WINTER 2009 Vol. 9 No. 3
Architect Wade Gibbs & Doug Gage
living shangri-La Colour • Tiles & Stone Furniture • fireplaces Buildex Vancouver 2009 Preview
contents
WINTER 2009 Vol. 9 No. 3 www.designquarterly.ca PUBLISHER Dan Gnocato dang@mediaedge.ca Managing Editor Cheryl Mah EDITOR Clare Tattersall Graphic Designers Shannon Swanson, Cory Dawson CONTRIBUTING WRITERS Jared Becker, Deidra Darsa, Estelle Davis, Lee Gavel, Jessica Hunter, Tom Pugh Barbara Richardson, Sholto Scruton Claudia Steinke, Dee Schlotter Lynn Webster B.C./ALBERTA SALES Dan Gnocato 604.739.2115 ext. 223
PUBLISHED BY
PRESIDENT Kevin Brown
06 Designer Profile: Wade Gibbs & Doug Gage
vancouver office
402-1788 W. Broadway Vancouver, BC V6J 1Y1 Tel: 604.739.2115 Fax: 604.739.2117
Toronto office
1000-5255 Yonge St. Toronto, ON M2N 6P4 Tel: 416.512.8186 Fax: 416.512.8344
Gibbs Gage Architects has played a leading role in redefining Calgary’s skyline. Read about how it all started and how the practice’s succession plan will see the next three partners continue the successful work of its founders.
10 Project Profile: Living Shangri-La
Soaring 62 storeys, Living Shangri-La is an icon of luxury, modern design and sophistication. Its distinctive architectural and interior design will ensure the city’s tallest building stands above the rest.
Features 16 Colour
Personal expression The psychology of colour
22 Tiles
From the runway to the entryway All porcelains are not created equal Creating beautiful outdoor spaces
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28 Furniture
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32 Fireplaces
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Furniture fabrics forecast Mogens Smed, DIRTT Environmental Solutions Adding warmth and charm Redesigning 21st century decorative fireplaces
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departments 04 From the Editor Changes 39 IDA Evidence-based design 42 Architects in BC The public owner 46 Design Headlines ON THE COVER: The Live/Work living room at Living Shangri-La in Vancouver, BC
February 11 & 12, 2009
March 17 & 18, 2009
November 3 & 4, 2009 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. Fall 2008 | DESIGN QUARTERLY 3
from the editor
changes “The only thing certain is change.” - Socrates
T
his winter has definitely been one to remember. Record snowfall in December not only delivered us a rare white Christmas, it also brought freezing temperatures and mayhem on our streets. Shovels, snow tires and ice salt were harder to find than a street without a pothole. It was definitely a change from years past. And things have certainly changed since I’ve been away on maternity leave. Coming back the second time around the transition from home to work has been easier but catching up on the industry changes won’t be as easy. The building industry once thriving with unprecedented growth is now heading once again into a volatile period. While BC is probably in better shape than the rest of the country, the design community will not be immune to the slowing economy. What lies ahead in 2009 will remain to be seen. Much of what I missed about being in the magazine business was the opportunity to showcase projects and to meet the innovative people
W NO ly. N n O o E ime ore . L t t s SA ed ins tail t T i e e S G Lim Se r d o f
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DESIGN QUARTERLY | Winter 2009
behind the designs. That hasn’t changed. Despite market conditions, there will always be leading designers to profile and projects to feature. In this issue Design Quarterly puts the spotlight on Vancouver’s tallest building and two of Calgary’s top architects; covers forecasts in colour and furniture fabrics and takes a look at what’s new in tiles. Living Shangri-La rising out of Vancouver’s downtown core has now forever changed the city’s skyline. We take a look at the unique design and some of the challenges in delivering a world class luxury tower of this size and complexity. Wade Gibbs and Doug Gage, principals and founders of the award winning Calgary based firm Gibbs Gage Architects share their story and design philosophy for our designer profile. Have a great read and hope to see you at Buildex Vancouver.
Cheryl Mah Managing Editor
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designer profile
path to success By Clare Tattersall
Centrium Place, downtown Calgary.
1970
was a pivotal year in Canadian history. The federal voting age was lowered from 21 to 18, the Vancouver Canucks joined the NHL and Montreal was awarded the 1976 Summer Olympic Games. That same year, two budding architects met in an environmental studies class at the University of Manitoba where they forged a friendship that, unbeknownst to them, laid the foundation for one of the largest architectural firms in Western Canada today. “Back then, we never talked about founding our own firm,” says principal Doug Gage, one half of Gibbs Gage Architects (the other half being Wade Gibbs). After completing their bachelor’s degrees and graduating with masters in architecture in 1976, the two went their separate ways, with Gibbs moving to Calgary and Gage remaining in Winnipeg where he landed a job as a design architect with Smith Carter Partners. Yet, despite the physical distance between the two, Gibbs and Gage remained close, bonded by their similar design philosophies. “All we ever wanted to do was create good buildings, make clients happy and have fun,” says Gage. Sharing similar beliefs, Gage left Winnipeg and his promising job in 1979, to move to Calgary, which was amidst a major building boom. There he joined Gibbs at the LeBlond Partnership. For the next four years, Gage (an associate) and Gibbs (a partner) worked on a multitude of exciting projects and established strong relationships with clients, suppliers and colleagues. “The firm was doing very well until 1982, when the National Energy policy took everybody down in Alberta,” recalls Gage. Designed to increase Canadian control and ownership over the energy sector by setting the price of oil and natural gas, the federal government’s National Energy Program — which was particularly unpopular in the Western provinces — had devastating effects, resulting in higher inflation, real estate prices and interest rates. Bankruptcy was also on the rise. “A lot of people were handing back their houses and some were even jumping out of buildings,” he says.
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DESIGN QUARTERLY | Winter 2009
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designer profile
From left to right: Rick Lewis, Vince Dods, Wade Gibbs, Stephen Mahler, Doug Gage.
At that time, Gage and Gibbs also took a leap but theirs was one full of faith. On March 3, 1983, the two young architects, with the support (and assistance) of their wives, started their own general practice firm. “In the early years, Doug’s wife did all the accounting and mine did all the typing. While we didn’t pay them very well, they’ve ended up catching up over the years,” laughs Gibbs. Initially, the pair leased 700 square-feet in the Demcor building located on the eastern fringe of the downtown core. But two years and several projects later, the firm was forced to move because, quite simply, it needed more space. “We were fortunate,” says Gibbs. “We were developing our firm around the time of the recession when a lot of firms were losing stature, so we were able to pick up some incredibly talented and qualified individuals.” Some of who are still with Gibbs Gage Architects, which now occupies 25,000 square feet spread over three floors in Calgary’s Burns building. Gibbs attributes the firm’s growth to people — staff, clients and the company’s supporters — and its high level of service. “It’s really about providing the best possible service, which entails interacting and listening to clients and relating to their needs,” he says. “This has resulted in a lot of repeat clients, many of which have been with us for over 20 years.” One of the firm’s first was former and longest running Calgary mayor, Al Duerr, who was with Melcor Developments Ltd. at the time. Others include the City of Calgary, Shaw Communications Inc. and the Calgary Health Region. Focused on creating long-lasting relationships with clients, the firm’s projects have grown in number, scope and size since its founding. Today, it has more than $2.5-billion of work under construction, including Jamieson Place, 8th Avenue Place (formerly known as Penny Lane Towers), the Banff Centre, Centrium Place and Palliser Square, the latter of which encompasses three new office towers surrounding the Calgary Tower. Past notable projects include Cardel Place, the first LEED gold building in Alberta; the Roundup Centre, home of the Calgary Stampede and Gibbs Gage Architects’ 25th anniversary celebrations last year; and Olympic Plaza, which served as a focal point for the 1988 Winter Olympics and was designed in collaboration with New Yorkbased M. Paul Friedberg & Partners. “We’ve had quite a lengthy history of collaborating with other companies,” says Gibbs, adding collaboration and cooperation is entrenched in the firm’s culture. 8
DESIGN QUARTERLY | Winter 2009
In fact, the firm is organized into different teams, which function as “smaller firms” under the same umbrella. “But that doesn’t mean we’re just there at the beginning and end of a project,” cautions partner Vince Dods who joined Gibbs Gage Architects in 1990, and currently leads the design team. “Rather, we’re actively involved in the day to day design as well as client relations throughout the entire project and it’s that personalized service that ensures continuity.” Partner Rick Lewis, adds the firm expects the same level of personal service from the principles on its consulting teams. “That’s been the history of the practice and it continues to this day,” says Lewis who joined the firm in 1987, and specializes in retail, industrial and multi-residential developments. “Collaboration also makes for a successful project,” notes Stephen Mahler who is the youngest of the most recent partners. “The only way you can truly realize a client’s vision is to engage them in the process. This also provides them with real ownership.” Speaking of ownership, Gibbs and Gage made a conscious decision approximately nine years ago to invest in a long-term succession plan rather than sell the practice upon retirement. This resulted in the firm’s founders elevating their top three architects — Dods, Lewis and Mahler — to partner status beginning in 2000. Since then, the firm (whose projects can be primarily found in Alberta) has achieved a level of success and growth unparalleled in the company’s history. Between 2003 and 2008, Gibbs Gage Architects nearly doubled in size from 70 employees to more than 130. It has also played a leading role in redefining Calgary’s skyline with major projects such as Centrium Place and Livingston Place — the first double—A class office development to be constructed in the downtown core in more than five years. “It’s really an exciting time to be part of this firm,” says Mahler. “It’s also a little overwhelming as (the new partners) are saddled with taking the momentum the firm’s gained in the first 25 years and continuing to expand on where we are now.” But if the practice’s past performance is any indication of the future, there’s no doubt the firm and its people will continue on the path to success. DQ
Above: The two towers of Eighth Avenue Place is a landmark in Calgary’s skyline.
