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BAS10-6132_WE_Non-Resid_ad_1p_Cnd_Archi.indd 1 2/16/10 9:45:31 AM Docket #: BAS10-6132 Magazine: Canadian Architect Colours: cmyk Client: BASF Canada Issue: Resolution: 300 dpi Agency: Soleil Communication Size: 9 x 11,25 inches Date: February 17, 2010 cOntents

20 patkau aRchitects 22 cannon design 24 5468796 aRchitectuRe inc.

26 smith caRteR aRchitects and engineeRs/ 28 atelieR Big city 30 BaiRd sampson neueRt aRchitects paRkin aRchitects

34 kongats aRchitects 36 pRovencheR Roy + associés aRchitectes 38 caRdinal haRdy | laBonté maRcil | eRic pelle­ tieR aRchitectes, aRchitectes en consoRtium

40 eRic pelletieR aRchitectes 43 JeffRey ma, mcgill univeRsity 45 taRaneh meshkani, univeRsity of toRonto

9 aWards Of exceLLence 12 the Winners a RefReshing selection of WoRk fRom acRoss noRth ameRica pRofiles of the 2010 aWaRd Recipients. Was chosen By this yeaR’s JuRy, RepResenting an encouRag­ ing diveRsity of Building pRogRam—fRom hospital to foot­ BRidge to film centRe. 50 List Of entrants

decemBeR 2010, v.55 n.12 cOVer RendeRing of the Bloc_10 Residen­ tial development in Winnipeg By 5468796 aRchitectuRe inc. The NaTioNal Review of DesigN aND PRacTice/ The JouRNal of RecoRD of The Raic

12/10 canadian architect 5 viewpoint

Another example is in Vancouver, where the $1.3-billion redevelopment of Southeast False

