Design Quarterly Digital Winter Magazine

Showcasing BC & Alberta’s architects and interior designers

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WINTER 2013 Vol. 13 No.3

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THree harbour green Designer Alda Pereira | Fireplaces | Tile & Stone | Lighting

Design Inspiration by Robinson Lighting & Bath Centre

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kitchen & bath :::::::

contents

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WINTER 2013 Vol. 13 No.3 www.designquarterly.ca PUBLISHER Dan Gnocato dang@mediaedge.ca Managing Editor Cheryl Mah Graphic Design Tang Creative Inc.

06 Designer Profile Alda Periera

Vancouver interior designer Alda Pereira has been leaving her distinctive mark on the city’s residential and condo market for more than 20 years.

10 PROJECT PROFILE

Three Harbour Green is the last waterfront residential address in Vancouver’s Coal Harbour. Designed to be the ultimate showcase of luxury living, it marks the completion of Harbour Green Place.

CONTRIBUTING WRITERS Ada Bonini, Don Cabatoff Priscilla Cheung, Estelle Davis Craig DiLouie, Cheryl Ford Tom Healy, Justin Horn Robert Koby, Peter Streith Catherine Traschenko B.C./ALBERTA SALES Dan Gnocato 604.549.4521 ext. 223

Features

PUBLISHED BY

16 Colour

Vivid Colour Trend Palettes PRESIDENT Kevin Brown

18 T ile & Stone

Digital Fever VersaTILE Trends Tile Style

vancouver office

114 – 42 Fawcett Drive Coquitlam, BC V3K 6X9 Tel: 604.549.4521 Fax: 604.549.4522

Toronto office

1000-5255 Yonge St. Toronto, ON M2N 6P4 Tel: 416.512.8186 Fax: 416.512.8344

22 Lighting

Ergonomic Lighting What Makes Daylighting Green LED Technology

32 Fireplaces

Vent Free Fireplaces Innovative Designs Contemporary Mantel Designs

Copyright 2013 Canada Post Canadian publications mail sales publication agreement no. 40063056 – ISSN 0834-3357 Return all undeliverable Canadian addresses to: Suite 1000 – 5255 Yonge Street, Toronto, Ontario, M2N 6P4

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04 From the Editor 36 Architects in Alberta Advocating for Change 37 IDIBC Retaining a Designer Early 38 Design Headlines

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On the cover: Three Harbour Green, Coal Harbour. Photo: Bob Matheson.

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.

Winter 2013 | DESIGN QUARTERLY 3

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

obsessed with lighting

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ancouver’s downtown waterfront has undergone a significant transformation over the past 10 years. Coal Harbour has become home to many upscale highrise condominiums, offering sweeping views of Stanley Park, the North Shore mountains and the Burrard Inlet.

The last residential tower to be built in the luxury waterfront neighbourhood was completed this past spring. Gracing our cover, Three Harbour Green is the final phase of Harbour Green Place and the crowning jewel of the three towers that have defined luxurious condo living in the city.

Also well known for multi-residential projects is award winning Vancouver interior designer Alda Pereira. She has been creating unique environments for more than 20 years and counts her appearance on the Oprah Winfrey show as a career highlight. During our interview, she also admits to being obsessed with lighting. Who could blame her?

Lighting is a quintessential element in any project. As we all know, lighting is more than just a way to illuminate spaces. Effective lighting requires consideration of many components. To help you

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DESIGN QUARTERLY | Winter 2013

keep informed, three experts in our lighting feature share insights into LED technology, daylight harvesting and ergonomic lighting.

Other features included in this issue are tile and stone and fireplaces. For our focus on fireplaces, industry experts examine the continuing evolution of gas fireplaces and technology, contemporary mantel designs and vent free fireplaces.

In every issue we invite an architect and designer to share thoughts or expertise on a topic of interest.

Read about the importance of retaining an interior designer closer to the beginning of a project by Ada Bonini of BYU Design. Peter Streith of Kasian Architecture talks about the need for the profession to be truly leaders in creating innovative design solutions in our communities.

Please remember to drop by our booth (1423) at Buildex Vancouver to say hi or to pick up some extra copies of our magazines. Enjoy the show.

Cheryl Mah Managing Editor

::::::: designer profile :::::::

creating distinctive environments

By Cheryl Mah

A

ccolades are nothing new to Vancouver interior designer Alda Pereira. Her very first project earned her a gold IDIBC award. Her first condo project resulted in the developer naming it after her and she has even appeared on the Oprah Winfrey Show. Most recently she was named 2010 Interior Designer of the Year by Western Living.

Pereira counts her appearance on the Oprah Winfrey Show in 2003 as definitely a highlight, which showcased her design for a small family space.

“It was at the time very stressful but it was a unique experience to put together a project in just four days,” she says.

Considered one of Canada’s top interior designers, Pereira has honed her skills for more than two decades creating sophisticated modern environments that have attracted a loyal following.

“Design isn’t static. Everything’s always changing and that’s what’s always exciting about the work,” says Pereira. “I love all aspects of design.”

Born in Portugal and raised in Vancouver since the age of four, Pereira had an early affinity for the arts and explored her interest in fashion design, architecture and eventually interior design.

“I was more interested in creating environments than I was in building per se,” she recalls. “I did a lot of travelling along the way and was very conscious of the environment and aesthetics.”

She jokes that she was the “black sheep” in the family because everyone else went into medicine.

“My father had a concrete construction company and what we did for family activities was go and visit holes,” says Pereira with a chuckle. “My love of concrete definitely came from him.”

After graduating from the interior design program at Kwantlen University College in the late 80s, Pereira launched her own design studio (Alda Pereira Design) from her home. The recession at the time did not hold the young designer back as she started out small and found success quickly.

Her first project — a hair salon — earned her a gold award from the Interior Designers Institute of B.C. which helped to establish her career.

A booming condo market in Vancouver in the early 2000s allowed Pereira to put her distinctive mark on many projects. Her first condo project was in Yaletown Vancouver. A great relationship with that developer resulted in the condo being named after her (the Alda). Continued great working relationships over the years have meant many repeat clients.

“I believe that you can only be as good as your clients are — something I’ve learned from day one,” she says.

While the firm’s portfolio includes hospitality and retail, 90 per cent of their work is residential. Projects include a number of conversion condo building projects like The Exchange and Bowman Lofts.

The firm also completed a display suite (with a gold theme) for the Avenues of the World at Millennium Water in False Creek. Another notable recent project is West Pender Place in Coal Harbour.

The impact of the recent recession was minimized with a few large ongoing projects. But with the slowdown in the city’s condo market, the firm’s focus today has shifted toward private residences.

“I enjoy getting to know the people that I’m designing the space for…their requirements and history and then it’s about building the rest of the story for them,” says Pereira. “I like doing the interpretation and analysis of each job.”

Space planning is fundamental when it comes to designing residential projects.

“We really take the time to analyze the site and the client’s requirements,” she explains. “Space planning is a really important starting point — it’s like not having the right foundation. It really has to work or what gets layered on top of that is always wrong.”

She describes her design approach as European influenced, citing Portuguese architect Alvaro Siza and French designer Christian Liaigre as some favourites. “I love Euorpean architecture and their sensibilities….the beautiful marriage of old and new.

Definitely my influences are more European but I find that it’s easy to adapt to the Westcoast interior.”

Her Westcoast sensibility is reflected in her penchant for favouring beautiful natural materials. “I’m very conscious of using the right core materials for the right circumstances,” notes Pereira, adding she

Considered one of Canada’s top interior designers, Pereira has honed her skills for more than two decades creating sophisticated modern environments that have attracted a loyal following.

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DESIGN QUARTERLY | Winter 2013

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::::::: designer profile ::::::: Avenues of the World

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also strives for a minimalist aesthetic in her designs but admits it’s “very hard to practice.”

On every project, large or small, the firm ensures form meets function in an efficient, creative, and timeless expression. Pereira says her firm approaches each individual project with fresh ideas and perspective, staying away from cookie cutter solutions. The firm is known for delivering distinctive environments with signature clean modern lines and classic finishes.

“It’s about trying to bring something special to each project,” she says.

While their projects are primarily located in the Lower Mainland, Pereira notes the firm has done some work in Europe and it’s where she would like to do more in the future.

Like most sole proprietors, Pereira finds it challenging to balance managing a small business and finding time to focus on design.

“When I started, it wasn’t as fast paced as it is now and you were able to spend more time on design and less time on administration and having hours eaten up by production. There is also a lot more documentation involved now,” says Pereira.

Located in the burgeoning design community of the Armoury District, her boutique firm of five moved into a new space in spring 2012 after operating out of the Waterfall Building for about eight years.

Pereira’s entrepreneurial spirit and her desire for a “good cup of coffee” in the area led her to open Cafe Bica in 2011.

“The whole point of my having a cafe was to have a good cup of coffee. I enjoy my coffee,” says Pereira with a laugh.

With more than 20 years experience working as an interior designer in Vancouver, Pereira has seen the city change in “leaps and bounds.”