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Towering by Cheryl Mah
Luxury Shangri-La, a word synonymous with paradise, has arrived in Vancouver.
ising 650 feet at the corner of Georgia and Thurlow, the city’s tallest building is redefining the skyline with its distinctive architectural design. The 62 storey mixed use development combines retail and restaurants at grade with the first 15 floors occupied by a 120 room Shangri-La hotel, marking the luxury hotel resort chain’s first North American property. The private residential portion includes 234 live/work condos and 66 estate suites. The $350 million tower was co-developed by Westbank Projects Corp and Peterson Investment Group. 10
DESIGN QUARTERLY | Winter 2009
Living Shangri-La’s iconic stature demanded architectural excellence and noted architect James Cheng rose to the challenge. As with other tall buildings in the downtown core, the form of the building itself had to respond to the city’s protected view corridors. The building’s slender and unusual triangular shape met that important urban design criteria. “Turned out to be a blessing in disguise because it created a much more interesting look for the building so when you see it from different angles, it has a different form,” says Cheng, principal of James KM Cheng Architects. The high profile location was another factor and required careful considerations for the streetscape design.
:
Towering
Luxury
Congratulations Ledcor for the construction of the Shangri-La Vancouver Congratulations ICBA on your continued at 1100 West Georgia.
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DESIGN QUARTERLY | Winter 2009
“The building marks the heart of downtown activity so it was important for us to do the ground plate very well. We have Urban Fare, Burberry, restaurants, courtyards, public art spaces. It all works to enhance people’s experience of being downtown,” says Cheng. Landscaping by Phillips Farevagg Smallenberg help define a series of unique public open spaces. One of which is the first designated public outdoor exhibition space to be curated by Vancouver Art Gallery. It will be funded by a Shangri-La public art endowment of $2.4 million. The location also only allowed for one access for the entire project off Alberni Street, which required a creative design solution. “We had to put all the loading, hotel and residential all off of one entrance,” says Cheng. “And for the hotel we actually had to create a hotel lobby one level below ground.” As part of the development deal, the Coastal Church built in 1919 and located at the west end of the site, is undergoing a $4.4 million restoration. “That church had to be seismically upgraded but they have no more land. And the interiors are also special. We actually gave them six feet of our property so they could put the seismic braces on the exterior of the church to preserve the inside,” notes Cheng. Because of the tower’s size and prominence, the design team wanted to pay special attention to the building’s skin too. Several technologies were combined to create a unique glass curtainwall that showcases a textured veil of panels or “little square buttons” that not only conceal the tower’s ventilation system but add colour. The technology uses no electricity or light bulbs. “We had to combine several technologies to make it happen. First in the world,” explains Cheng. “We discovered a paint that absorbs light and gives back the energy in terms of a glow. Then we combined that paint with a special glass that reflects the light so as you move around the building— it changes colour in response to the light. It makes the skin a lot more interesting and the building a lot more interesting.” Built to LEED Silver standards (almost Gold), the building features a variety of sustainable design strategies including a geothermal heating and cooling system, energy efficient lighting, green roofs and 57,000 bamboo trees. “All the roofs are green roofs. And we actually put a roof garden at the very top so at
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Towering
Luxury The interiors… balance Asian influences with West Coast sensibility. night when people see this building, the roof garden is lit up,” says Cheng. “We also planted bamboo trees to compensate for the carbon footprint. We had them grown in Oregon specifically for us and now they are onsite.” He adds, “Shangri-La is the first major highrise to be on geothermal.” Built during a hot construction market, the project like many others was impacted by escalating construction costs. “One of our biggest challenges was to maintain the design intent and still be able to build it, “acknowledges Cheng. “It took a lot of creative sourcing — stone from China, cabinets from Italy. It still went over budget but the client is happy.” When the 120 room hotel opens at the end of January, it will be the first five star diamond hotel in the city with guestrooms averaging 550 square feet — among the largest in Canada. Amenities include three full restaurants, a business centre, a fitness facility and a 6,500 sq.ft CHI spa, the largest in the city and first of its kind in North America. The interiors also designed by Cheng’s firm balance Asian influences with West Coast sensibility. “For example the CHI spa is inspired from Tibetan Monastery so the wood and the texture and the screens that are used all have a Tibetan motif,” he says. “All the rooms in the hotel also have an Asian theme to them. For example, all the bathroom vanities are designed to look like a Chinese table.” The West Coast spirit is reflected in the relationship between indoor and outdoor spaces. Courtyards, indoor gardens, open floor plans and floor to ceiling windows offer fluid movement as well as an emphasis on the natural surroundings. For the exclusive residential estates, the finest interior details and finishes are blended with state-of- the-art technology. Boffi kitchens from Italy are complemented by Miele appliances and a Subzero wine14
DESIGN QUARTERLY | Winter 2009
cooler and refrigerator. Bathrooms feature imported marble flooring, Boffi vanities, Hansgrohe Axor Philippe Starck fixtures and accessories. “Being such a major building and having to appeal to such a broad audience, we wanted to keep it very clean using a rich palette of materials,” says Cheng about the overall look of the interiors. “We went for classic modern.” Cheng describes working on the project as “exciting but it had lots of challenges.” “Technically it’s an incredible achievement for the construction industry,” he says. “To do an earthquake proof building of this height… to put it together through the really tough construction climate that we had is quite an achievement for Vancouver.” Shangri-La definitely boasts some impressive construction statistics. During the height of construction nearly 1,000 workers were on site constructing one floor per week. The Shangri-La set the city’s record for the deepest excavation of 26 m (85 ft). It was also one of the largest excavations in terms of volume with 80,000 cubic metres of material removed. To support the 700,000 square foot tower, it required a core foundation footing of steel-reinforced concrete measuring a 100-
foot by 100-foot by 12-foot deep at a cost of one million dollars. The owner’s representative, Bruce Tidball attributes the success of this project to the strong working relationships between the team members. “These projects don’t come around every day,” he says. Among the many challenges for this project was the simple issue of getting the crew up the building. “What we ended up doing was putting a restaurant on the 30th floor for the men. The time to get up and down was significant. It would hurt productivity so we built a restaurant. I don’t think that’s been done before.” says Tidball, adding the site posed unique constraints especially when they had to remove the tower crane. The landmark project also has another interesting element to it. “At 650 feet, when it’s raining down on the street, on more than one occasion it’s been snowing on the penthouse level,” says Tidball. Now that’s tall. DQ Top Left: Live/Work residences – Bathroom Below: Live/Work kitchen featuring the Eggersmann kitchen collection
Pentco FP
colour
personal expression By Dee Schlotter Left: Pittsburgh Paints’ Journey palette, which represents our most meaningful journeys, features tones that can blend together in saturated harmonies or stand alone as accents against dark browns and inky blacks.
T
his year’s emerging trends acknowledge the duality and complexity of modern life by offering designers choices in how they choose to express their clients’ personalities and tastes through colour and design. In 2008, the focus was on the external and environmental, reducing peoples’ carbon footprint and sustaining the planet. Designers saw colours that reflected that — they were natural and concerned. While society hasn’t abandoned its interest in becoming less self-centred and more aware of peoples’ impact on the earth, there is a shift to colours that are more internalized and focused on the individual experience of being human. In 2009, palettes feature colours that are more saturated than those of seasons past — the better for creating the kind of contrast that is so satisfying right now. Look for flashes of blue, soft pink, surprising greens and yellows as well as and plum. People today have a strong desire for personal expression in a world where seemingly conflicting aspects of modern life co-exist — the economy, art, style and culture. To assimilate what is going on in the world around them, people align with one of two distinct design camps, represented by those with their head in the clouds or those with their feet planted firmly on the ground. On the one hand, many designers and consumers are looking at this as a time to surround themselves with the colours and designs of optimism, wonder and hope. Others favour designs and colours that reflect what is logical, tangible and knowable. Those looking for a futuristic, other-worldly, ‘cartoonish’ version of reality are being drawn to clean matte shades of green, yellow and blue, which vibrate together, exhibiting a luminosity that is stabilized by flat black and white. Art, technology, architecture, furniture and fashion – all of which are vehicles of playful fantasy — gravitate toward these clean, fresh, modern colours. Futuristic designs feature simple silhouettes and fun forms that are dominated by colour and quirkiness. Boldly graphic prints and patterns against backgrounds of white punctuate the futuristic look and feel.