danny sInGer Creek (SEFC) was intended to be a leading model of sustainable development, incorporating infra- structure, energy reduction programs, high- editor performance buildings and easy access to transit. Ian ChodIkoff, OAA, FRAIC associate editor The first phase of SEFC was the Olympic Village LesLIe Jen, MRAIC for the 2010 Winter Games and Paralympics, host- editorial advisors John MCMInn, AADIpl. ing approximately 2,800 athletes and officials. MarCo PoLo, OAA, FRAIC While the development was a hive of activity dur- contributing editors GavIn affLeCk, OAQ, MRAIC ing the Olympics, it remains far from being inte- herbert enns, MAA, MRAIC douGLas MaCLeod, nCARb above desPIte soMe of the unforunate grated into the life of the city today. The build ings short faLLs evIdent In vanCouver’s for- regional correspondents are spaced too closely together, the condominiums halifax ChrIstIne MaCy, OAA regina bernard fLaMan, SAA Mer oLyMPIC vILLaGe, there are Many montreal davId theodore calgary davId a. down, AAA CoMPonents of the arChIteCture and and townhouses command too high a price (even Winnipeg herbert enns, MAA vancouver adeLe weder publisher PLannInG that deMonstrate soLId Con- for the Vancouver real estate market), and a lack of toM arkeLL 416-510-6806 CePts of sustaInabILIty. adequate views to the water and the North Shore associate publisher GreG PaLIouras 416-510-6808 have all contributed to the project going into re- circulation Manager I thought that we should finish the year on an ceivership. Of the 737 market-rate suites, roughly beata oLeChnowICz 416-442-5600 ext. 3543 custoMer service optimistic note. And so, we begin by giving thanks 30 percent have been sold and just over half of the MaLkIt Chana 416-442-5600 ext. 3539 to the federal and provincial governments for 120 rentals had tenants by the end of November. production JessICa Jubb keeping so many architecture firms busy with A deal for the 252 non-market units with BC graphic design projects funded by economic stimulus money in- Housing is pending. The more successful compo- sue wILLIaMson vice president of canadian publishing tended to improve our aging infrastructure. Now nents of the project include a 67-unit seniors’ aLex PaPanou president of business inforMation group for some realism and concern. With all of this residence—Canada’s first Net Zero multi-unit bruCe CreIGhton infrastructure money drying up, our economy— residential building—and a popular community head office 12 ConCorde PLaCe, suIte 800, and the public policy that influences it—must now centre. SEFC’s lack of adequate urban planning toronto, on M3C 4J2 telephone 416-510-6845 focus on improving the efficacy of large-scale has resulted in significant weaknesses in this sup- facsimile 416-510-5140 e-mail [email protected] sustainable developments that will result in posedly innovative sustainable development. Web site www.CanadIanarChIteCt.CoM A third example where the focus on sustainable Canadian architect is published monthly by bIG Magazines LP, a div. of energy-efficient buildings. Emphasis must also Glacier bIG holdings Company Ltd., a leading Cana dian information development needs to evolve can be found in the company with interests in daily and community news papers and business-to- be placed on progressive approaches to urban in- business information services. tensification with all of the attached social, health EQuilibrium Sustainable Housing Demonstration the editors have made every reasonable effort to provide accurate and authoritative information, but they assume no liability for the accuracy or com- and economic benefits. However, based on the Initiative led by the Canada Mortgage and Hous- pleteness of the text, or its fitness for any particular purpose. ing Corporation (CMHC). While the program subscription rates Canada: $52.95 plus applicable taxes for one year; results of a few recent projects, current approach- $83.95 plus applicable taxes for two years (hst – #809751274rt0001). addresses occupant health and comfort, energy Price per single copy: $6.95. students (prepaid with student Id, includes es to the creation of large-scale sustainable de- taxes): $34.97 for one year. usa: $101.95 us for one year. all other velopments need revision. efficiency, renewable energy production and af- foreign: $120.00 us per year. us office of publication: 2424 niagara falls blvd, niagara falls, ny 14304- One example is in Toronto, where the Toronto fordability, it must continue to draw upon the ex- 5709. Periodicals Postage Paid at niagara falls, ny. usPs #009-192. us postmaster: send address changes to Canadian architect, Po box 1118, Community Housing Corporation (TCHC) is lead- perience of builders, architects and planners niagara falls, ny 14304. from across the country to expand upon recent return undeliverable Canadian addresses to: Circulation dept., Canadian ing a $1-billion revitalization project for Regent architect, 12 Concorde Place, suite 800, toronto, on Canada M3C 4J2. Park, creating a mixed-income community in- EQuilibrium case studies for clues on how to bet- Postmaster: please forward forms 29b and 67b to 12 Concorde Place, suite 800, toronto, on Canada M3C 4J2. Printed in Canada. all rights reserved. tended for 5,100 households. Amenities intended ter disseminate the lessons learned. This might the contents of this publication may not be re produced either in part or in full be achievable with the EQuilibrium Communities without the consent of the copyright owner. to improve the development’s social sustainability from time to time we make our subscription list available to select companies program, an association between Natural Resour- and organizations whose product or service may interest you. If you do not quotient include two daycares, space for local wish your contact information to be made available, please contact us via community groups, a learning centre, an employ- ces Canada (NRCan) and the CMHC. Funded by one of the following methods: telephone 1-800-668-2374 ment hub, and plenty of retail and commercial the federal government’s ecoACTION initiatives, facsimile 416-442-2191 e-mail [email protected] services. The energy savings is targeted between the three-year $4.2-million demonstration in- mail Privacy officer, business Information Group, 12 Concorde Place, suite 800, 40 and 50 percent of the Model National Energy itiative has enabled the research and planning of toronto, on Canada M3C 4J2 member of the canadian business press Code for Buildings. A water and energy reduction four projects to date—Station Pointe in Edmon- member of the audit bureau of circulations publications mail agreement #40069240 program is being put into place and a new district ton, the Ampersand in Ottawa, the Ty-Histanis issn 1923-3353 (online) heating plant will effectively reduce the develop- community outside Tofino, and Regent Park in issn 0008-2872 (print) ment’s greenhouse gas emissions by 8,000 tonnes Toronto. Bewilderingly, however, no money or a year during Phase I of the neighbourhood re- financial incentives will be allocated for subsidiz- vitalization. Yet despite these efforts to transform ing the hard costs associated with any of the par ti- the area, in early December, 18-year-old Nicholas cipating projects. Yambo became the fourth homi cide victim in Under standing the shortfalls in large-scale de- Regent Park over a two-month period. For Regent velopment of sustainable com munities is crucial Park to be successful as an environmentally and if we are to ever implement strategies that result socially sustainable entity over the long term, in socially, economically and ar chi tecturally sus- We acknoWledge the financial support of the government of canada through the canada periodical both the physical and social components need to tainable living. fund (cpf) for our publishing activities. work in tandem. Ian ChodIkoff [email protected] pap registration no. 11093

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CirCle reply Card 15 awards of excellence 2010 a true reflection the jury for the 2010 awards of excellence reViewed a record numBer of suBmissions representinG a wide ranGe of project types from across north america.