“I think we’re ready for an injection of some different thought processes and different ways to bring [interior design] to another level…just like they are discussing with the architecture of the city,” she says.

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DESIGN QUARTERLY | Winter 2013

Outside of work, her priority is her husband and two children.

She loves to read (owns an extensive book collection) and is a regular patron of the local fine arts scene. When she’s not travelling, she’s “planning on traveling.” She also admits to being obsessed with lighting.

“If I could devote my whole time to lighting, I would,” she laughs.

“When I see a new light fixture, I have to have it.” DQ

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::::::: project profile :::::::

world class luxury

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oaring 32 storeys, Three Harbour Green is the tallest of the three Harbour Green towers in Vancouver’s Coal Harbour. But that is not the only reason this luxury condominium stands above the rest. »

P h o t o : B o b Ma t h e s on

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Designed by IBI/HB Architects, this final phase of Harbour Green Place by developer Aspac Development marks the completion of the city’s most exclusive waterfront condominiums. And as the last residential development to be built in the city’s downtown waterfront, the goal was for it to be the ultimate showcase of luxury living.

“Aspac only wanted the best so it was a pleasure to work on… and the opportunity to do the last one in Coal Harbour was a nice prize,” says architect Jim Hancock, whose firm has contributed to the distinctive architecture of the waterfront with several projects over the years including the award winning sister towers Carina and Callisto.

Overlooking Stanley Park and the North Shore mountains, the luxury tower features 81 suites with townhouses at grade and four levels of underground parking. The 425,000 square foot concrete structure was completed in spring 2012 by general contractor Ledcor Construction.

Sitting right at the cusp of the city’s central business district with office towers to the east and Coal Harbour residences to the west, IBI/HB’s concept was to draw from both to give the tower a unique “split personality.”

According to Hancock, the eastern facade facing the adjacent Vancouver Convention Centre West is streamlined with a glass curtain wall to reflect the nearby offices, while the west side features a more articulated ef12

DESIGN QUARTERLY | Winter 2013

P h o t o s : E m a P et er

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fort with a series of stone-clad boxes hanging off the building.

“There are a couple of cut outs in the building as you go up and the idea was for the massing of the townhouses at the base to almost convey the impression that the pieces that were cut out of the tower just fell

to the ground and landed there,” describes Hancock. “To distinguish the tower from the first two — which have a reddish tone and beige tone on the other, we chose a green granite cladding.”

A similar green stone was used inside the lobbies to carry the theme from the outside

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P h oto: E m a P e te r

::::::: project profile :::::::

to the inside. IBI/HB was also responsible for the design of the common areas.

Of course, a building of this stature only offers the most lavish amenities including a 70 foot indoor pool, squash court, media room, a virtual golf room, private lounge, use of a communal Ferrari and around the clock concierge service.

“The program was very sumptuous and luxurious,” notes Hancock.

Each sprawling suite boasts floor-to-ceiling windows and expansive covered balconies with gas fireplaces as an outdoor/indoor feature.

“One of the ideas we tried to incorporate was when you enter the suite, you immediately saw daylight. We placed the balcony right at the entrance to the suites so that there would be light immediately when you come in,” says Hancock.

The tower features three suites per floor on the lower levels and then two suites per floor from the 26th level up. It is crowned with an 8,000 square foot penthouse, one of the priciest in Canada.

“The biggest challenge was just to live up to the desire of the client to make it the most luxurious, most exclusive… and it certainly turned out that way,” says Hancock.

While the project did not seek LEED certification, it incorporates a number of sustainable technologies primarily focused on energy efficiency such as a high performance window wall with low-e glazing and passive solar design strategies.

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The suites designed by BBA Design are modern and elegant with materials carefully selected to emphasize high quality. Spacious open floor plans with either wool carpet or hardwood combined with custom details and high end European products work to create a sense of luxury and livability.

“The clients objective was to showcase the high quality of the final residential tower… so that meant sourcing the best materials, appliances and systems from around the world,”

The suites designed by BBA Design are modern and elegant with materials carefully selected to emphasize high quality. says BBA Design principal Sharon Bortolotto.

BBA Design was also responsible for the interiors of the first two towers. Bortolotto describes their approach to Three Harbour Green as a bit different.

“We wanted a minimal luxurious feeling to the suites,” she says. “There is some wood and millwork to add some warmth to the entries but there is a lot more lacquer finishes. The other two were beautifully detailed [and used more wood] but this one is a bit more leading edge and sophisticated.”

The suites offer some of the best Italian designs from plumbing fixtures to kitchen

and bathroom cabinetry. The kitchens are by Snaidero and Pininfarina with a full range of Miele appliances.

The bathrooms feature cutting edge bathroom fixtures from L’O di Giotto, Fantini Rubinetti and custom tubs by Canadian manufacturer Wetstyle. The elegant closet systems are by another Italian company called MOVE. While Italy boasts some of the best quality products, obtaining CSA approvals can sometimes be challenging, notes Bortolotto.

BBA Design was also challenged with delivering a high end environment despite the economic collapse in 2008.

“For example we went with a high end porcelain tile in large format in the entries and it almost looks like high end marble. It’s beautiful like walking on mirrors,” she says.

Hancock attributes the success of the project to good team work, planning and meeting the developer’s wish for this project to be truly the crowning jewel of the three towers.

“It was definitely planned to be the premier building on the waterfront. The suites are very livable and generous throughout,” he says, adding the public art at the tower’s base is also a highlight.

Aspac has been involved in the redevelopment of Coal Harbour since 1993. Aspac’s first Coal Harbour development was the award winning Waterfront Place which was completed in 2003. DQ

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::::::: colour :::::::

vivid colour trend palettes

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olour isn’t just back — it’s back in a big way and here to stay, according to PPG Pittsburgh Paints’ colour forecast for home decor in 2013-2014. Homeowners have come to appreciate the newfound infusion of vibrant hues into all aspects of modern society.

“We are living at a time when an unprecedented platform for self-expression exists due to the constant transformation of technology and ever-growing connectivity and communication,” said Dee Schlotter, brand manager, The Voice of Colour, program of the PPG Pittsburgh Paints brand. “Consumers are articulating their creativity like never before. Fresh, bold colour has permeated our daily lives, becoming an increasingly dramatic character in home decor and overall design. Homeowners who were once leery of colour are now embracing it with open arms and a brand-new level of sophistication.”

The influence of new technologies and a society propelled by ideals at an ever-evolving pace are driving colour-packed palettes for 2013.

With such an abundance of bold colours, the method for integrating colour and lifestyle will vary from person-to-person — and that will

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make all the difference in interpretation, according to Schlotter. For some, the urge to retreat to life’s fundamental basics will yield simple yet adaptable, thoughtful application of home design elements. For others, self-manifestation will be embellished by loud, unexpected design sensibility as fashionable, futuristic technology takes centre stage. Overall, sleek and chic is in, but only when paired with a friendly, inviting atmosphere.

“Everything is more sophisticated and multimodal in its design today — from our smartphones to the cars we drive and the clothes we wear,” Schlotter added. “This sophistication translates to home decor, as we’re now building increasingly complex decor designs with profound depth.”

The key trend colours for the PPG Pittsburgh Paints brand are presented in signature five-colour palette cards (shown below) that offer colour opportunities for all design elements in a space, from paint and window treatments to flooring and fabric.

“A trend is never about just one colour. It’s about the combination of all the colours in a particular space,” Schlotter noted.

For more info, www.voiceofcolour.com

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1. discreet luxury

2. elusion

This palette is a contemporary take on classic masculine and feminine ideas, blending curvaceous forms with sturdy materials.

Tuning into the modern-day “Mad Men,” this theme relies heavily on texture, surface design and material to convey craftsmanship and emphasizes the importance of integrity in design. Mixed metallics, porous woods and textured fabrics offer a rugged yet refined timelessness. Past and modern-day styling work together to create a look that is luxurious and elegant while remaining reserved and inviting.

The mood of this palette is conveyed by pairing rich, sumptuous reddish-browns with rich blues and pale blues and grays.

Bright colours such as fuchsia and sea foam are the energetic bolt between dramatic black and feminine pale pink, blue and gray neutrals.

This palette brings to life a fairytale environment for grownups. A whimsical design ideal, the colour palette is a mix of dark and delicate. A hint of the 1980s emerges with sharp fuchsia and magenta playing against teal. Skewed and unexpected shaped furniture challenges perceptions. Gold mirrors and transparent items add impact as dazzling embellishments contribute to the flair for the extraordinary. The perfect escape from reality, this trend plucks decor components straight out of a wonderland.

contemporary and classic

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fantastical and enchanting

::::::: colour :::::::

3 3. modern is tech

streamlined and calculated The colour palette includes blocks of black and white against lively primary hues, offering concrete gray shades as a midway point between the two.

Pared-down and fashionable, this trend embraces the modernist spirit with the stark but friendly appeal of futuristic technology.