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Others look at the world through rose-coloured glasses, perhaps to escape the harshness of the current economic turn; for them, dreamlike colours and forms reign. Cosmetic shades of soft pink and ivory with sumptuous browns are highly romantic and wondrous. Together with the ornate (but minimal) and the sleekly modern (with hints of vintage), the style is soft, welcoming, and cosy. Silhouettes are rounded and circular in form while sheer and transparent pieces make the mood light and airy. Prints and patterns, from modern baroque to art nouveau and even a touch of rococo, can be used to play up this evolving art-based trend. Moving forward requires people to look back. To create harmony between the past and contemporary world, rich earthy tones (together or separately as accents against dark browns and inky blacks) create a natural yet modern ethno-chic palette. Warm, dry materials play against clean, tactile surfaces while prints, patterns and shapes showcase an eclectic assemblage of organic and natural forms. In an era of fast fashions and cheap plastics, reverting to the backbone of design and engineering is another appealing way to go. Colours that range from a carpenter’s palette of railway blues, patinaed browns and engineer’s greens are growing in prominence as basic machinery, standard materials, true craftsmanship and even industrial packaging serve as inspiration for today’s interior and product designers. Silhouettes are simplified, referencing the earliest versions of designs, and materials are sturdy, honest classics such as leather, wood and metal. Human experience is paradoxical and today’s trends reflect that. People can choose: they can be down-to-earth or they can have their head in the clouds. Either way, designers can manifest their clients’ preferences through their choice of colour and very special approach to design. DQ Dee Schlotter is brand manager of colour for Pittsburgh Paints. She brings more than six years of colour marketing experience and 12 years of paint experience to Pittsburgh Paints. She has a Bachelors of Art in English and a M.S. in environmental science management. Dee is a member of the American Society of Interior Designers (ASID) and of the Color Marketing Group (CMG).
Above: The Avatar palette from Pittsburgh Paints includes clean matte shades of green, yellow, and blue, which are stabilized by flat black and white in this theme that represents homeowners’ other side of reality.
Photo Michel Gibert
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colour
the psychology of colour By Barbara Richardson
We live in a dynamic and constantly changing world. Our environment and the colours surrounding us have the ability to transform a space from warm to cool and dramatic to soothing with the stroke of a brush. As designers, we are in a unique position to create atmospheres of excellence. Interior and exterior projects become our canvas, providing us an opportunity to showcase our expertise and identify the perfect colour solutions for clients. By taking a closer look at the different colour areas we appreciate the traits and perspective of each. Colour is a most fascinating industry and continues to captivate and inspire.
red CHARACTERISTICS An energetic colour. Use to design a stimulating area that motivates, promotes alertness and enhances activity. TEMPERATURE Warm or hot. Warm colours include pink, rose, magenta, cranberry, maroon, burgundy, wine, mauve, ruby and crimson, which have the feeling of advancing toward us. EFFECT Creates vitality, encourages achievement, enhances activity, increases pulse rate, nurtures passion, promotes alertness and stimulates excitement. AREAS OF USE Active and energetic environments, athletic and sport facilities, cosmetic areas, restaurant and fast food establishments, factory and industrial areas and physical therapy areas.
orange CHARACTERISTICS An active colour. Use to create an energetic setting that promotes movement and excitement. TEMPERATURE Warm or hot. Warm colours include melon, clay, salmon, coral, peach, rust and copper, which have the feeling of advancing toward us. 18
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EFFECT Creates a fun atmosphere, encourages movement, invites friendliness and promotes a pleasurable spirit and suggests joyfulness. AREAS OF USE Active environments that incorporate fun, athletic and sports facilities, entertainment areas, dancing venues, healthcare environments, passageways & corridors, physical therapy areas, shower & restroom areas.
yellow CHARACTERISTICS An innovative colour. Use to develop a creative atmosphere, which nurtures a sense of freedom. TEMPERATURE Warm or hot. Warm colours include ochre, buttercup, cream, gold, ivory, almond and lemon, which have the feeling of advancing toward us. EFFECT Encourages spontaneity, inspires creativity, has a lightness of spirit, raises alertness level and suggests a feeling of serendipity. AREAS OF USE Athletic facilities, creative environments, classroom and educational venues, public areas in health care, accent areas in offices, recreation locations, corridors and stairwells.
colour green CHARACTERISTICS A calm colour. Provides a relaxing ambience and incorporates the feeling of stillness. TEMPERATURE Cool or cold. However, greens that are more yellow may be considered warmer. Greens that are cooler tend to be on the blue side of the spectrum. Cool colours include khaki, sage, moss, lime, mint, hunter, celadon, aqua, turquoise and teal, which have the feeling of receding away from us. EFFECT Enhances concentration, facilitates judgment, nurtures relaxation, provides a refreshing atmosphere, renews the spirit and suggests a thoughtful essence. AREAS OF USE Conference facilities, courtroom locations, areas involving judgment, library rooms, private offices, study locations, theatre waiting areas and thoughtful activity areas.
blue CHARACTERISTICS A serene colour. Use to create a soothing environment that offers a relaxing and peaceful surrounding. TEMPERATURE Cool or cold. Cool colours include robin’s egg, azure, delft, sky, denim, wedgewood, blueberry, royal, periwinkle, cobalt, ultramarine and navy, which have the feeling of receding away from us. EFFECT Creates a calming spirit, combats tension, offers serenity, promotes thoughtfulness, provides introspection, has a soothing nature and supports relaxation. AREAS OF USE Banks and financial institutions, conference rooms, detainment centres, law enforcement areas, library environments, meeting rooms, private office areas, religious locations, stressful atmospheres, treatment rooms and waiting areas.
Colour is a most fascinating industry‌
violet CHARACTERISTICS An inspirational colour. Use to create a sensitive environment that nurtures a sense of balance and purpose. TEMPERATURE Cool or cold. However, violets that are more red may be considered warmer. Violets that are cooler tend to be on the blue side of the spectrum. Cool colours include iris, amethyst, lilac, orchid, purple, lavender and plum, which have the feeling of receding away from us. EFFECT Allows meditation, balances thought, expresses mystery, invites surprise, promotes elegance and has a sensitive nature. AREAS OF USE Churches, enchantment theme parks, entertainment venues, magical areas, gift shops, expensive chocolate and wine shops, lobby and entrance areas, non-gallery museum areas, perfume and cosmetic sales area, shopping centres and spa facilities.
beige and grey CHARACTERISTICS Considered conservative and sophisticated. Use to create a thoughtful environment that exudes a feeling of comfort. TEMPERATURE Beige is warm while grey is cooler. Beige colours include shades of off-white, tan, taupe, ivory, oyster, pearl, sand, bronze and brown. Grey colours include shades of white, frost, charcoal, slate, graphite, onyx, silver and stone. EFFECT Suggests a comfortable attitude, implies stability and sophistication, promotes a secure feeling, suggests a subtle environment and has a versatile nature. AREAS OF USE Commercial facilities, entertainment complexes, factories and industrial areas, museum gallery environments, office complex areas, recreational locations, shopping areas and sporting venues. DQ
Barbara Richardson oversees the development of colour programs for AkzoNobel ( formerly ICI Paints) in North America. As director of colour marketing, she is responsible for the research and creation of unique presentations regarding colour. 20
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tile & stone
from the runway to the entryway Signature tiles expand design possibilities
By Jared Becker
The Melange collection mimics the look of
F
or decades, ceramic tile has found its home within the home, primarily limited to two utilitarian spaces: the kitchen and bath. With its rugged durability, porcelain tile is certainly well-suited to these rooms. But from a design standpoint, grids of diminutive four to six-inch square tiles are limited to functional applications, such as a tubsurround or backsplash. Fortunately, convergent developments in both design and technology spell great news for designers and architects as decorative, signature tiles are available in unprecedented textures and large-scale formats. This development instantly expands the possibilities for tile, from sweeping entryways to bold new statements in the living room, patio and master suite. Historically, wall and floor tiles were designed and sold separately. In hindsight, the observation seems obvious: Why should walls and floors be treated as separate design elements given they share space within every room of the home? This separation required designers to choose the tiles separately; it also shouldered them with the burden of making them work together. Indeed, today’s flowing floor plans purposely blur the lines that have traditionally delineated such areas as master suites, living rooms, kitchens, dining rooms and foyers. And now collections are being created, from the outset, to integrate walls and floors from a designer’s point of view. Finally, this frees tile from its use solely as a utilitarian protector in kitchens and baths and reinvents it as a house-wide architectural design element and ushers in the walls and floor as an integrated element trend. Another design element gaining ground is an all over pattern micro trend taken from fabrics and wallcoverings. This trend allows tiles to wear many faces, from the intricate hand assembled intarsia of ancient Tunisia to the modern patterns inspired from Spanish motifs Many of these designs simultaneously parlay into an emerging mixed materials micro trend, combining ceramic tile, stone and exotic finishes of
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P h otos c ou r te sy Wa l k e r Za n g e r
brushed fabric.