The jury for the 2010 edition of Canadian Archi- I am pleased to see some highly innovative aBoVe, left to riGht­Andrew­King,­JAmes­ tect magazine’s Awards of Excellence program submissions on multi-family projects. Housing Cheng­And­JAnnA­Levitt­debAte­the­ studied a marvellous array of entries from across is the most common building type, but due to strengths­of­the­shortListed­group­of­ the country. A record number of 144 submissions various reasons such as budget, market accep- submissions­in­this­yeAr’s­AwArds­of­ provided our jury with considerable material to tance, planning restrictions, etc., it is perhaps exCeLLenCe. review and discuss, resulting in the final selec- the most difficult to innovate. Increasingly, ar- tion of winners that appear in this highly antici- chitects and planners are being asked to provide ment in the built environment, which may have pated year-end edition of the magazine. No jury designs for projects in China, the Middle East, created a void that the private sector is filling. is infallible, but since the awards program began India, and other fast-developing countries at an The second may be that the clients of developer in 1968, every jury has quickly developed its own unprecedented pace and scale. With this increas- buildings such as condominiums, hotels, etc. are distinct methodology of reviewing each year’s ingly smaller global village, it raises questions becoming more discerning “purchasers” of de- submitted projects. What was highly admirable of about regionalism and what kind of new urban- sign and this has amped up the quality of this this year’s jury was their ability to cast a sympa- ism should result and by what standard we should type. thetic eye and apply an open mind to the wide define excellence. One issue I found very surprising and which we range of scales, budgets, client mandates and Principal of Levitt Goodman Architects in To- discussed at length was the generally unimagina- programmatic concerns. ronto, Janna Levitt had the following comments tive quality of the representational strategies of The profession of architecture is full of chal- to make about the 2010 Awards of Excellence: the submissions. Just as every picture tells a story, len ges that demand a specialized range of skill When reflecting on which type of projects typi- every drawing must effectively and creatively de- sets to shepherd an architectural concept to frui- cally garner attention in Canadian award pro- scribe a key concept. This is particularly felt in an tion. Certainly, our jury—comprised of architects grams, it seems to me that the stars have shone anonymous submission where the jurors have no James Cheng, Andrew King and Janna Levitt— most brightly in two sectors: public institutional prior knowledge to bring to their review of the understand these challenges facing today’s prac- buildings, and the single-family house. It is in- submission. If one needs inspiration, just attend ti tioners, not to mention the incredible demands triguing and I think a real reflection of our times, an end-of-term review of senior student work at placed on architects by public- and private- that we have three exciting and innovative pri- any of the schools across the country: hand draw- sector clients. Vancouver-based architect James vate-sector projects receiving Awards of Excel- ings, models, AutoCAD drawings, stills of home- Cheng offers the following general comment lence. I suspect there are two reasons for this. made videos, collages…nothing is sacred and about his experiences over the course of the two- The first may be linked to the withdrawal of gov- every thing is in service of communicating the ar- day adjudication process in October: ernment from its historically significant invest- chitectural ideas in a stimulating way.

