ease of access

of the steel, versus site welding where access is often compromised or has necessitated constructing safe platforms for access. Welds must usually be preheated, and this can provide logistic challenges as a function of the size of the members. The larger the member the longer the pre-heat will take. The heating equipment needs to be safely located. If the welds are located high overhead, the ironworkers will also need a safe working platform and weather-proof access to do the work. Often these types of connections can be more economically accommodated by discreet or hidden connections versus a fully remediated weld. Discreet or hidden connections There is a size limit of what can be (better) fabricated in the shop and transported to site. Connections must be made on site. There are choices possible for clean looking site connections that do not include excessive welding and grinding. These will rely on bolted connections that are much more efficient from the point of view of erection. A hidden connection locates the bolts inside of the member, usually a tube, and uses cover plates with tack welds and body filler to make the overall finished condition appear like a fully welded connection.

Curved steel Many projects are including curvature in their designs. Curved steel requires a specialized roller/bender fabricator to become involved in the project as the majority of steel fabricators do not own this equipment. The tightness of the curve must be balanced with the section properties of the steel in order to ensure that the material does not buckle. Again, it takes a skilled tradesperson to transfer the ultimate desired geometry from the digital drawing to the piece of steel. There are many possibilities when it comes to complex steel structures that incorporate increasingly difficult geometries and curvature. It is essential to have excellent lines of communication and include the fabricator in deciding on the most suitable detailing approach to ensure the desired outcome, in conjunction with a budget. Much can be specified that may ultimately be unnecessary. Making use of the CISC Guide for specifying AESS is a very good starting point for these discussions. DQ

Just because it can be readily modeled in 3D, doesn’t translate to “easy to fabricate and erect.”

Terri Meyer Boake BES B. Arch M. Arch LEED AP is a full professor at the School of Architecture at the University of Waterloo. She is the author of “CISC AESS Guide for Specifying Architecturally Exposed Structural Steel”. Summer 2018 | DESIGN QUARTERLY

AFBC

Raising Design Awareness By Jim Toy

Since its inception in 2001, the Architecture Foundation of BC (AFBC) has celebrated excellence in British Columbia architecture and design through outreach, education and initiatives, all with a goal to build design awareness for British Columbians. Conceived by a group of past presidents of the Architectural Institute of British Columbia (AIBC), the foundation has since evolved into being a major champion of the B.C. built environment. Our goal is to become a leading public resource for all things design in British Columbia and beyond. How do we continue to help people understand how and why design matters? To date, the AFBC has funded publications, created awards, programs, and initiatives to engage all stakeholders in helping our communities gain an informed and better appreciation of buildings and the people who design them. AFBC recent events, awards and programs include the following accomplishments: • The 100 Mile House Competition — an international design competition based on designing a house prototype using materials and technology sourced within a 100-mile radius of the City of Vancouver. • B.C.’s 100 best buildings — an online public contest to vote for your favourite building in British Columbia. • Architecture at Play — a timber play structure purpose designed, built and donated to a First Nations community centre in Northern B.C. • The Rolf Paterson Education Award — this award recognizes a top graduating student of an accredited baccalaureate degree program in architecture or interior design. 28

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In addition to the creation of scholastic awards and scholarships, our latest education initiative will focus on bringing architecture to B.C. elementary schools by linking educators with design professionals to produce a comprehensive design curriculum to teach kids about recognizing and appreciating spaces, places, and the built environment. This will be a revamping of the Architecture in Schools program originally launched in 2005. The AFBC has a history of outreach and support for architecture and design. The foundation sees a future built on the past, but with vision stemming from the contributions of an interdisciplinary, diverse board of directors and public stakeholder involvement.