genuine precious metals. Both of these leading edge trends have been interpreted in tiles and mosaics made of ceramic and stone and there are several exciting collections to choose from, imparting bold new possibilities to walls and floors far beyond the traditional kitchen and bath. These new collections take cues from a wide array of design influences, spanning both time (from Old World antiquity to art deco and modernism) and place (from the United States to Spain, Italy and Morocco, to name but a few). Inspired by the designs on fashion runways, pioneering technology in porcelain tile manufacturing creates new possibilities with textures such as crocodile, elephant and distressed leather. These exotic textures and the tiles’ impressive sizes can be used to cover an entire bedroom wall, creating “3-D wallpaper” and providing striking contrast against softer textures, such as furniture and bedding Unlike real leather, these tiles boast a maintenance-free durability — and, consequently, a variety of possible applications — which only porcelain tile can provide. While it would be impractical, if not impossible, to dress a high-humidity environment, such as a kitchen or bath, in leather, porcelain is impervious to the elements. This creates new possibilities in design, limited only by the designer’s imagination. Industry professionals are describing all these new tiles as “ready to use,” a nod to the ready-to-wear couture fashions offered by top designers. To get tiles with this level of artistry before, designers and architects would have had to commission them privately from a custom shop. Thanks to technological advances, companies are now leading the way by elevating tile to fine couture. DQ Jared Becker is the executive creative director for Walker Zanger, the world’s most comprehensive stone and tile company that combines traditional tile-making techniques with a modern sophistication that transcends any singular design style.
Frances Andrew FP
tile & stone
all porcelains are not created equal By Estelle Davis
T
he term ‘porcelain stoneware’ is used to designate the technical characteristics of the product, which is an extremely dense, fully vitrified ceramic material. There are no chromatic or compositional variations throughout the body mass. The product enters a crystalline phase during firing, which affects the vitrification of the material. Vitrification indicates the process of compaction obtained by melting and cooling of the body mass during production. Raw materials used in the production of porcelain stoneware are classified as ultra pure clay, feldspar, quartz or kaolin. The key and most important product in the composition of porcelain stoneware is feldspar. This material is essentially responsible for the predominant vitreous and compact nature of the final product. All raw materials must be accurately controlled. However the percentage of feldspar used in the product directly relates to the absorption factor, vitrification of the product, its ability to resist staining and, ultimately, ease of maintenance. Although various porcelains may appear identical, it is the technical characteristics that determine if it is truly equal. The technical characteristics of porcelain can be determined by reviewing the independent results of a range of laboratory tests. Summarized in brief will be the test type, test methods as well as minimum requirements, which allow the end user to compare the technical characteristics of the various porcelain products to make an informed and valued decision. Although various products may appear to be aesthetically identical, when compared in this fashion they are, in fact, not. The most expensive component in porcelain production is feldspar and this production cost is partially transferred to the end selling price. It is this key and most apparent point that must be examined when a selection is being finalized. Should the end selling price be uncharacteristically low, then there is a strong possibility the actual production costs were less expensive. The percentage of feldspar used in the composition is reduced. This will undoubtedly result in a more porous, less dense product. Another key area to be examined in the final product selection should be the manufacturer’s recommended maintenance requirements for both the initial stages and the daily and weekly programs. Maintenance of f looring material is an area that is often overlooked. However, this is an ongoing cost factor that should be seriously considered. While any flooring material will require a maintenance program, the recommendation by the actual manufacturer to seal the product will affect long-term ongoing costs. If the manufacturer does not recommend sealing the product to obtain full vitrification, the product will be completely impervious. The initial cost-savings per square foot for material may in fact translate into a product which, although it appears aesthetically equal, will undoubtedly be much more difficult to maintain. The initial clean will be more difficult and the cost to maintain this product throughout the life of the installation will be an ongoing concern to the end user. It is vital in the selection and specification of porcelain material that full independent comprehensive test reports be submitted and requested along with the product. By stressing the high calibre of performance substantiated by independent test reports, costs should not be a major factor in the final stages. DQ Estelle Davis, general manager, Dal-Tile Canada Inc., has more than 25 years experience in the ceramic industry throughout Canada and the United States. A subsidiary of the Mohawk Corp., Dal-Tile is the largest manufacturer of ceramic tile in North America. Estelle can be reached at 905.738.2099 or 1.800.668.0988. 24
DESIGN QUARTERLY | Winter 2009
Get hands-on with the ingredients that bring a dream kitchen to life.
Before you create the kitchen of your dreams, take it for a test-drive. At Bradlee’s Showroom, you can get hands-on with Sub-Zero and Wolf products, and our knowledgeable consultants will help with any questions you might have.
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t
www.bradlee.net
tile & stone
creating beautiful outdoor spaces by Jessica Hunter
O
utdoor spaces are commanding as much attention as the wellstyled interiors that designers are used to creating. From single-family residential outdoor rooms, condo courtyards and corporate patios — outdoor spaces are an extension of the interior and an opportunity to expand functional living/working space. Outdoor living extends further than trendy, weather-resistant accessories — there are opportunities to create private retreats, entertainment venues and serene common living working spaces. The necessity for fashion, combined with function, for exterior rooms and spaces is creating exciting challenges for designers, outdoor product manufacturers and suppliers. Furniture designers and upholstery houses that have traditionally been concentrating on designing for interiors are now putting significant resources towards outdoor living. They are playing with natural as well as man-made materials that can withstand varying weather conditions.
Outdoor rooms that began with built in barbeques or elaborate fireside gathering spaces, now have grown into a full outdoor kitchens for entertaining, complete with a proper dining table. In addition, outdoor living rooms and even bedrooms are being designed! Evidently the climate of your city may limit the types of outdoor rooms you are able to create. To reduce these limitations and increase the seasons in which an outdoor space can be enjoyed, try closing the area in using a stone or tiled feature wall, cover the area creating more of a ‘room’ feeling or install a built-in fireplace or use patio heaters to combat colder temperatures. Tile and stone are both excellent material choices to use in exterior room design due to their inherent durability. Both can last a lifetime when the right product is chosen for the application and installed properly using quality setting and surface preparation materials.
Custom laser etched designs to fit any décor.
www.artisanlaserworks.com
110-8484 162nd St. Surrey, BC 26
DESIGN QUARTERLY | Winter 2009
•Granite •Marble •Slate •Wood •Glass •Mirror •Steel •Acrylic
604 . 839 . ETCH
Tile and stone are both excellent material choices to use in exterior room design… When it comes to installing tile and stone for an exterior floor, you have to not only consider the frost resistance of the product, but also consider how slippery a surface will be in wet conditions. Across Western Canada we battle with rain, sleet, snow and everything in between, and our exterior spaces have to be able to withstand these changes. To be sure a suitable product has been chosen or specified, confirm the manufacturer’s slip resistance rating with your tile and stone supplier. Create continuity in design from inside to out by using the same stone or tile from the foyer out to a front porch, step or entry way. While a floor installation may limit choices to those that are slip resistant, there are many porcelain and glass tiles that are suitable for exterior vertical applications. Consider tiling a wall, water feature or pillar with porcelain or glass tiles to be a showcase element of the design. Play with multiple stone textures and finishes; combing a polished granite countertop with a honed, brushed or tumbled backsplash to really feature the stone’s natural beauty. Try using the same stone on the horizontal as well as vertical surfaces and delight in how the colours of the stone change with different lights. Let your imagination guide you beyond the confines of four walls — enjoy designing using tile and stone to create beautiful outdoor spaces. DQ Jessica Hunter, corporate marketing manager, at Ames Tile & Stone Ltd. can be reached at 604.320.7824 or jhunter@amestile.com.