Born of a philosophy that suggests the traditional aspects of everyday life are quickly becoming outdated, this theme seeks a new outlook and vision for living. Strong, mathematical lines with the occasional touch of fluidity are met by clean, compact fabrics. Chic precision resonates throughout the theme.

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4 connection to tradition and multiculturalism throughout this deeply expressive trend. For those comfortable with vivid colour as a permanent part of their environment, this palette is pure energy — mixing playful sophistication with loaded and intense hues, graphic patterns and dynamic

prints. Traditional meets bohemian with crochet, string art and handmade pottery decor components.

Vibrant midtones and bright colours work in powerful combinations through hybrids such as mustard yellow, olive green and salmon shades.

4. everyday hero

thoughtful and versatile Earthen, terra cotta shades of red and brown warm the palette, while khaki, gray and white serve as neutrals.

This trend beckons the low-key, ecofriendly hipster. A mellow yet optimistically laid-back approach to colourization, the palette favors smart, functional basics.

Highlighting designs and products that simply work well and adapt to lifestyles with no added fuss or embellishment, this theme embraces clean, crisp lines, order and lightness. Touches of industrial elements mixed with plywood surfaces, subtle textures and quirky accents bring this palette to life.

5. artful expression eclectic and vibrant

An eclectic mix of traditional and contemporary references embodies a live-out-loud spirit while celebrating a deep, emotional MPL_Design Quarterly Press Ad_Jan2013_Final.indd 1

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Winter 2013 | DESIGN QUARTERLY

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::::::: tile & stone :::::::

digital fever Digital inkjet technology has revolutionized the tile industry.

by Estelle Davis

Ceramic and porcelain tiles will never look the same again with the introduction of the revolutionary new ink jet/ digital printing system.

I

nkjet / digital technology represents a new system of floor and wall tile decoration that is positioned to alter the way ceramics/porcelain is decorated forever.

Ceramic and porcelain tiles will never look the same again with the introduction of the revolutionary new ink jet/digital printing system. Digital printing is a method of printing using digital techniques in which data and images are printed directly from a computer onto the tile. The familiar digital printer (also referred as ink-jet printer) used in homes and offices for printing documents and photo-quality images employs the digital printing technique.

Ink jet printing is a non-impact printing technology. Ink jet printing uses droplets of ink jetted from a small aperture to a specified position on the surface to create an image. Four colours — cyan, magenta, yellow and black, abbreviated as CMYK — are combined in various ways to create virtually any colour required.

This technology has now evolved to allow this same printing process to be used on ceramic/porcelain tile. Using an ink jet printing machine and four specially designed inks, the technology is used to create an unlimited number of high-quality patterns and decorations on ceramic/porcelain tile, with fewer materials, less waste and less development and production time than conventional processes.

This digital printing process turns photographs, artwork, designs, logos or virtually any images into elaborately decorated wall or floor coverings.

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The use of inkjet printing for ceramic tile manufacture is growing very rapidly in Europe and is outselling conventional “analog” systems. Inkjet inks for ceramic printing tend to cost more than conventional inks; however this is outweighed by the cost saving in print rollers, the time saved in setting up analog systems & reduced inventory levels.

Ink jet is a non-contact decorating process, the tiles exit the machine as quickly as they enter, and achieving speeds as high as 50 meters (164 ft) per minute possible with photographic-quality reproduction. The decoration is applied all the way to the edge of each tile, unaffected by any mechanical limitations, and decorating relief tile is as easy as decorating flat tile. The relief design is simply entered into the computer and sent to the machine with the touch of a button. The machine adjusts itself accordingly and applies the design to compensate for the relief.

This new technology allows manufacturers to achieve almost infinite design variability. The standard ink jet printing machine is equipped with enough memory to create a unique pattern that is 9 meters long and 36 centimeters wide — large enough to decorate about 30 - 12 x 12 inch tiles in a row before a design has to be repeated. The computer can be instructed to sample any tile from any point in that row and reproduce it later on. For companies that want a larger design space — to reproduce a large slab of marble, for instance — additional memory can be

added to the machine. Since the new technology is based on a digital design system, the possibilities are endless — the system can be programmed to do whatever the manufacturer wants it to do.

Ink jet printing offers a greatly reduced colour palette, high versatility, ultrafine resolution, 100 per cent edge-to-edge decoration, full relief decoration, completely random designs and computer control over the entire process.

With this new process, tile design and decoration is easier, less time consuming and less costly, giving manufacturers the chance to increase their range of products and designs while remaining competitive.

Ink Jet technology has made a huge impact on what manufacturers can create, and the mass acceptance of these designs from the world markets has promoted the swift transformation from screen and roller printing to utilizing Ink Jet technology in tile production. Industry analysts continue to project rapid growth in ceramic tile inkjet printing.

Since the year 2000 (appearance of the first inkjets) substantial improvements have happened, resulting in these last couple of years’ “digital fever”.

It’s becoming “a must” for every respectable manufacturer and consequently tile importer to have and market its digital products. DQ Estelle Davis has more than 35 years of experience in the ceramic industry throughout Canada and the United States. Estelle can be reached at 416.567.9489.

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::::::: tile & stone :::::::

versaTILE trends

By Priscilla Cheung

P

roven by the test of time, ceramic and porcelain tile is a sustainable and durable material which is ideal for taking any design to the next level. Tile is truly sturdy and practical, and the great thing is that it is also becoming increasingly fashionable. With the help of technological advances, the graphics, sizes and shapes of tile continue to climb the design ladder and provide contemporary, energetic and creative channels of expression for designers and homeowners.

Contemporary design with neutral colour palettes dominated the trends of 2012 and continues to be the style choice for the year to come. As our team visits one of the largest tradeshows in the tile industry, Cersaie 2012 in Bologna, we can foresee that grey earth tones and large format tiles are here to stay for 2013. Mix and match between colours, sizes and textures of this year’s tile and bring home a refreshingly elegant design infused with contemporary sensibility.

Size does matter when it comes to tile. The trend since last year has been larger formats and there seems to be an inclination to take that to the next level. Last year 12”x24” and 24”x24” tiles were becoming the norm, but now we’re seeing sizes 24”x48” and 32”x32” up to 48”x48” sizes steadily gaining popularity. The critical thing about large format tile is its ability to create a spacious look, due to reduced grout lines. The present popularity of contemporary ‘less is more’ presentation can be accentuated by the large tile format and

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works well in all room designs from kitchen backsplashes to retail space and commercial lobbies. The reduced grouting creates a seamless template that would optimize luxurious interiors and uniformly extend its presence into exterior living spaces.

These larger tiles can look even more appealing in rooms with large windows that bring in natural light. A word of caution is to select non-slip tiles for bathrooms as less grout lines result in less grip. This minor drawback is easily countered by tile’s many design possibilities, minimal upkeep and

Whites, creams and greys pervaded the tile industry in 2012 and the same presence will be felt for 2013 the ease of cleaning due to its large surface area. Don’t be afraid to pair this growing trend with smaller mosaic tiles for a beautiful contrast between seamless design and an attention-grabbing accent wall.

Although we see a trend in increasing tile sizes for the new year, earth tones, whites and greys are here to stay. Whites, creams and greys pervaded the tile industry in 2012 and the same presence will be felt for 2013. These modish hues are serene and warm, which play well with harmonious contemporary schemes and bring a blissful calm presence to enrich any space. The revitalizing shades of

ivory and beige bring the design back to basics while grey undertones are dominated by whispers of warm natural browns.

Going hand-in-hand with our colour scheme for the year, we see an industry dominated by wood and cement impressions. Advances in digital inkjet printing within the tile industry have allowed for an unparalleled simulation of these two flooring giants, in size, texture and colour. Not only do the porcelain interpretations of natural wood planks and cement slabs connect aesthetic advantages, they also marry the look of hardwood and cement with the practicality and durability of porcelain tile. This hybrid product is resilient in its appearance and texture and continues to be an optimal option for areas where natural wood and cement can be problematic.

Tile has been known for its durability and ease of maintenance amongst flooring products, but as we step into a century of technological advances, we are slowly shifting our reasoning to utilize tile for its artistic and fashion-forward appeal. Inspired by the colours and aesthetic trends of contemporary fashion and interior design, the styles of tile this year reaches a new level of flexibility and creativity.

From larger format tiles and whites and warm greys through to the spectacular imitations of wood and cement, the tile trends of 2013 are headed for an exciting year ahead! DQ Priscilla Cheung is corporate marketing manager with Ames Tile & Stone. www. amestile.com

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::::::: tile & stone :::::::

tile style

By Justin Horn

glass Glass has become increasingly popular for kitchen backsplash and bathroom wall application — as a single piece of material, and in a tile format. In fact, research by the NKBA (National Kitchen and Bath Association) has found that glass trails only ceramic tile as material of choice for kitchen backsplash, and has been used by 52 per cent of kitchen designers (up from 41 per cent a year previous). Glass offers unbelievable choice of eye-popping colours, patterns and textures.

technology

T

ile has been used as a building material since the times of Archaic Greece. It has offered a practical building solution to repel water and create a surface that was hardwearing, and still offered limitless decorative applications. In the modern home, tiles are still used to protect against cooking splashes and water damage on walls and floors, and they also help determine the overall look of a room, whether contemporary or traditional.

natural stone Natural stone is always a popular choice because of its naturally-occurring mineral particulates and veining. This does mean that these tiles are less uniform in colour and pattern, possibly requiring more planning for installation and greater potential waste. All natural stone has varying degrees of porosity requiring a sealant to inhibit staining (this is especially true of honed surfaces). Another alternative format for natural stone is the pebble tile. These are tiles made up of small pebbles attached to a mesh backing in an interlocking pattern allowing for multiple tiles to appear seamless once installed.