In order for the foundation to fulfil its mission of building an architectural and design legacy for British Columbia, the AFBC is focused on enhancing the A + D community’s profile through communications, collaboration with complementary organization and event programming, increasing the current foundation board and growing our fund-raising activities. An important funding event is the 18th annual AFBC golf tournament set for August 13th. This is a soon to be sold-out event that helps provide funding for the AFBC, enabling the organization to continue providing ongoing programming, initiatives and scholastic awards. Communities and the public benefit from the outreach work of architecture

and design organizations through education, walking tours, exhibitions, competitions, events and more. The AFBC plans to learn from the best by seeking input from individuals and like-minded professional associations to meet our vision — to recognize and celebrate excellence in British Columbia architecture and design. There is a story behind buildings and the people who design them, and the AFBC’s public mandate is to do just that — to honour the past, to celebrate the present and to anticipate an ever brighter future for B.C. architecture and design. DQ Jim Toy is the current chair of the Architecture Foundation of British Columbia and principal of False Creek Design Group in Vancouver.

design headlines

WELL v2 launched The International WELL Building Institute (IWBI) has unveiled the WELL v2 pilot, the next version of its pioneering WELL Building Standard, the first rating system to focus exclusively on the impacts of buildings on human health and wellness. This second iteration includes a full suite of enhancements that advance IWBI’s global aim to build a healthier future for all. WELL v2 is informed by key lessons learned from the nearly 1,000 projects that are registered or certified in 34 countries across the world. The intent behind WELL v2 is to empower project teams to pursue the interventions that matter most to their project and their community without sacrificing WELL’s comprehensive and evidence-based approach and commitment to performance verification. Refinements and enhancements to the rating system include: a new feature set with fewer preconditions and weighted optimizations; a consolidation of multiple pilots into one WELL, and improvements to the “All Projects In” approach introduced last year; and new pathways to achieve intents, with a laser focus on feasibility for existing buildings and commercial interiors. Clayton Community Centre breaks ground The City of Surrey broke ground in July on the new Clayton Community Centre, a futuristic integrated service facility on track to become the first of its kind in North America to achieve Passive House energy certification, and largest Passive House facility in Canada. Located along 72 Avenue between 184 Street and 188 Street in the rapidly growing Clayton Heights neighbourhood, the centre has been designed to maximize energy efficiency and the protection of natural ecosystems. It will combine four City of Surrey community services (recreation, library, arts and parks) into a single 76,000-square foot facility. Designed by HCMA Architecture + Design, the project has been shortlisted in the World Architecture Festival’s Civic Future Projects category. The $43.5 million project is expected to complete mid-2020 and will be managed by Turnbull Construction Project Managers, while construction will be overseen by EllisDon Corporation.

2018 Vision Awards winners UBC Museum of Anthropology and Emily Carr University of Arts and Design were top winners at the 2018 Vision Awards. Both projects took home an Award of Excellence from the Illuminating Engineering Society of British Columbia (IESBC). The UBC Museum of Anthropology by AES Engineering also received IESBC’s Vision Award, while Emily Carr University by WSP Lighting Studio was also recognized with an Award of Merit. The Vision Awards honour outstanding B.C. lighting designers for their projects. Submissions for the awards open yearly in January. Submissions were judged based on how well the lighting design met the program criteria and it is not a competition. IESBC’s Vision Awards is stage one leading up to IES’s national Illumination Awards, which will be presented on August 9 at the IES Conference in Boston, Massachusetts. This year’s Award of Merit recipients include Metrotown Parkade Lighting Upgrade (Smith+Andersen), and Vancouver International Airport (WSP Lighting Studio). The Metrotown Parkade Lighting Upgrade project also received the BC Hydro Power Smart Lighting Redesign Award. 30

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Stantec Tower reaches new heights The Stantec Tower in Edmonton’s downtown Ice District has reached 54 storeys (197 metres). It will continue to rise three metres each week to a total of 251 metres. Once complete, the Stantec Tower will be 66 storeys high, making it the tallest building in the city and tallest in the country outside Toronto. Stantec Tower will be home to commercial development and mixed-use workplaces, multi-family residences and retail space. Atop of the commercial level sits SKY Residences condominiums, featuring 483 premium residential suites with luxury lifestyle facilities. Resident’s will have access to 20,000 sq. ft. of amenity space including a hot tub, fitness facilities, a billiards lounge, yoga/Pilates studio and more. Located on the corner of 102 Street and 103 Ave, Stantec Tower is expected to be topped off this fall, with the first residents being Stantec Edmonton personnel, who will be moving into their new headquarters in the fall. Since groundbreaking, Stantec has provided full architecture and engineering services and the tower has been designed to be sustainable and energy efficient, with a target to be LEED Gold Certified. PCL Construction is general contractor.

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