FEATURING
March 17 & 18, 2009 Shaw Conference Centre, Edmonton
Edmonton’s Premier Conference and Exposition for Real Estate, Property Management, Interior Design, Architecture, Renovation and Construction
INDUSTRY-LEADING SEMINAR HIGHLIGHTS INCLUDE: • • • • • •
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furniture
furniture fabrics forecast By Sholto Scruton
C
onsumers are typically less adventurous and stay with “what they know” during a downturn in the economy. This is certainly true for furniture upholstery fabrics in 2009. Designers can expect a year awash with colourful fabrics and warm basics with an emphasis on dynamic textures and classic weaves. Ironic patterns, such as oversized houndstooth and paisley patterns, as well as strong contrasts between bold colours and grey tones dominated 2008. Solid lime, bright greens and bold magentas captured the attention of most designers. In 2006-07, stripes took center stage and that remained true to a lesser extent in 2008. On the whole, 2008 was playful and full of contrast. 2009 will emphasize sophistication and classic elegance. Although solids will find a place, greys will be predominately replaced by warmer golds, caramels and wheats, while jewel tone colours will replace the greens and magentas of 2008. The favorites this year will showcase highly textured fabrics with subtle twists — heavy classic wool weaves and felts will take center stage — due mainly to the popularity of mid-century modernism over the last few years. Heavier wools in dynamic weaves will show contemporary in deep purples and indigos. Always a fantastic choice for upholstery, wool is long-wearing and stretches to accommodate more complicated shapes; it also tends to be more environmentally sensitive as a harvested, renewable natural resource. Environmentally conscious choices are of utmost importance. Consumers are concerned about their impact on the environment more than ever before and designers are rushing to meet these demands. Environmental concerns have produced new recycled and sustainable furniture textiles. Several fabrics from recycled pop bottles and bamboo to organic cottons are available in the marketplace. Though a great alternative to many of the petroleum-based textiles out there, heavy textures in recycled fabrics prove difficult to find. Bamboo fabrics are often thin and lack texture; organic cottons, on the other hand, are available in exciting weaves and textures and are an excellent environmental alternative. Although often mistaken as environmental substitutes, non-organic cottons require a lot of pesticides and are therefore more damaging than wools and other natural fibres. Until new, more exciting weaves and textures are 28
DESIGN QUARTERLY | Winter 2009
designed, environmentally sustainable fabrics won’t make a big impact. Hopefully more environmental options will emerge in 2009. There will be little room for patterned fabrics in 2009: sophisticated quilted fabrics, colourful textures, felts and complex weaves of dissimilar yarn patterns will all replace patterns. Metallic and colourful threads woven into neutral and contrasting fabrics will cover many of the furniture pieces this year as will lusciously textured fabric like mohair, velvet and heavy wool knits. Carbon fibre look-a-likes and complex microknit textures will also be popular in the upcoming months. This is great news for upholsters as these thicker fabrics allow smoother upholstery of pieces and tend to be more resilient over time. Always a favourite upholstery material, designers will use buttery leathers with strong grains in caramels and distressed leathers in metallic gold or silver for impact this year. The popularity of metallic leather handbags over the last few years has migrated, albeit sparingly, to furniture, introducing metallic fabrics in gold, platinum, silver and in light pinks and plums. Expect to see featured showpieces in these shiny fabrics. The most exciting trends for 2009 will introduce new colours and great texture: dusty pinks as well as deep purples and deep indigo. A favourite this year will be all shades of purple. Although touted as ‘the’ colour for 2009, bright yellow will most likely be reserved for limited use on furniture. Lime, forest and leaf greens will continue to appear — green being the poster child for the environmental movement. These bright colours will be paired with the basics in toss and back cushions and on featured pieces like chairs and ottomans. Don’t expect to see ultra whites or blacks on furniture; basic, more conservative colours for fabric, including warm, light grey, ivory and caramel, will dominate the colour spectrum. 2009 will resonate deeply with heavy textured fabrics made from natural fibres in exciting new jewel tones and certainly purple and all its shades. DQ Sholto Scruton, MA.ID, BFA, is a professional designer with extensive experience in the design, construction and upholstery of high-quality furniture. Sholto is now the lead furniture designer for Van Gogh Designs in Vancouver. Contact him at Sholto@vangoghdesigns.com or 604.543.9200.
Committed to making comfortable, life-lasting, affordable Furniture.
MADE IN BRITISH COLUMBIA, CANADA
TEL 604 543 9200
FAX 604 543 5129
VANGOGHDESIGNS.COM
furniture
doing it right DQ speaks with Mogens Smed, CEO of Calgary based DIRTT Environmental Solutions. DIRTT (an aconym for Doing it Right This Time) focuses on creating environmentally sustainable workspaces with its movable wall system. Glass and solid walls with furniture support
Q: You’ve been in modular furniture systems business for a long time, what would say have been some of the biggest changes? A: The biggest change has been getting our clients to really understand and architects to understand what environmental solutions are all about and they’re beginning to understand what they are. Q: Is there demand for sustainable design in offices? A: Totally. It’s not generic yet — certainly not what I would call ubiquitous but it’s absolutely a hundredfold what it was five years ago. Q: Has LEED helped to create more awareness for environmental solutions in the workplace? A: LEED has been a good start but sadly they’ve lost their way. They certainly don’t have the momentum behind them that they had two or three years ago. There are a lot of people turning away from it because now that people are becoming more aware they’re realizing they can go far beyond what LEED sets as criteria. The problem with LEED is… it’s like you can go cheat on your wife 50 times and as long as you do five or six things right you’re still platinum. When you don’t punish the bad behaviours and only reward the good behavours, there’s no balance and there’s certainly no green solution. Q: What are environmentally sustainable workspaces and how do they improve on the conventional office design? 30
DESIGN QUARTERLY | Winter 2009
A: A good example is we just did a whole floor of offices for an oil company down in Denver and we were in and out in five days. The contractor said he couldn’t have done it in 10 weeks. We’re leaving the client with something they can use over and over and not have to replace. Those benefits are absolutely enormous. The other thing is we focus on making sure we meet both the design and functional criteria. Q: What are movable wall systems and their benefits? A: Instead of building something in drywall…which requires building on site, waste of labour, creates waste and pollution, we build it in factory and we ship it. You cannot build the same price, same quality or the same speed on site that you can in a factory. Just can’t be done Not to mention all the engineering benefits that you get from a pre-manufactured and preengineered product versus one that’s built on site. Q: Your products also use sustainable finishes? A: Yes, we’re the only exclusively water based manufacturer in North America. With our water based finishes, we cure everything with microwave and ultra violet and we’re only flashing off water so there’s no hazard to our employees. Most importantly, our competitors’ materials off gas for six to nine months. They’re polluting the environment and that’s another thing that LEED does not
furniture
acknowledge as opposed to our materials which come on site and there’s no off gassing. Q: What are designers looking for or requesting these days? A: [They] want to create environments for their clients that reflect what the culture of that client is and the solution they want has to be to a quality and detailing that’s superior to what you can get in conventional construction. And they’re also looking for space that’s agile that will allow that space to adapt to the growth or the shrinkage of the business of the clients. Q: Are there any new and exciting products that designers can look forward to? A: There are all kinds of new things. For instance, we’ve managed to integrate furniture systems into our wall systems — very exciting. The ability to integrate those right into the wall system is something that’s very exciting. We’re getting lots of action on that. [Designers can] can spec their kitchens in minutes versus hours. And being able to get a virtual walk through of the entire space is the type of thing we’re able to do that none of our competitors can do. Q: What is the ICE software and its advantages for designers? A: It’s able to create a virtual walk through for our client so that they can see exactly right to the details of what they’re getting in that animation. More importantly it’s linked to our manufacturing systems so that when we get an order all of that information that’s generated by ICE generates all our manufacturing information for our suppliers. No other competitor in the world has that capability. Q: Most of your clients are in the US? A: Yes. Canadian clients aren’t really that interested. They say they are but they’re not. The US government who is a big client of ours will only buy sustainable solutions. As a Canadian, specifically a western Canadian,
it’s embarrassing that the Americans have such a strong understanding of the environment as opposed to us Canadians here. Isn’t it time to really challenge each other as to what we’re prepared to do? Just think if we had started making those right decisions 20 years ago, where would we be today? When we start building buildings to last a century like the Europeans do versus 10 years like we do here, you’re going to see a lot better result. Q: What will the office of the future look like? Any trends? A: We sell walls yet in our company there’s not a single person including myself that doesn’t sit in an open plan workstation. We all sit in the exact same size station. I’m definitely seeing a more open environment. Definitely see more people working out of the home. We have 72 employees that work out of their homes so they don’t have an office space. DQ
Acoustic Control At Your Fingertips
TM
The LogiSon Acoustic Network is a networked sound masking, paging and music system that increases speech privacy, reduces noise disruptions and improves the comfort of your workplace. The Network is easily installed in new or existing facilities of any size, providing an effective way of addressing acoustical issues at nominal cost and without large-scale remodeling. It provides the most sophisticated level of component integration in the industry, allowing the masking sound to be custom-tuned to your environment, while eliminating the need for centralized audio equipment. It is also the only system to offer control of individual, addressable speakers. All settings are programmed using a central control panel, laptop or handheld computer. There is no need to access the ceiling or alter existing cabling, providing the speed, ease and versatility you expect in the digital age. Patents Pending. © 2005 K.R. Moeller Associates Ltd. LogiSon and Acoustic Network are trademarks of 777388 Ontario Limited.