22

DESIGN QUARTERLY | Winter 2013

ceramic Ceramic and porcelain tile is characterized by a very low moisture absorption rate as low as 0.05 per cent, making it a mainstay in home construction — especially in kitchens and bathrooms. Such low porosity permits glazing and polishing the surface thus creating infinite possibilities of shape, colour, texture and pattern. Ceramic glazes that imitate

Glass offers unbelievable choice of eyepopping colours, patterns and textures. more problematic or expensive materials are a great way to achieve a luxurious look. The advancement of screening technology in the manufacture of porcelain tile offers amazing imitation surface textures such as woodgrain, linen or stone. For more traditional settings, hand-made ceramic tile has always been popular. Hand-glazed and hand-fired tiles featuring relief patterns and painted motifs add one of a kind quality.

Perhaps the most interesting advancement in tile manufacturing technology of tile is water-jet cutting and highly detailed meshing assembly systems used to create mosaics; exquisite shapes and patterns are available across all materials to create intricate blends. Crisp geometric shapes and organic flowing patterns resembling fabric are both popular, often employing a mix and match approach of two or more different materials or different textures. There is also a move towards incorporating semi-precious stones into a larger mosaic field. Large format tiles for both walls and floors are also becoming increasingly popular; tiles as large as 36” x 72” offer a unique modern appearance and minimize grout lines.

Many exciting new materials are becoming available in tile format. Look for tiles made of metallic materials, wood, leather and even recycled plastics. As tiles become more diverse in appearance, they tend to have a shorter trend cycle, and popularity of certain formats can be fleeting. For this reason, it is sometimes the tile work in a room that can look dated while the rest of the room does not. When selecting tiles, consider tempering the latest trends with more classic arrangements to create an eye-catching tile installation that can be enjoyed for many years. DQ Justin Horn is a certified kitchen designer and president of Paradigm Kitchen Design.

His company has been manufacturing and installing high-quality, locally-made custom cabinetry and architectural millwork since 1995, using premium materials and finishes.

Newly expanded facility and showroom now open at 720 Alexander Street in Vancouver. www.paradigmkitchendesign.com

::::::: lighting :::::::

ergonomic lighting

By Don Cabatoff

the ideal solution

highly engineered optical systems and diffusers the light is distributed over a large area of the ceiling above the luminaire producing diffuse ambient light with minimal shadowing and softer contrast at the work surface.

In addition, the luminaires produce optically managed direct down-lighting using diffusion technology for minimizing glare.

An important plus for this workstationspecific lighting is the electrical energy savings achieved. Individuals are able to control their own lighting eliminating the need for lighting entire office areas when workers are away from the office. When worker’s lights incorporate dimming controls the energy consumed decreases appreciably under dimmed conditions. When daylight and occupancy sensing controls for the individual workstations are included, even more energy savings can be achieved.

Noise, a common problem encountered when working in open plan offices with overhead troffer lighting, is significantly reduced through eliminating ceiling mounted luminaires. The resulting quieter comfortable lighting atmosphere that enables people to control their own lighting is welcomed by all.

This versatile indirect lighting concept has a number of mounting methods. The mounting posts and luminaires may be simply clamped to desks and table tops and then plugged into a 120 Volt duplex power outlet for immediate work station solutions. As floor base, free standing versions they provide ideal work station lighting for any open area. When incorporated into office furniture partitions they enable portability and flexibility of office furniture and work station layouts for immediate and long term planning.

For demanding lighting applications such as heritage ceilings, no ceilings or very high ceilings the luminaires are equipped with accompanying reflectors delivering the optimum lighting for any circumstance where there is a power outlet.

This lighting concept has been used for years in Europe and it’s not surprising that many users in North America are now also embracing the concept with its many benefits. DQ

Rather than using the ceilings for attaching and hanging luminaires why not use the ceilings as reflectors for producing indirect, comfortable glare free ambient light? This indirect lighting concept incorporates work station specific luminaires that direct the light to the ceiling and reflect it down to the desk top as indirect glare free light. Utilizing

Don Cabatoff is LC certified through the National Council on Qualifications for the lighting profession. His company E3 Lighting is an independent lighting manufacturer’s agency, focusing on ergonomic and energy saving lighting products. Contact him at 604.644.0857 or E3lighting@shaw.ca

Comfortable, glare free lighting is achieved at the individual work station desk tops with LUXIT partition mounted luminaires, reflecting the light from the ceiling down to the desk top.

M

ention ergonomics for office workers and people immediately think of the office equipment and furniture that enables them to perform their tasks more comfortably and efficiently. Even more important is proper lighting for the worker i.e. ergonomic lighting.

V i n ce n t Ch a n , I n v is i o n at io n P ho t og r a p h y

existing lighting systems In the simplest terms typical office and work spaces are boxes with lighting fixtures [or luminaires] mounted within or attached to the top of the box, the ceiling. Lighting has been done this way in office buildings for the past 40-50 years and to a large extent is still the way it is done today. The reasons for this approach are simple: ceiling fluorescent troffer light fixtures are inexpensive, easy to install and produce sufficient light to meet industry codes. They are referred to as “glare bombs” since the light they produce falls directly on the task surface producing reflections and glare. Over the years lighting fixture manufacturers have improved luminaire designs, reflectors and diffusers, with the goal of minimizing glare and visual discomfort to the user. Advances have been made using smaller diameter T-5 fluorescent lamps achieving more aesthetically pleasing shallower luminaires, better optics and improved lighting.

LED troffers, now readily available provide increased luminaire design flexibility and associated energy savings.

Unfortunately, for those who work in open offices under ceiling mounted fixtures, even with their new designs and light sources all fixtures come up short because they aren’t able to take into consideration the different lighting requirements of individuals. For example, old-

er workers often require more light than those younger which means the troffers are either producing too much or too little light for the individual worker. The IESNA guidelines for desktop work surface lighting recommend 30 foot candles and often design decisions have even been made assuming more light is better.

Add the light produced by the computer display panel and it can make for an overall harsh and uncomfortable worker lighting environment. And even when lower lighting levels are preferred the individual has no means to remedy the situation.

The ceiling grid method for mounting lighting doesn’t permit changing the position of the troffer and direction of light in relation to the work space. Workers have no way to deal with glare or reflections in their working environment other than in some extreme cases resorting to removing light bulbs or taping up paper shields. Glare and inappropriate lighting has been documented to contribute to medical and wellness issues for employees with the employer faced with medical costs and having to hire and retrain new employees.

The problems with the way we have traditionally lit our work spaces are well known and recognized. Although many attempts have been made to improve work space lighting none have been successful.

Winter 2013 | DESIGN QUARTERLY

23

WHAT GOES UP MUST BRING COSTS DOWN No matter how high a building reaches, it’s the bottom line that’s most important. And with BC Hydro’s New Construction Program, developers can save even more money through energy-efficient buildings. Proven to be happier, healthier places to work and live, energy-efficient buildings also enjoy enhanced marketability, higher asset value, and lower turnover. And we’ll be there from the start, helping with building design, system design and lighting design. We’ve streamlined the application process and increased funding to help with initial cost barriers. So not only will your next project be energy efficient, but economically efficient as well.

If you’re in the planning stages of a new project, we’d like to tell you more about how we can help get you started on an energy-efficient building.

For more information, call 604 522 4713 in the Lower Mainland, 1 866 522 4713 elsewhere in BC, or visit bchydro.com/construction.

CREATING Energy-EfficienT BUILDINGS Has Never Been So Easy (Or SO Cost-EFFECTIVE) BC Hydro’s Luis Damy wants to make one point very clear: “We are not here to tell architects, designers, engineers how to design a building. The New Construction Program is not about taking over their jobs. They know what they’re doing.” Instead, he says, “our purpose is simply to enable them to go beyond building code, to give their clients the best design possible.”

But going beyond building code to increase energy savings can be difficult. Clients may want to be energy efficient, but worry about incremental costs and wonder whether sexy new innovations — such as fastacting radiant heating and cooling or variable refrigerant flow systems — will really pay for themselves over the long term. “What they need is proof,” says Damy, “which is why we fund up to 100 per cent of an energy modeling study for larger buildings early in the design process.”

BC Hydro’s New Construction Program offers three options for commercial, institutional and multi-unit residential new developments or major building retrofits of all sizes. For larger projects with the potential for at least 50,000 kWh in electricity savings, the Whole Building Design option will fund 50 per cent of an energy modeling study done by an approved consultant (which may cost anywhere from $5,000 to $40,000, depending on the size and complexity of the building), and will provide the remaining 50 per cent if the building includes at least half of the energy-saving measures identified in the study.