12/10­­canadian architect­9 james K.m. cheng andrew King janna levitt James K.M. Cheng received his Bachelor of Andrew King is a graduate architect, author, crit- Janna Levitt, Principal of Toronto-based firm Architecture degree from the University of ic, curator, and educator. He has practiced and Levitt Goodman Architects (LGA), is known Washington, after which he moved to San Fran- taught across Canada and in London, Berlin, Bu- around her office as “the optimist” because she cisco to work with Henrik Bull of Bull Field Volk- dapest, Rome, Seville and Copenhagen. King was brings a positive energy to her work that draws mann Stockwell on a variety of urban projects. selected as one of Canada’s “design leaders” by the best out of people and circumstances. A trail- Shortly thereafter, Cheng apprenticed with The Globe and Mail in 2003. That same year, he blazer, she also seizes opportunities to find solu- Arthur Erickson in Vancouver for three years as a was awarded the Canada Council for the Arts Prix tions to problems that spark her interest such as designer on large-scale urban and international de Rome and a Canadian Architect Award of Ex- the Vermicondo—a stylish indoor worm compos- projects such as the Vancouver Law Court com- cellence. King has worked with internationally ter for urban dwellers. plex, and the Anthropology and Sociology Faculty recognized architects such as Zaha Hadid in Lon- Levitt’s background in the visual arts has distin- office at the University of British Columbia. don, Tim Heide in Berlin, and Brian MacKay- guished her architectural career. She studied fine Cheng was first recognized by Architectural Lyons in Halifax. arts at the Nova Scotia College of Art and Design Record magazine and was included in their special He is Design Principal at Cannon Design, cur- and at the Museum School of Fine Arts in Boston, “Young Architects” issue in December 1972 for a rently leading teams in Vancouver and Montreal graduating with a Bachelor of Arts from the Uni- condominium project he designed while still an and overseeing projects across Canada and in versity of Toronto, followed by a Bachelor of Ar- undergraduate working for Mithun Partners of Asia. He has led his own design and research ini- chi tecture degree in 1986, also from the University Seattle. Subsequently, this project was included tiative AK A for over 20 years, which encompass- of Toronto. As such, she seeks opportunities to in- in Architectural Record’s “Record Houses” issue in es architecture, urban design, and installation- tegrate art into LGA projects, like the segmented 1974. based work. felt walls by Kathryn Walter at the Jamie Kennedy In 1977 Cheng obtained his Master of Architec- King is the Azrieli Visiting Chair at Carleton restaurant, and the frit-patterned windows by ture degree from Harvard University’s Graduate University’s Azrieli School of Architecture and Melissa Levin at the Canterbury residence. School of Design, where he studied under Ameri- Urbanism for 2009-10. In 2004, he was Visiting To complement her busy architectural prac- can architect Richard Meier. Upon graduation, he Professor at Copenhagen’s Royal Academy of Art, tice, Levitt has been heavily involved in teaching, (in joint venture with Romses Kwan & Associates) and he has held visiting, adjunct, and special fac- and is currently an Adjunct Professor at the John won a provincial competition to design the Chi- ulty appointments in architecture and fine art at H. Daniels Faculty of Architecture, Landscape nese Cultural Centre in Vancouver. the University of Calgary, McGill, and Dalhousie. and Design at the University of Toronto. She is Cheng won his first major design award from King also leads an ongoing research initiative frequently invited as a juror and guest critic, and Architectural Record in 1977 for a private resi- with the Banff Centre for the Arts. has lectured extensively on a variety of topics dence, which was recognized as one of the 20 Re- His work has been published in national and such as environmental strategies for urban con- cord Houses of 1977 along with Richard Meier’s international art and architecture journals, ditions, sustainable design and adaptive reuse. Shamburg House. Since these first awards, Cheng including Canadian Architect and Canadian Art, Janna Levitt founded LGA in 1992 with her has won over 45 major design awards, including and has been recognized with provincial, na- husband Dean Goodman. The firm is responsible the prestigious Governor General’s Medal from tional and international design awards. Addi- for numerous award-winning projects, such as the Royal Architectural Institute of Canada, the tionally, as a writer and critic, King has contrib- the University of Waterloo School of Architecture Canadian Architect Yearbook Award, the Lieuten- uted to several critical journals, writing about in Cambridge (2004) and the Longhouse for ant Governor’s Gold Award from the Architectur- contemporary projects and architectural cura- Native Child and Family Services in Toronto al Institute of British Columbia, and the Interior tion. He is a co-editor of and contributor to (2010). Levitt’s current projects include the reno- Design Institute of British Columbia’s Gold building/art (2004), and his work was featured in vation and 25,000-square-foot expansion of the Award of Excellence. His work has been pub- and on the cover of The Prix de Rome: A Critical main branch of the Kitchener Public Library; a lished and exhibited in Canada, the US, Japan, Perspective (2006), edited by Marco Polo. study for the redevelopment of the Scadding London, Germany, and Hong Kong. His critical art practice (with Angela Silver) Court Community Centre; and an extensive land- In addition to leading a busy and diverse prac- has made in-situ and gallery-based installations scape and residential project in Hoggs Hollow. tice, Cheng has also lectured at the University of across Canada and abroad. Commissions include In addition to professional memberships with British Col umbia for three years, and has served lens for the Banff Centre for the Arts for inclu- the Royal Architectural Institute of Canada and as a visiting critic and juror on architectural com- sion in the 2005 Alberta Biennial of Contempo- the Ontario Association of Architects, Levitt’s petitions and design award juries, both locally and rary Art, and ex-urbus for Black Dog Press’s In- keen interest in apiary culture motivated her to nationally. formal Architecture, edited by Anthony Kiendl. join the Ontario Beekeepers’ Association in 2009.