200, 4170 Still Creek Drive Burnaby, BC V5C 6C6 (604) 642-0505
9, 2821 - 3rd Avenue #175, 129 - 17 AvenueNE NE T2A 7P3 Calgary, AB T2E 1L7 (403) 296-0506
5719 - 115 Street Edmonton, AB T6H 3P5 (708) 414-1756
845 Broad Street Regina, SK S4R 8G9 (306) 584-1906
Fall 2008 | DESIGN QUARTERLY
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fireplaces
rediscovering 21 century decorative fireplaces st
by Tom Pugh
an explosion of design possibilities Decorative fireplaces are offered in every conceivable shape, size and configuration. There are wide screen fireplaces to create an exciting contemporary feel, large fireplaces that will fill a towering entry or common area, wall fireplaces, outdoor — indoor see through fireplaces, tube fireplaces, and if you can’t find what you want there are custom fireplaces. You are limited only by your imagination. Even more impressive are the multitude of options you can incorporate into a fireplace to get just the right look. The new decorative fireplaces have eliminated the ugly louvers and open heat exchangers providing for a “clean face” look that allows the designer to completely cover all of the metal with finishing material. No longer do you have to settle for the log set that came with the fireplace. Today you can select from several diverse log styles and species; or if you don’t want any logs, you can have fire rising from sand, rocks or glass to give a striking ultra modern look. Even the fire backs are optional as you can select from traditional herringbone patterns in several colours; or a simple textured Tuscan fire back that creates a negative space drawing attention to stone and brick work around the fireplace opening; or coloured porcelain panels that not only reflect the fire, but provides an aesthetic perfect for a contemporary setting. These fireplaces are yours to design to achieve your desired look. 32
DESIGN QUARTERLY | Winter 2009
Bear Mountain, Victoria
At one time location of the fireplace within the structure was limited by venting requirements. These new decorative fireplaces have liberated those limitations as well. Some models can be vented more than 100 feet from an outside wall and three feet below grade. You can now put a fireplace where you want it. The external aesthetic of your building has also been improved. Manufacturers have designed attractive fireplace terminations and cap, and are providing options that are decorative and hidden.
the birth of fireplace design centre’s While the fireplaces themselves have come of age, the availability of essential technical and design support has made even greater strides. The old days of the fireplace shop with aisles of steel stoves lined up like soldiers headed off to battle have given way to fireplace design centres with scores of attractive burning displays and informed sales consultants. Fireplaces require technical expertise to be safely designed, installed, and serviced in order to provide your client with the professional experience you want to be associated with. Today’s fireplace design centre has trained staff that can assist you with the products and installation parameters required to make your design vision come to life. Unlike their predecessors, these retailers are reaching out to architects and interior designers seeking partnerships. Not only will they invite you into their showrooms, they will visit your offices to train your personnel as well. Now that the building frenzy has cooled off, you have time to rediscover 21st century decorative fireplaces. Controlling the focal point of the room is critical to effective design. Why relinquish this essential function to a builder who will throw in a fireplace that you have to design around? It is time to call your local fireplace centre and start proactively designing fireplaces from the ground up. DQ Tom Pugh is president of a manufacturers’ representative firm serving the hearth industry since 1955. He is a frequent contributor to Hearth and Home magazine. For more information, visit Pacific Energy at www.pacificenergy.net and Napoleonfireplaces.com.
P h oto c ou r te sy N a po e o n
T
he fundamentals of interior design are securely rooted in the middle ages as Europe’s ruling aristocracies built enormous palaces and summer homes providing the essential stage for political intrigue as well as human comfort. Yet those structures were dependant on the invention of the fireplace in every room to provide the necessary heat to make the palaces livable. Thus the marriage between interior design and fireplaces would be forever forged. This marriage is so intertwined that the Latin name for fire (the predominant language of the day) is focal. Unfortunately, the advent of steel factory built fireplaces in the mid 1950’s would turn a compelling focal point of a room into an exposed metal disaster involving ugly louvers and exposed heat exchangers. Architects and interior designer’s only options were to paint the whole area black and turn the fireplace into negative space praying no one would notice. In 2000 that changed when Richard Wright, editor of the fireplace industry’s leading trade journal Hearth & Home Magazine, used his editorial clout to describe a new decorative fireplace paradigm. In 2002 he started the Vesta Awards Program to recognize and promote manufacturers who were investing in new products that were innovative in design and technology. The result is a new generation of compelling fireplaces that demand attention as well as light up a room. “Today, designers and architects can choose fireplaces that match any décor from neoclassical to contemporary to ultra modern and beyond. These fireplaces are perfect for high-end residential and commercial applications. Canadian designers and architects are fortunate as two manufacturers, Town & Country Fireplaces in BC and Napoleon Fireplaces in Ontario, have fully embedded decorative fireplaces into their product lines and are leading the North American markets,” according to Wright.
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SUSTAINABILITY IN DESIGN
fireplaces
adding warmth and charm By Deidra Darsa
O
nce the mainstay of a traditional living room, fireplaces and freestanding stoves are appearing in every room of the home. With modern shapes, sizes and styles, a contemporary-styled hearth product can be placed under a flat screen television in the family or entertainment room. For the bedroom, where a wood fireplace may not be convenient, designers should consider a direct-vent gas fireplace that will add warmth and ambience on chilly evenings. And don’t forget the great outdoors where a longer backyard season can be enjoyed with an outdoor fireplace. Take time to consider fuel options and whether or not the hearth product is to provide heat, ambience or both. Consider the client’s lifestyle and local restrictions when contemplating a wood, pellet or gas-fuelled appliance. Wood, a renewable fuel, requires more work to tote from outside and a commitment to stay with the fire until it burns out unless using a wood burning stove or insert certified by the U.S. Environmental Protection Agency, which is also accepted in Canada. Gas, on the other hand, can be easily turned on and off with a switch. Replacing faux logs with glass, stones or balls made specifically for gas fireplaces adds a new dimension to the overall look of any room. Hearth appliances are becoming a popular way to save money by zone heating specific rooms. In the kitchen, a raised fireplace is a good option that adds ambience while a well-placed wood or pellet stove will warm a game room. And a portraitsized fireplace installed at eye level is a work of art on any wall. The creative shapes and new medium being used in gas units make them very eye-catching. Considered wall art, these new hearth products can go almost anywhere a painting would hang. The latest in fireplace design is a contemporary clean-faced linear fire with a larger viewing area. Many new fireplaces are placed higher up on the wall even with a torch-like flame. Some of those torch designs can be used to offset art much like a sconce accent light. Besides adding a hearth to a library, study or great room, some architects are designing a room around a hearth. Known as the hearth room, this is a new trend that’s also popular. If looking to get a two-for-one fireplace package, some manufacturers offer see-through fireplaces, allowing the warmth to be enjoyed inside and out. Set in an outside wall, it becomes a fireplace on the veranda or patio area as well as a fireplace in the great room. Some are designed so that windows can be placed beside or on top of the unit. DQ
Deidra Darsa is the public relations and media relations manager with the Hearth, Patio & Barbecue Association. 34
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WIDE PLANK HARDWOOD LTD.
Wide Plank Flooring Long length, random width flooring achieves a natural appearance and closely mirrors the look of earlier traditional floors. Authentic Reclaimed Douglas Fir available
Locally manufactured, this 3/4”, solid wood, kiln dried
product is available in a variety of species to fit your interior design specifications. All floors are offered either unfinished or pre-finished with environmentally friendly, non toxic, spot repairable Eukula Hardwax Oil from Germany. Now available for interior touch-ups and furniture finishing. EUKULA DEALERSHIP OPPORTUNITIES AVAILABLE
Wide Plank Hardwood now offers our own manufactured engineered flooring.
Reclaimed Fir
Specifications: 1/2” Baltic Birch Plywood & 1/4” solid wear layer. Options: antiqued, distressed, & handscraped. Unfinished or pre-finished with stain and/or hardwax oil. Widths: 5”+ wider. For information contact sales associate. Hickory
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www.wideplankhardwood.com
Wide Plank Hardwood 1
Western Maple
1/12/09 4:45:28 PM
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ida
evidence-based design A new direction for health care
By Lynn Webster & Claudia Steinke
W
ith all the challenges facing designers today, it is becoming increasingly difficult to incorporate, address and design for the various needs of multiple users in highly complex buildings. In the area of health care design, approaches applied in the past no longer a equately address the unprecedented challenges of the future. These challenges include an aging population and workforce, labour shortage, high incidences of workplace injury and increasing absenteeism. Designers understand a building’s physical design can have a positive or adverse effect on the facility’s ability to respond to these challenges. In looking to the future, evidence-based design presents the opportunity to strategically inform design and assist in addressing these issues. Traditionally, evidence-based design has been applied in measuring the success of a design. It is typically carried out at the post-construction stage and referred to as part of a post-occupancy evaluation. This approach provides substantiated evidence of the effectiveness and, alternatively, weaknesses of design decisions as they relate to the human experience of the environment.