An important bonus: those same energy-saving measures may also be eligible for significant capital incentives. The better the electricity savings achieved compared to conventional building design, the higher the incentive BC Hydro will provide.

“This gives building designers many more options to choose from,” says Damy. “Measures they may have avoided because of cost, they can now consider. And that means they can give their clients an even better building, at close to the same cost as a less energy-efficient one, with the added benefit of long-term operational savings from lower energy bills.”

Engineer and energy modeler Chris Flood of Vancouver’s Cobalt Engineering is a big fan of the New Construction Program. “Energy modeling allows us to investigate various design types and different configurations of a building envelope,” he says. “With building design becoming more complex all the time, modeling lets us explore ideas and actually see which ones will work and which we should eliminate.

It’s essentially value engineering at the very start of a project, rather than at the end. And with BC Hydro footing the bill for the study, and providing good money for installing efficient equipment, there’s no reason for our clients not to want this.”

The other New Construction Program options are System Design and Energy-Efficient Lighting Design. The first is, like Whole Building Design, intended for larger projects that offer the potential for at least 50,000 kWh in electricity savings, but that are further along in the design process. It provides incentives for design teams specifically to investigate and install energy-efficient building systems. The second provides financial incentives and tools to help lighting designers create and install energy-efficient lighting systems that exceed building code by 10 per cent or more.

Says Cobalt Engineering’s Chris Flood, “BC Hydro has a very experienced team of technical engineers on staff. They know what they need and how to direct us so we go through the process very easily.

They help the design team move forward. Their whole purpose is to promote and drive energy-efficient designs, and they’re really good at it. It’s a great service.”

To find out more about BC Hydro’s New Construction Program, visit bchydro.com/construction or call 1.866.522.4713.

Dave Mackintosh Director, Capital Projects, Vancouver Coastal Health

BUIldING SAfE PATIENT cARE ANd ENERGy EffIcIENcy AT ST. MARy’S BEING POWER SMART MAKES BUSINESS SENSE When the expanded St. Mary’s Hospital in Sechelt opens in June 2012, it will be a showcase of the latest in safe patient care, where every patient will have his or her own room and bathroom, there will be separate sinks for staff, and everyone will benefit from maximum natural light and fresh air.

“St. Mary’s will be a model for how best to control diseases that can be transmitted from patient to patient,” says Dave Mackintosh, Director of Capital Projects for Vancouver Coastal Health. “At the same time, though, we wanted to make sure this expansion was energy efficient, because the more we can reduce our operating costs, the more we can put back into health care.”

By working with BC Hydro’s New Construction Program to computer-model the expansion, Dave and the project architect, Peter Busby of Busby Perkins + Will, were able to see exactly which energy-efficiency measures will save them the most.

“The energy modeling showed that we could reduce energy consumption by more than 360,000 kilowatt hours a year,” says Peter.

“An added benefit: St. Mary’s will also be eligible for BC Hydro incentives to help with the cost of creating a high-performance building.”

Are you looking for new ways to build better?

Visit bchydro.com/business or call 1 866 522 4713.

A10-504

::::::: lighting :::::::

what makes daylighting green

By Craig DiLouie

D

aylight offers a valuable source of general illumination in commercial buildings, providing good colour quality and potential health benefits. Research has linked daylighting to higher retail sales and human satisfaction and performance.

Heschong Mahone Group’s studies, for example, found an up to 40 per cent increase in retail stores with skylights and up to 18 per cent higher test scores in daylight classrooms.

Because it comes from the sun and offers strong benefits to the built environment, daylighting is typically considered a sustainable design strategy. However, most spaces cannot be illuminated using daylight alone.

Some type of electric lighting is required.

What makes daylighting “green� is when a lighting control device responds to rising daylight levels by reducing electric light levels and reducing energy consumption. In the lighting industry, this strategy is called daylight harvesting.

According to the Lawrence Berkeley National Laboratory, which analyzed 240 lighting control strategy energy savings estimates from 88 papers and case studies, a best estimate for average lighting energy savings is 28 per cent for daylight harvesting. Actual savings in an installation, of course, may vary depending on daylight availability, reflectances of interior finishes, and other factors.

In the United States, daylight harvesting is now required by a growing number of commercial building energy codes. In October 2013, all states must certify they have a code at least as stringent as ASHRAE/IES Standard 90.1-2010, which requires daylight 26

DESIGN QUARTERLY | Winter 2013

harvesting in certain applications. LEED v.4, currently scheduled for release in November, is expected to require compliance with this standard as a prerequisite to certification.

Good daylight harvesting design begins by identifying good opportunities for it. Look for any area near daylight apertures (e.g., windows, skylights) where high, consistent daylight levels are present and where the electric lights are ON most of the time. These areas can be defined as daylight zones. The actual dimensions of the daylight zone can be estimated based on the application, or the applicable energy code may itself define it.

Once the daylight zones are established, the designer must decide how to control the electric lighting in those zones. The input is a signal from a photosensor, which measures light. As the eye of the system, the choice of photosensor and its proper placement are important decisions; one free, helpful tool can be found at www.archenergy.com/SPOT. The controller receives the signal and decides whether to change the electric lighting, and if so, by how much. The output may be switching (ON/OFF), step dimming (dim to one of two or more discrete levels of light output) or continuous dimming (dim to any level across a range). Circulation and similar spaces are suitable for switching and step dimming.

Spaces with occupants performing critical stationary tasks are most suited for continuous dimming.

An important decision here is how detailed the design should be, which brings us to the control zone, defined as one or more luminaires controlled by a single controller. A control zone may be as large as all lights in a day-

light zone or as small as individual luminaires.

The question for each project, therefore, is: should the daylight harvesting control zones be very small, enabling greater flexibility and response and therefore a higher potential for energy savings and user acceptance, or larger to minimize cost?

Smaller control zoning, and designs combining daylight harvesting with other overlapping control strategies in the same space, may benefit from use of a digital communication architecture. This allows control zoning as small as single luminaires, zoning (and rezoning) using software instead of hardwiring, and the ability to calibrate sensors remotely using software or onsite using handheld remotes.

As daylight harvesting designs are application sensitive, the designer should take two additional steps to ensure the design intent is realized. First, the design may be facilitated by producing a written lighting control narrative, which defines the basic functionality of all controls in the building. It answers the question in writing as a common reference for the project team: for each control point, what does the control system do for each type of input?

Additionally, the designer should ensure that basic commissioning steps are followed to ensure the delivered system satisfies the owner project requirements and basis of design. This includes equipment verification (is the equipment that arrives at the jobsite what was specified and approved?); installation verification (was it installed according to the drawings and plans?); functional testing (does it operate in accordance with specifications and will it likely satisfy users?).

It also includes user training and turnover of the written control narrative, operation and maintenance manuals, and suggested schedule for recalibrating sensors in the future.

These steps are encouraged in programs such as LEED as well as the latest generation of energy codes.

By defining areas of good daylight availability and properly matching control equipment and design, a building may achieve a higher standard of sustainability by leveraging daylight, with all its inherent benefits, as ongoing energy savings. DQ Craig DiLouie, LC, is education director for the Lighting Controls Association, which offers free online education about daylight harvesting and other topics at www.lightingcontrolsassociation.org.

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::::::: lighting :::::::

LED technology

By Cheryl Ford

W

hen LED lighting was first introduced to the market about 10 years ago, its use was limited to architectural and signage applications. Today, LEDs can be an economically viable solution for many general lighting applications. The advancements in LED lighting over the past five years has truly been remarkable with the best LED luminaires delivering 70-90+ emitted lumens per watt.

There are now high quality LED luminaires for street, area and landscape lighting; down lighting; track lighting; shelf and display lighting; decorative fixtures; even 2X2 luminaires that can replace fluorescent. The directional nature of LED sources allows for more of the lumens generated to be emitted 28

DESIGN QUARTERLY | Winter 2013

from the luminaire compared to traditional light sources making these luminaires extremely efficient. It is important to choose luminaires that have the proper heat sinking for thermal management to ensure long life, and the right optics to control the light and minimize glare. The LED energy savings over traditional technologies varies from 20 to 80 per cent depending on the application and luminaire choices.

When evaluating luminaire performance, make sure to ask for the IES Standard LM79 data (www.iesna.org) to evaluate the photometrics of the luminaire and IES Standard LM-80 data to evaluate the lumen maintenance data for the LEDs used in the luminaire design to verify life ratings that are based on the point in time where the

luminaire will have 70 per cent of its initial lumens. Most indoor luminaires typically have a rated life of 50,000 hours, but there are many street and area lighting luminaires with life ratings (L70) in the 70,000-100,000 hours range. Underwriters Laboratories (UL) is also developing a safety standard for LED light sources and currently has “Outline of Investigation for Light Emitting Diode Light Sources for Use in Lighting Products” designated as UL8750 that provides minimum safety requirements for SSL components, LED, LED arrays, power supplies and control circuitry and includes references to all applicable UL standards. (http://www.ul.com/ global/eng/pages/offerings/industries/lighting/lightingindustryservices/standards/) The lighting design community continues to express concerns about the ease surrounding upgrade and replacement of LED light engines in LED luminaires since most are now hard wired into fixtures. The Zhaga Consortium (www.zhagastandard.org) is an industry organization that is trying to develop standard specifications for the interfaces for LED light engines that would allow for the interchangeability of LED light engines from many manufacturers. The goal is to create standards for mechanical and electrical interfaces that provide standardized holders, heat sinks and/or luminaire requirements.

This type of standard would definitely help to speed up the development and adoption of LED lighting. Obviously, these standards will not materialize overnight, but this is a big step in the right direction and a huge global effort. Colour consistency lamp-to-lamp and colour stability over life is another concern which is being address with “hot binning” of LED chips or the incorporation of intelligent active colour control into the LED system to maintain the colour within a 3-step MacAdam ellipse. The loss of 30 per cent of the rated lumens over the rated life is somewhat undesirable and requires over lighting a space initially to ensure proper light levels over the life of the LED luminaire. However, the incorporation of intelligent controls built into a luminaire to maintain the lumens at a constant level throughout life can eliminate this concern.

When looking at LED luminaire options, decision makers really need to take a look at the total cost of ownership and not upfront cost. The energy and maintenance savings alone can often justify using LED lighting on

::::::: lighting :::::::

a project, and there are many utility rebates available for a variety of LED luminaires that would provide 1-3 year paybacks over using traditional lighting technologies. Most of the utility rebates are for Energy Star (http:// www.energystar.gov/) rated luminaires or luminaires approved by the Design Lights Consortium (www.designlights.org) that tests luminaires to the Energy Star standards.

Let’s not forget LED replacement lamps.

There are now premium LED PAR and Alamps available with a 95+ colour rendering index and a high R9 red component greater than 50 that should be used for colour critical applications. LED lamps typically are rated for 25,000 hours life, but some have 50,000 hours rated life (L70). LED replacement PAR lamps come in PAR16, PAR20, PAR30, PAR30LN and PAR38 configurations. There are now LED PAR lamps that can replace up to a 90W halogen. Choose Omni-directional LED A-line lamps to ensure similar light distribution to incandescent A-lamps. There are LED A-lamps that can replace up to a 100W incandescent lamp. Keep in mind that most of the available LED lamps on the market have an 80-85 colour rendering index and that not all LED lamps are dimmable. Even if the LED lamps are dimmable, make sure the lamps are used with compatible dimmers to ensure good dimming performance. It

may require replacing dimmers in an existing installation. Right now LED MR16 lamp choices are limited and the best lamps available will replace up to a 35W halogen MR16.

Colour consistency from lamp to lamp continues to improve, but again not all products are alike. It is best to choose LED lamps that are Energy Star rated to make sure that they perform to the established minimum requirements for good performance.

So what does the future hold? There will be further LED efficacy improvements, more

There will be further LED efficacy improvements, more LED fixtures with intelligent controls and further development of Organic LED...

LED fixtures with intelligent controls and further development of Organic LED (OLED) for general lighting applications. The best discrete LEDs available today are in the range of 120-150 lumens per watt and are projected to be over 200 lumens per watt according to the U.S. Department of Energy (http://www1.eere. energy.gov/buildings/ssl/).

LED luminaires with intelligent control have been introduced and LED controls will continue to evolve. OLED technology development is continuing for general lighting applications. Currently, more of a niche product due to its high cost, OLEDs do open up completely new possibilities for architects, lighting planners and designers due to its thin, flat profile — essentially any object, piece of furniture, walls, ceilings, windows and many other items can be turned into a light source.

Even illuminating surfaces such as lit ceilings and partition walls are feasible with OLED. The performance of OLED panels today is approximately 45-50 lumens per watt, three thousand lumens per square metre with a 10,000 hour lifetime and is expected to be over 100 lumens per watt, ten thousand lumens per square meter with 50,000 hours lifetime by 2015 according to the US DOE target goals. Performance improvements and lower costs to manufacture are needed before this technology becomes a mainstream product for general lighting applications, so mass adoption of this technology is not expected in the next couple of years — however, the adoption of LED luminaires will escalate between now and 2015. DQ Cheryl Ford is applications marketing manager at Osram Sylvania.

Winter 2013 | DESIGN QUARTERLY

29

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::::::: fireplaces :::::::

vent free fireplaces New designs for new spaces

V

ent free fireplaces have been with us since the 1960’s and today represent the fastest growing segment of the fireplace industry.

This is due to their flexibility of installation (no need for a chimney) and their exceptional safety record. In the early years, and even until recently, vent free gas fireplaces were mostly installed as a way to heat a room or space, reducing central furnace settings and heating bills. By not sending all their heat up a chimney, vent free units are able to transfer more than 90 per cent of their heat into the surrounding room, heating areas where and when people wanted heat without having to heat rooms they were not using.

While energy conservation and reducing waste are more important than ever, vent free fireplaces are now winning over designers and consumers for other reasons. Recently modern vent free fireplaces have entered the marketplace with very clean burning technology and super high efficiencies. The beauty of open flame designs and the addition of media tray and media tray options (fire objects) have fueled a renaissance in this category.

Without flue considerations and restrictions architects and designers are more empowered than ever to create captivating, warm 32

DESIGN QUARTERLY | Winter 2013

By Tom Healy

spaces with a focus on stunning fireplaces that are safe, efficient and affordable.

Spark Modern Fires’ new Vent Free Vu Thru model is a prime example of this renaissance. Unencumbered by a vent stack, Spark’s new Vu Thru can go into any room larger than 240 square feet except a bedroom. The new unit creates a flame that is visible from both sides; the first gas vent free fireplace to do so. And in another first, the new unit has a media tray for aesthetic fire objects. In keeping with modern technology, the new unit is also ultra-safe, featuring a custom engineered, ultra-clean burner which yields emissions about three times cleaner than a typical gas stove. It also contains a sensor which automatically turns the gas off if the oxygen level in the room approaches a defined minimum set by American National Standard (ANSI) Z21.11.2.

Aesthetics are a prime factor in the design of these new models. The newest units can have a media tray around the burner to contain various approved fire objects like basalt stones, coloured tempered glass, lava stone and more.

Media choice options are easily changed.

These new vent free fireplaces often feature very clean lines. There are no jarring vents or access doors or clunky metal features. Design-

ers and architect love the way they look and the ease of integration into rooms. The high heating efficiency of the newer units (28,000 btus capable of heating 1000 square feet!) is almost an afterthought for most designers, as they utilize the fireplace for its beauty as a focal point, anchoring any room that it’s in.

Vent free fireplaces have come a long way since the original ‘fake log’ units. With the newest units featuring two viewing sides, remote control, clean lines, media tray options, and unlimited surround possibilities, vent free fireplaces have moved to a new level; meaning more rooms and environments than ever can enjoy the many benefits of having gas fireplaces. More vent free designs are expected to enter the North American marketplace this winter with possibly larger sizes and additional features. DQ Tom Healy is co-founder and president of Spark Modern Fires. A former custom home builder, he set out in 2003 to develop a product line and a company that made it easier to use a gas fireplace as a design element. The company introduced its innovative fire ribbon gas fireplace in 2005. More information on Spark Modern Fires can be found at www. sparkfires.com or call 866.938.3846.

::::::: fireplaces :::::::

innovative designs

By Robert Koby

M

ore than a 100 years ago, the concept of fireplaces underwent a major shift from simply being a primary source of heat to a major decorative design feature in a room.

From a construction standpoint, the fireplace’s location was traditionally restricted because of hearth and chimney requirements.

When prefabricated zero-clearance fireplaces were introduced in the latter half of the twentieth century — starting with wood-burning, then gas, complete with metal chimneys — this allowed for greater flexibility in design.

Expensive and complicated foundation work, as was the norm for masonry fireplaces, was no longer required.

The next major development that further enabled versatility in gas fireplaces was the development of direct-vent technology. Direct venting allowed fireplaces to be installed in many places, which was once impossible.

Venting could also be built directly through a wall, or run vertically and horizontally with several offsets to an exterior location from a fireplace installed in the middle of a dwelling.

Some manufacturers have even developed power-vent systems allowing fireplaces to be installed more than a 100 feet away from the eventual vent termination location, maximizing flexibility in unit placement.

For the first few years after gas fireplaces were developed, manufacturers simply replicated the look of wood-burning fireplaces.

This was met with mixed results, as not everyone embraced fake log sets. About 10 years ago, in response to the demands of designers, a few companies started to make custom linearstyle burners without logs. This modernizing trend has now evolved to dominate the industry. Although there is still a strong market for traditional log-style setups, most if not all manufacturers now produce fireplaces with a variety of contemporary styled linear burners through glass and rocks and even as bare flames without any medium placed on them.