the case for research Health care facilities are costly to build and operate. Their design influences performance, which is critical to both staff and patient outcomes. For these reasons, the move to evidence-based design with its focus on evidence based research is especially relevant to health care design. Innovative research techniques, such as time use analysis, direct and participant observation, service blueprinting and photography, are utilized to supplement traditional design research methods, including surveys, focus groups and stakeholder interviews. The collected data is then analyzed, interpreted and filtered into the design process with the goal to improve outcomes in health care, such as staff and patient outcomes, operational efficiencies as well as the recruitment and retention of staff. The physical design of health care facilities has a significant and often unrealized potential in working to address some of the major issues in health care. For example, increasing rates of hospital acquired infection and high turnover rates.
the financial impact of evidence-based design The financial impact of evidence-based design initiatives on operational costs in health care has been well documented by Texas A&M University professor of marketing, Leonard Berry. Calgary-based Cohos Evamy integratedesign has expanded on Leonard Berry’s list of financial indicators and is working to adapt the baseline figures to serve health care facilities in Canada. Quite simply, by designing space that promotes well-being, shortens patient stays, reduces the incidence of infection and minimizes stress in the work environment, hundreds of thousands of dollars can be saved. This alone is enough to make the business case for research and design innovation in health care design.
a holistic methodology for conducting building performance evaluations So how does one know if the design innovations implemented on a project actually improve performance and achieve anticipated outcomes? In an effort to verify evidence-based design’s effectiveness in constructed projects, Alberta Infrastructure hired Cohos Evamy to develop an evaluation methodology. The resulting framework, Building Performance Evaluation Methodology, was designed as a way of measuring return on investment utilizing the concept of the balanced scorecard approach. With the approval of provincial funding, this methodology will be applied on several facility types across the province. The eventual goal is to have a collective database of information from a large number of Alberta health care facilities that can be shared. In this methodology, Cohos Evamy has developed a multi-dimensional framework with a built-in tracking tool that links building assets to strategic outcomes. This multi-dimensional framework introduces four management performances — employees, customers, finances, and the environment — in a balanced combination, linking short-term actions to long-term strategic objectives. This methodology is not only a measurement system but a management system that enables organizations to clarify their vision and strategy and translate them into action. This methodology is now being considered for implementation in Ontario. In addition to its incorporation of evidence-based design into its design process, Cohos Evamy has developed an evidence-based research process. This process promotes meaningful collaboration between the design disciplines and clients, resulting in higher quality designs and improved building performance based on research conducted at the pre-design, mid-design, and post-design phases. DQ Lynn Webster is a registered architect and principal with Cohos Evamy integratedesign, which is committed to applying the principles of evidence-based design. Claudia Steinke, RN, B.Sc., (Nsg.), M.Sc. (Mgt.), PhD, is the firm’s research lead.
audio-visual
integrating home electronics — ecological choices by Hal Clark
Home renovation overtakes new construction as architectural and interior planning confront opportunities for more sustainable methods in the design/build processes. Just what can technology do to increase sustainability while decreasing the “carbon footprint?”
Electronic Design vs. Off-the Shelf Solutions Although evolving electronic products are becoming more energy efficient and packaged with less harmful materials, the myriad of choices is difficult to sift through when it comes to matching them to varying, modern home lifestyles, personal aesthetic and functional details. As with any design discipline, early, comprehensive planning is a powerful antidote to impulsive, off-the shelf purchases (especially electronic “gadgets”). Designed technology is “appropriate” technology when it helps prevent the accumulation of inappropriate “gadgets” in closets, and later into the landfills.Electronic technology goes way beyond audio/video, into lighting, climate control, communications, and safety. Certified integration designers approach the questions and needs of home renovations with solutions that not only address energy use but also serve long-term lifestyle solutions, increased longevity and reduced long-term costs.
Wireless Infrastructure & Centralized Memory Renovations and open surfaces provide wiring possibilities for a new, greener future with audio/video, home lighting, climate and simpler systems control. New technologies with reliable micro-chip sensors now enable more ecological choices without wires at all! Easy, affordable and wireless lighting control, motorized shades and even wireless thermostats now combine with centralized memory processors to simplify control while managing home energy consumption. Tasks traditionally left to human memory and manual “timers” are now chores delegated to a lifestyle-programmed processor. This minimizes the buttons and focuses choices more to the individual lifestyles, creating a kind of “ecology of choice.” While removing techno-clutter we also end up reducing energy. Because these tasks are “programmed”, changes in lifestyle are more easily implemented over time through program changes and without having to replace the hardware.
save 20 percent in electricity costs. Light dimming also increases the lifespan of a halogen or incandescent lamp. California’s “Title 24” legislation states that each room must have one of the following: — Dimmers — Occupancy Sensors (Must be certified Title 24 compliant) — Must be manual-on/automatic-off (can also be turned off manually), must turn off automatically in 30 minutes and cannot be locked in a permanent “on” state. — High efficacy lights - fluorescent, compact fluorescent (CFL) or high-intensity discharge (HID) lamps. Fluorescent, CFL, and HID lights must not have a medium screw base socket, and lamps rated 13 watts or greater must have electronic ballasts. Of these three choices, dimmers provide the most flexibility and link control to centralized memories for llifestyle automated control. When combined with motorized shades, we can harvest the best of natural light while tapping electrical light as needed. Add automated thermostats to this mix and we have the perfect energy cake for the modern home.
Control Energy Costs
Let There Be Light: Electric and Natural
The next step is monitoring energy costs in real time. This is done by attaching the proper software to the systems — work the integrator and other sub-trades have done during the renovation (or new construction), enabling a view of energy usage and costs. It is achieved through the custom integration designer tying electrical, water, and gas sensor data to the whole house control system. Homeowner’s simply look at their touch screen controls or computer display for updates by the hour, room, day, month, year, etc., obtaining an cost and consumption readout graph. Scheduling of the system can also alter and automate processes with the home to reduce or increase energy allocations as needed. DQ
Home lighting comprises nearly 20 percent of the average Western Canadian’s monthly electric bill. Simply dimming a lamp by 10 percent can save 10 percent in energy, and dimming to 25 percent can
Hal Clark is the director of design & enginnering for the RSI Group at commercial Electronics.
What can technology do to increase sustainability… 40
DESIGN QUARTERLY | Winter 2009
architecture in bc
the public owner Why is working with an owner in the public realm so different than the ownerdesigner relationship common in the private sector? By Lee Gavel decision-making When dealing with a public agency, one of the more frustrating issues is the real or perceived delay in getting decisions made. This can vary dramatically between agencies and is usually dependant on the organizational culture of the agency. A good designer needs to understand the particularities of the client. Public bodies can be very different in mandate, experience, constraints on funding and delivery mechanisms. There may be different agendas by different parts of a public organization. A large public agency, such as a university, health board or municipality, will typically have a central management function where interests of the whole organization are represented while branch units, such as a local hospital, library board or dean’s office, will sometimes have quite different priorities. Somewhere in the middle will be the facilities office, which is responsible for managing the project and bridging the interests of the various stakeholders. The designer needs to determine the authority of the development manager or owner’s representative at the project level to facilitate decision-making. A common mistake is to look at the end user as the primary client. While the purpose of the project is to fulfill the end user’s needs, sometimes the end user has a limited perspective of the project at the time of decision-making. The end user is not necessarily familiar with what works and what doesn’t. The role of the designer is to balance the end user’s needs with larger institutional goals.
money on the table. Knowledgeable public owners commonly use alternative and separate prices to manage this circumstance.
what about design? Most architects look at a major public commission with eagerness; here, at last, is a chance to leave an icon. It is helpful, however, to understand a public agency represents a broad cross section of the public, which may be much less of one mind as to what represents good design. While all will agree ‘good’ design is more than the simple accommodation of functional requirements and includes proportion, colour, sustainable materials and systems selection, the aesthetic expression of design is more arbitrary. It is unlikely the designer will be the sole judge of this. On occasion, one of the primary project goals will be for the facility to serve as an icon. In this case, the designer will be selected based on a personal design style or “starchitecture.” In most cases, however, good design will be more about refined assemblies of materials and details than overt massing and expression of any particular style. In the public realm, there are circumstances when a beautifully designed project will proceed regardless of actual cost. Unfortunately, perception in the public mind is reality. If there is an impression that public resources were spent in a fashion that is out of balance with other priorities, then the cost of the negative public reaction can be significant and seriously affect funding for future projects. A public agency’s perspective must therefore extend beyond the time frame and physical bounds of any specific project.