One aesthetic drawback to many gas fireplaces over the years was the metal frames and grills assembled around the openings.

The boxes had to be designed for heat considerations and finishing clearances. For less expensive units, the grills were an essential part of the technical design to allow for cooling of the fireplace box. Some manufacturers used metal finishes for the grills and metal surrounding parts such as nickel or brass to dress up the fireplaces.

As with fake-log burners, these substandard finishes were not appreciated by many designers and homeowners who wanted fireplaces with clean fronts that could be finished right to the opening with noncombustible

finishes. After several companies attempted to meet this demand, Town and Country fireplaces were introduced nine years ago combining a large opening with a minimal frame so units could be finished cleanly. In short order, most manufacturers introduced their versions of clean-faced units focusing on the flame rather than its surroundings.

It is a bit of a misnomer to call these new contemporary styles “fireplaces”. With the focus shifting away from logs and frames to flames and clean finishes, as well as the recent trend of nontraditional elongated shapes, a more accurate term would be “fire feature”.

These new fire features retain the intrinsic attraction of the warmth and movement of fire, while offering choices in line with contemporary designs.

Another trend associated with fire-feature choices is the introduction of contemporary styled electric fireplaces. Electric manufacturers are now producing units that no longer try to replicate a wood-burning fireplace, but rather a moving light feature with modern clean styling. Again, the attraction is found in moving light combined with clean finish.

These electric units are perfect for commercial installations such as restaurants, as a dynamic moving installation can still make a huge impression without the need for the daunting technical challenges of a gas fireplace.

The newest innovation in fire features has been in the use of ethanol. Ethanol is basically denatured alcohol, is clean burning without toxic byproducts and therefore eliminates the need for venting. Most of the ethanol burners available on the market are just burners with the flame as the primary focus. As with electric fire features, ethanol burners are ideal when the piping and venting restrictions of a natural gas unit are too great.

Like any manufactured product that combines technology and design, the growth, innovation and change in the “fireplace” industry has surged over the last 10 years from a standing start half a century ago, providing designers with an almost endless array of choices to work with. It will be interesting to see what the next leading-edge innovation will be. DQ Robert Koby is owner of Vancouver Gas Fireplaces, North America’s leading innovator of custom fireplace design and implementation. VGF provides the most comprehensive fireplace website to architects, builders, designers and renovators. www.vangasfireplaces.com Winter 2013 | DESIGN QUARTERLY

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contemporary mantels

By Catherine Traschenko Interior by Sublime Interiors

T

here are many ways to design fireplace mantels and today’s market offers a wide assortment of styles and materials to explore. Since each material has its own limitations it’s usually best to identify the style of a mantel first and then choose the material best suited for the job.

Mantel styles can usually be broken down to three categories: traditional, surrounds, and tiled. Traditional mantels feature a gas/electric unit typically lower to

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the ground, mantel legs to the floor, and a deep shelf for knick knacks. The less flare and detail on the mantel the more contemporary it becomes. Ultra modern styles are typically bold in their simplicity and streamlined; however, their shelf is usually still deep enough to be able to place something on top, like a glass of wine. Mantel surrounds are a very contemporary style and are often paired with linear fireplaces.

They are popular to have as floating units.

These mantels typically frame the gas unit

on all four sides and are minimalist in details. In this style emphasis is the fireplace unit and the simplicity of the mantel is to focus attention to the fire. Mantel surrounds are usually not very deep for this very reason. If the linear unit is large enough it doesn’t require any mantel at all and is a stand alone feature. Tiled mantels can be floor to ceiling or half wall. This depends on the size of the space and if there’s a build out with the fireplace unit. Tiled mantels take the least amount of space, but

::::::: fireplaces ::::::: can make a huge visual impact if they go to the ceiling. It’s popular to add a floating mantel ledge or hearth that’s a couple of inches deep to add dimension to the assembly. Tiled mantels work great with either linear or more square fireplaces making them very versatile.

Depending on the cladding material they can look either contemporary or classic.

Popular materials for mantels are natural stone, decorative concrete, wood, and limestone plaster. Every material has its benefits and limitations to consider in each application. Some are easier to work with in one style than another. Stone is an ageless choice for any mantel style. The great varieties of colour and stone type make it possible to find a match for virtually any interior. The main consideration for stone is that it can be heavy in a traditional mantel style, and expensive. Also, the colour and veining is not controlled, so you don’t always get what you’re expecting. Decorative concrete allows a lot of design flexibility and a better price than stone. It is non-combustible and you can achieve the similar look of stone, with less weight and in both traditional or modern styles. Wood mantels are the most affordable and can be crafted to any shape.

The main drawback is that with gas and wood burning fireplaces it must have minimum clearance from the heat forcing a tile around the exposed wall. This limits design options to more traditional looks. Limestone plaster is a relatively new material application allowing mantels to be made on site. As a hand applied coating it requires an existing substrate to cover and carries a more rustic charm. With all of these material options available, today’s trend sees many of the warm and cold materials blended together, such as concrete and wood veneer for inspirational wall features.

Currently many fireplace designs are quite modern. Traditional mantel styles are installed without hearths so hardwood runs right under the legs for a seamless look in the room. This lends the more classic mantel styles a transitionary feel to match with contemporary furniture. Tiled fireplaces are popular as floor to ceiling panels, especially in smaller spaces. If you’re considering a tiled look and want to place a TV above the fireplace make sure to put a mantel between the two. Otherwise the heat can damage electronics. The mantel ledge should be at least 6” deep, or a TV can also be recessed in a niche for a more clean look. DQ

Interior by Clay Construction

Catherine Traschenko is a partner in DreamCast Design and Production. DreamCast manufactures concrete mantels and custom products for residential and commercial use. www.dreamcastdesign.com Winter 2013 | DESIGN QUARTERLY

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advocating for change

By Peter Streith

A

n architect as an advocate is a combination that is not commonly discussed in today’s service-orientated society. The politics of architecture are sorely lacking in the Canadian contexts, and our role as leaders in our communities, advocating for the way we should live, work and develop the built environment is falling behind that of other countries around the world.

In the current procurement methodology where the emphasis is placed on a team’s experience on similar type projects and with a significant percentage of the evaluation criterion on fees, the focus of the selection is not on the designer ability to innovatively create solutions that go beyond the strictly functional requirements of the project. Various institutions are now looking at Value Based procurement models in an attempt to focus more of the evaluation on the consultant team’s ability to identify the risks associated with a proposed project, which will hopefully translate into a more effective design solution. Some jurisdictions have utilized design competitions for culturally significant projects, a method which has the potential to heighten the awareness of design related issues in the general population.

However, additional discussion and debate needs to ensue to further advance awareness of the potential impact that design has on the local community.

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Architects and designers will continue to marginalize our profession by not focusing on the critical issues that face our communities, both on a local and global perspective. Sustainability is finally gaining a strong foothold in today’s discussions regarding the design and construction of buildings, and in addition the general public’s understanding of the impact that buildings have on the environ-

Our roles as architects and builders need to also focus on educating our communities on the value of great design... ment, both from an energy and material consumption perspective, has greatly increased.

Our roles as architects and builders need to also focus on educating our communities on the value of great design and how buildings have the ability to foster connections within the local community and re-engage with the surrounding environment.

As with other jurisdictions around the world, architects are privileged to have a protected scope of practice, with the duty to first and foremost protect the public good. It is therefore our responsibility to further develop the culture of design in our respective communities through education and the development

of great architecture. For example we need to reverse the environmental disengagement that current designs have created by fully eliminating the thought process in adapting our spatial conditions. Designers have utilized technology in an attempt to reduce energy use, but have eliminated the user’s thought process in when and where they use energy.

Designers are inadvertently conditioning the occupants of their buildings not to think about their surrounding environments, allowing the building systems to automatically adapt the lighting levels as the natural environment changes. This and other such design choices, such as fixed vs. operable windows, and the ubiquitous use of motion sensors needs to be carefully considered to ensure the intended value is achieved and not a further desensitization of the building inhabitants.

Despite an increase in the use of the integrated design process, each of the building systems must be challenged to optimize its effectiveness on a holistic perspective, and not just accepting the status quo. For the sake of expediency, standard design options are typically suggested to meet project schedule and budgets, instead of fully integrating each of the building systems in a fine balance to meet the overall project design objectives.

Our role as architects must be strengthened in the facilitation and coordination of the design process, thereby effectively engaging all of the required stakeholders on a focused vision and never losing sight of the opportunity that our designs have to enhance not only the occupants of our design but also the communities in which they are located.

Our true value as architects lies in our ability to be thought leaders, advocating for the way in which we should live and work. By using designs to enhance the way we live and work through creative environments and places that inspire people, we can foster connections to the local community, while reducing our impact on the global environment and enhancing our appreciation for the world in which we live.

We as designers and architects must remain passionate about our profession and should not be afraid of advocating for change. DQ Peter Streith is a principal at the Edmonton office of Kasian Architecture Interior Design and Planning. He is the current president of the Alberta Association of Architects (2012-2013) and chair of the International Relation Committee for CALA (Canadian Architectural Licensing Association).

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

retaining a designer early

by Ada Bonini

This private residence in North Vancouver is an example of a project that was well coordinated, where BYU Design was involved with coordination with the architect and client early on. The space flows well and functions perfectly for the client.

E ma P e t e r P h o t o g r ap h y

I

n our firm, we often have clients ask if we should be retained early in a project. It’s a great question — one that is a giant step in the door to understanding what a professional interior designer does and how we can greatly contribute to a functional, safe and pleasing environment. So, why should we be retained early, sometimes even before a physical site has been selected? Below are a few results that could occur if we are brought on board early in the process.

Evaluating the user’s needs. One of the learned skills of an interior designer is the ability to ask the right questions about what the end user requires to have their space function properly and to implement that information into a space plan that has proper adjacencies, allows privacy if needed, increases work flow activity, and in some instances helps with profitability. Do you ever feel frustrated that your condo bathroom door is located right beside the dining table, making it awkward for guests to use the facilities during a dinner party? Or, you wonder why your office staff never seem to be at their desks because they are constantly running back and forth to the copy station that’s a bit too far away? These are all situations that could have been addressed and avoided in a programming session.

Establishing area requirements.

Something that we see time and time again

is that clients typically underestimate the square footage required to meet most or all of their desired functions. Interior designers understand that each square foot equates to money, not only in maintenance and leasing fees but also in overall space cost. Once we establish the client’s needs, we allocate a minimum area required plus extra for circulation. From there, we start a dialogue with the client on what the minimum useable area should be or advise them if they are being realistic in their expectations of what their chosen space can handle. We then assist with what should stay as a key function, what is a negotiable function, and what really needs to be shelved.

This avoids the disappointment of spaces feeling too small, being too tight, or feeling like all items just won’t fit. There’s nothing worse than outlaying capital on a new space, only to find out it’s too small to fit all of your expected requirements.

Economising and making the best use of space. Professional interior designers are constantly absorbing new product information and new techniques and technologies in lighting, appliances, plumbing fixtures, and furnishings. They are exposed to and ever learning about the evolving world of products and other cultures that have tested economizing interior elements to combat the effect of rising real estate prices. Did you

know you can cook a full size turkey in some 24” wide ovens? Or that a 24” wide fridge in some cases can be as efficient in cubic volume as a 30” wide model? Chances are your interior designer does. And if you use that smaller appliance in your kitchen, you gain 6” to 12” of lineal cabinet space, or can reduce your kitchen footprint by that much.

That economizing of space can equal as much as two square feet — which can equal a lot of money at Greater Vancouver’s square footage costs. But if we were told to work off of an established floor plan, then this can be a lost opportunity.

Visualizing the end product. One vital skill of an experienced designer is being able to visualize volume. We can determine if physically and psychologically a space will feel too tight, too voluminous, or if furnishings will function in determined allocated spaces just by looking at a plan. We also can determine if code violations are occurring, and if obtaining an occupancy permit may be compromised because of on the spot revisions by contractors or owners. Very often we have clients who are in the framing stage and call us in because upon walk through, the physical space is not meeting their expectations. “It looked so big on the floor plan, but when I stand in the space I can’t imagine living here!” is a comment we unfortunately have heard on a few occasions. These costly revisions could be avoided if a professional interior designer is retained during the space planning phase.

If you are considering hiring an interior designer, consider it early. Utilize our experience and training, it’s what excites us! If you are looking for a qualified interior designer, visit Interior Designers of Canada’s website, which has a section called designFIND. Visit idcanada.org to find a professional designer in your area. DQ Ada Bonini, RID IDC IIDA LEED AP, is one of the principals of Bob’s Your Uncle Design Ltd (BYU Design) an interior design firm located in Vancouver. She is currently the first vice president on the Interior Designers of Canada (IDC) Board of Directors.

Winter 2013 | DESIGN QUARTERLY

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::::::: design headlines ::::::: Designer Monologues

Cheng Awarded

The Railtown Design District in Vancouver will be hosting The Designer Monologues on Feb. 21, 2013, a one day conference with top marketing and business development experts. The information is specifically geared toward interior design professionals wanting to grow their business and attract new clients. A team of speakers will offer insights to help de-mystify the world of social media, provide tools to strengthen and promote your brand, as well as introduce some best practices to help optimize your business. Cost is $125 + HST and includes lunch and wrap up cocktail party. To register, email: info@ railtowndesigndistrict.com

Vancouver architect James Cheng has been named a Member of the Order of Canada by His Excellency the Right Honourable David Johnston, Governor General of Canada.

Cheng was awarded an Order of Canada for “for helping to develop the Vancouver style of architecture, influencing the face of a city and a generation of Canadian architects.” The Order of Canada is one of the nation’s highest civilian honours recognizing outstanding achievement, dedication to community and service to the country. The Order of Canada consists of three levels of honour: companion, office and member.

Thom to Design Opera House

The British Columbia Construction Association (BCCA) has officially published a 14page review of industry concerns, providing practical recommendations to improve the planning, implementation, and operation of assets in BC’s public sector.

Fair and Transparent: Implementing the CAMF for Construction Procurement stresses the need for partnership and outlines the struggle to successfully establish reasonable standards for government, Crown corporations and publicly-funded agencies’ use in capital asset planning.

The BCCA’s recommendations for public procurement policy include: • facilitating a variety of procurement approaches, instead of favouring a single approach • ensuring qualification criteria are actually relevant to the bidder’s ability to deliver the service • requiring disclosure of public procurement results • requiring audits with published results • ensuring entities such as Shared Services and Partnerships BC do not compete with the private sector • creating formal mechanisms for ongoing collaboration between industry and government in regard to procurement practices.

Read the full review at www.bccassn.com/ procurement

Vancouver architect Bing Thom has been selected to design a Chinese opera house in Hong Kong. It will serve as one of the landmarks of a major new arts and cultural development in West Kowloon Cultural District. In all, 50 teams from around the world expressed interest in the project.

Thom will team up with Hong Kong-based architect Ronald Lu to design the Xiqu Centre, a new facility devoted to the traditional performing art of Chinese opera. This will be the first project in the city for the Hong Kong born Thom. The Xiqu Centre is scheduled to open in 2016.

Innovative Housing Twelve shipping containers are being converted into social and affordable housing for women in the city’s Downtown Eastside. Construction of the housing project — the first of its kind in Canada began late November.

The containers are being stacked three high and two across. Each 320-square-foot apartment will have a private bathroom, kitchen and in-suite laundry. Floor-toceiling windows are at each end and each floor will be linked by an external staircase.

Developed by Atira Women’s Resource Society, the project is slated to be completed

by April 2013.

Cheetham Elected Carolyn Cheetham from Red Deer Alberta has been named vice president of the National Kitchen & Bath Association (NKBA).

Cheetham, owner and president of Design Works, is the executive committee’s sole Canadian member. She previously held the position of treasurer on the NKBA. The 2013 executive board will be led by president John Morgan, owner of Morgan Pinnacle LLC. NKBA, representing kitchen and bath professionals in Canada and the U.S., celebrates its 50th anniversary in 2013.

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Procurement Review

Matsuzaki Passes Away Architect Kiyoshi Matsuzaki, past RAIC president and former council member of the AIBC, passed away on Dec. 23, 2012. Retired in January 2011, he was principal of Matsuzaki Architects Inc. He was known for several award winning projects during his career, most notably the UBC C.K. Choi Building. In 2008, he gained honourary Life Member status with the AIBC, signifying 30 years of continuous membership. Kiyoshi is survived by his wife Eva, daughter Tessa and son Martin.

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LG Certified LG Electronics has become the first major appliance manufacturer to have its refrigerators certified by CSA Group to meet the industry’s new Sustainability Standard for Household Refrigeration Appliances.

Nine LG refrigerators, from popular French Door models to all-new LG ThinQ ‘smart’ models, achieved the levels required to meet the new environmental standard, according to CSA Group.

The 2012 sustainability standard is based on a lifecycle approach for identifying the environmental impacts of refrigerator products in five key areas: materials, manufacturing and operations, energy consumption during use, product performance and end of life.

This is the first in a series of product sustainability standards for use by manufacturers, governments, retailers and others to identify products with features designed with the environment in mind.

Wood Design Awards Four of the 10 winners announced for the 2012 North American Wood Design Awards were from B.C. Perkins + Will earned a Canadian Wood Council Award for the Centre for Interactive Research on Sustainability (CIRS) at UBC. McFarlane Green Biggar Architecture + Design won a Wood Design Merit Award for the North Vancouver City Hall. Checkwitch Poiron Architects earned a Wood Design Citation Award for the Nanaimo Cruise Ship Terminal Building on Vancouver Island. And MacDonald & Lawrence Timber Framing Ltd. won the Wood Heritage Award for the Kinsol Trestle on Vancouver Island.

More than 100 entries were received for the awards, which are the only North American wide awards program to publicly recognize and award excellence and innovation in wood architecture.