The role of the designer is to balance the end user’s needs with larger institutional goals.
understanding the funding paradigm
how to get the job
There is a fundamental difference between the private and public sector. In the former, what is built drives the budget; in the latter, the budget drives what is built. In the private sector, one of the prime objectives is to produce a design that meets a set of functional requirements at the lowest cost. This process is oriented around determining an acceptable solution and the owner paying the resulting price. Projects in the public sector usually have a long gestation period before a designer even enters the picture. One of the reasons for this is the lengthy time frame of the funding and approval process through levels of government. Application of formula driven budgets and referenda/bond processes, for example, can constrain the project before the designer’s pencil is even laid to paper. Given the amount of work that goes into obtaining the resources required to deliver the project, it is very difficult — if not impossible — to adjust funding once obtained. This means the agency will want to maximize all resources available with this funding envelope. A designer needs to be conscious of the difference between the public and private sector when setting out the design process and tender documentation. A good designer will provide the flexibility required to match scope to budget to not exceed the budget or leave
There is no magic formula for getting the job. It all depends on the agency, its internal workings and capacity to deliver projects. Generally, good work in the past and experience in the project type will lead to opportunities. However, there will also be other firms competent to do the particular project. Some public agencies will hold an open call for submissions, with ranking and final selection by criteria. Other agencies will have a process that leads from a long list to a short list to the final choice. Two factors affect the final choice more than others: Insight and understanding of the unique characteristics of the project by the designer and the compatibility or personal chemistry of the consultant team with the owner’s project personnel. How do you get on the long list and stay on it? Contact the owner every three to six months and inform them of what’s new in your firm and recent project experience. DQ
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DESIGN QUARTERLY | Winter 2009
Lee Gavel is the chief facilities officer, university architect, at Simon Fraser University. Prior to joining SFU, Lee was in private practice in Calgary, Ottawa and Vancouver. Lee is a director of SFU Community Trust, which is responsible for the planning and development of UniverCity.
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audio-visual
LEEDing the way By Marilyn Sanford
R
ecycle, reduce and reuse wherever possible. Adopt intelligent and sustainable business practices. Embrace practical design solutions that minimize environmental impact. These are thought provoking, lofty objectives, especially so in economically challenging times. If we have serious intention to address these pressures successfully, it is critical for us to reach out to others who may be more experienced or knowledgeable. Collaboration is both the leading edge and the key to moving forward. Stretching past the boundaries of our own industries to enter into new relationships that nurture the development and sharing of best practices is paramount to the foundation. Finding new and innovative ways of both “thinking” and “doing” will enable faster progress in the implementation of these important and timely initiatives. This is exactly what I witnessed on December 12 in Palo Alto California where I lead a “Green” task force for our Industry Association, CEDIA (Consumer Electronic Design and Installation Association). Our mandate is to create a roadmap, the purpose of which is to influence the production of more sustainable product development in the electronics industry, to educate member companies on sustainable best practices, and to identify and shepherd solutions that reduce resource use for our clients and our businesses. During the course of the meeting, I was invited to tour a home that won Platinum LEED status. Meeting the team and experiencing their excitement made me reflect on how important the shift is to more sustainable practices. It is not only important in pushing the envelope of best practices for resource reduction, but also compels us to re-craft our own trades and professions as we grapple with the complexities and challenges of “Green” centric residential construction. This was particularly evident on the tour, as I witnessed a shift towards deeper collaboration with associated trades. It was apparent that creating dialogue early in the project facilitated the opportunity for a more creative environment and stronger alliance among the trades. The electronic systems contractor is a trade typically brought in by the homeowner to address their entertainment and control needs and who also consults with the builder and/or architect to ensure that the infrastructure can accommodate the proposed system and to coordinate the overall plan for the installation. In this situation, the building team realized additional value by using the electronic contractor in the creative process: to help solve problems and innovate, particularly for energy and resource management. The electronic systems contractor also referred to as the A/V (audio/visual) guy or systems integrator, can be a strong resource especially in projects where the priorities shift to sustainability and resource management. This LEED home is a case in point, showcasing the advantages of tapping into this expertise. Some of the opportunities integrated in the system were: choice of electronics; eliminating or reducing standby modes on equipment; power monitoring for load shedding; total integration of whole house system for optimal resource management; monitoring resource use and establishing set points for overrides or set backs; control of lighting systems to maximize the power of dimming and monitor occupancy thereby reducing energy consumption; switching and control for water management; providing feedback on air quality and energy usage for better decision making and resource use; and simplifying the client interface for access, management and maintenance of systems and controls. Other possibilities include: establishing video conferencing to minimize travel, use of shading systems to both harvest light and more efficiently heat/cool as well as equipment recycling and/ or equipment reuse. We are all adapting to the need to manage our resources and to adapt our business models for this changing world. As I watched and listened to this team and experienced the synergy and the connections that they had developed, I realized how important the team and its energy are to the outcome. I learned a lot that day, not only about LEED but also about the importance of finding solutions, working together, stretching our limits and thinking collaboratively outside the box. DQ
Marilyn Sanford is owner and president of LaScala. She is a founding member and past president of CEDIA Canada (Custom Electronic Designers & Installers Association). She is an active industry advocate who participates on CEDIA boards and instructs at CEDIA expos. La Scala Integrated Media & Home Cinema has been providing the best in custom home cinema installation since 1989. 44
DESIGN QUARTERLY | Winter 2009
Collaboration is both the leading edge and the key to moving forward.
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headlines MANASC ISAAC WINS DESIGN AWARD The Calgary Water Centre was honoured with a Design Exchange Award of Merit. The Design Exchange awards recognize the best in Canadian design of all forms, including architecture, engineering, visual communications, fashion and more. Designed by Manasc Isaac in collaboration with Sturgess Architecture, The Water Centre is the largest LEED rated office building in Alberta and one of the first to be built under the City’s Sustainable Buildings Policy, requiring all new facilities to meet a minimum LEED silver certification. Among the many innovative sustainable measures implemented, water conservation is a recurring theme. Features include a green roof, rainwater harvesting and zero irrigation landscaping. Water that would normally be wasted in the metering shop is cycled into the building’s operation with the grey water system for toilet flushing,site irrigation, and truck washing in order to substantially reduce the use of potable water. This iconic building exemplifies how a client-centred,sustainable design process can exceed environmental goals, maximize energy efficiency and create a great work environment.
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Dockside Green is the first residential and commercial development in Canada to treat 100 per cent of its sewage on-site. It will use an integrated approach to water treatment and conservation to reuse treated water for flushing toilets, irrigation and the creation of natural water features including a series of natural creeks and ponds that flow the length of the entire community. Through the treatment of wastewater, reuse of treated water and investment in water-efficient fixtures and appliances, the project is estimated to save 265 million litres of water per year. The sewage treatment system and water conservation targets are an integral part of the LEED Platinum rating that the development’s first residential phase, Synergy received earlier this spring, breaking all previous records.
Kwantlen Polytechnic University’s Cloverdale Campus has achieved LEED Gold certification for its innovative sustainability features. Designed by Vancouver’s Bunting Coady Architects, the $42.3-million, 185,000 square foot building is the largest LEED Gold certified trades and technology training facility in North America. As Canada’s most advanced trades and technology training facility, the Kwantlen Cloverdale Campus accommodates up to 900 full-time students, and contains 21 shops and 27 classrooms/labs, with additional space dedicated to computer labs, student services, bookstore, cafeteria, study lounges and library. Constructed by Ledcor, the building officially opened in April 2007.
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ARCHITECT COADY HONOURED Teresa Coady, CEO and founding partner of the Vancouver-based architectural practice of Bunting Coady Architects, has been named as a winner of the 2008 RBC Canadian Woman Entrepreneur Awards (CWEA). Established in 1992, these awards are conferred on leading female entrepreneurs whose successful business achievements have contributed significantly to the Canadian and global economies, as well as to their own community. Selected as the winner of the ‘Bell Trailblazer’ category, Coady has been recognized for demonstrating outstanding leadership within her company and business sector. She is the only architect to have ever received this honour.
CSLA’S NEW EXECUTIVE DIRECTOR Paulette Vinette has joined the Canadian Society of Landscape Architects as executive director. Paulette is a certified association executive (CAE), the professional designation conferred by the Canadian Society of Association Executives (CSAE). She is also an honoured life member of CSAE and a fellow of the American Society of Association Executives. 46
DESIGN QUARTERLY | Winter 2009
OPENING DOORS The recent ratification of the National Agreement on Internal Trade was great news for the architectural community. The pact, negotiated by federal, provincial and territorial labour and trade ministers as part of Canada’s Agreement on Internal Trade (AIT), paves the way for full labour mobility between provinces. Under the provisions of the new agreement, which comes into effect on April 1, 2009, people with a specific professional or occupational certification in one province or territory will be recognized as qualified to practice their profession in all provinces and territories where their profession or occupation is regulated. Prior to this agreement, individual architects had been required to register separately in any provincial jurisdictions where they might have a business interest. Much of the groundwork for this new agreement was established through the success of the Trade, Investment and Labour Mobility Agreement (TILMA), a partnership between the governments of British Columbia and Alberta. Under the reciprocity agreement, in place since April of 2007, barriers to trade, investment and labour mobility between the two provinces were removed, allowing the free-flow of recognized and registered professionals.
PATKAU WINS AGAIN Vancouver based Patkau Architects were honoured with two 2008 Awards of Excellency by Canadian Architect. The awards are one of only two national award programs devoted exclusively to architecture. The Awards of Excellence have recognized significant building projects in Canada on an annual basis since 1968. The firm was awarded for their work on two projects: Hadaway House in Whistler and the Our Lady of Assumption Parish Church in Port Coquitlam.
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