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5468796 Architecture Inc. is a Winnipeg archi- systems. Our collaborative studio (one desk, 12 Ionescu, Zach Pauls, Mandy Aldcorn, Colin tecture studio with a diverse range of interests. practitioners) explores through conversation and Neufeld, Sasa Radulovic, Johanna Hurme, Ken The firm was established in 2007 to challenge play, models and mock-ups, drawings and re- Borton, Sharon Ackerman, Aynslee Hurdal, convention at all scales, from branding, architec- visions, and continuous inquiry. Counterclock- Michelle Heath, Mark Penner. ture and design, to detailing and engineering wise from bottom left: Shannon Wiebe, Cristina

Baird Sampson Neuert Architects is organized as a collaborative design studio led by the firm’s principals. The office has a longstanding interest in the interaction between building, site and community, using sustainability as a driver of in- novation. Based in Toronto, it is a mid-sized practice with 15 staff, dedicated to the goals of design excellence and exceptional service. Left to right: Gavin Berman, Renee Leung, Ian Douglas, Jon Neuert, Harvey Wu, Barry Sampson, Jesse Dormody, Mauro Carreno, Andrea Macecek, Kamyar Rahimi, Germaine Hepburn, Yves Bonnardeaux.

National Historic Site in Toronto, the Marcel A. Desautel Faculty of Music and the School of Art at the University of Manitoba, the Goldring Centre for High-Performance Sport at the University of Toronto, as well as a variety of residential pro- jects in diverse locations ranging from a northern island off the coast of British Columbia to a farm in Ad’Diriyyah, Saudi Arabia. As the circum- stances of the work change, their interests ex- pand. They seek to explore the full richness and diversity of architectural practice, understanding it as a critical cultural act that engages our most fundamental desires and aspirations. They refuse singular definitions of architecture: as art, as technology, as social service, as environmental agent, as political statement. They embrace all Patkau Architects is an internationally recognized 30 years of practice, both in Canada and in the these definitions together, as part of the rich, architectural design studio based in Vancouver, United States, Patkau Architects has been re- complex and vital discipline that they believe British Columbia. Principals John Patkau and Pa- sponsible for the design of a wide variety of architecture to be. Left to right: James Eidse, tricia Patkau are joined by three associates: David building types for a diverse range of clients. Cur- Luke Stern, Pat Patkau, John Patkau, Thomas Shone, Peter Suter and Greg Boothroyd. In over rent work includes a Visitors’ Centre at Fort York Schroeder.

12 canadian architect 12/10 Atelier Big City (Anne Cormier, Randy Cohen, Howard Davies) is known for its innovative and often gregarious approach to architectural de- sign. Two centres of interpretation built in east- ern Quebec at Pabos Mills and Trois-Pistoles as well as a housing project on Paper Hill in Mont- real (U2) demonstrate the group’s desire to build provocatively yet also deal sensitively with issues related to site organization, construction, pro- gram and budget. The work of Big City is struc- tured on a strong conceptual approach based on the interpretation of program and siting strat- egies. Of particular interest to the group is the notion of public space in buildings and the im- portance of the architectural promenade, a spa- tial journey animated by relations established between elements of the program, and between the built project and its environment. Each pro- ject is an exploration in generating an architec- urban housing project entitled U2. Their work du Québec à Montréal and at the Université de tural milieu of grand sensual stimulation through has been exhibited and presented through lec- Montréal École d’architecture. Howard Davies the use of very simple means: colour, volume, tures in North America and in Europe. Atelier Big teaches at both McGill University’s School of material and structure. Atelier Big City has re- City are committed educators at the university Architecture and at Concordia University’s De- ceived a number of awards and honours includ- level. Anne Cormier teaches and is the Director partment of Design and Computational Arts. ing the Prix de Rome in 1998, and a Governor of the Université de Montréal École d’archi tec- Left to right: Traian Dima, Randy Cohen, Anne General’s medal in 2006 for their innovative ture, while Randy Cohen teaches at the Université Cormier, Howard Davies, Sebastien St-Laurent.

Established in 1947, Smith Carter Architects and Award and the first building in Manitoba to ces such as master planning, design of new and Engineers Incorporated has been an integrated achieve LEED Platinum certification. SC3 serves renovated buildings, site planning and project firm virtually since its inception. Through its of- as a beta test site to investigate and develop new management, Parkin plays a significant leading fices located in Winnipeg, Calgary, Ottawa and understandings of how buildings and people role in strategic and operational planning with Atlanta, Smith Carter works with clients from work. Arguably the most health-care-experi- many of its clients. Smith Carter Architects and government, institutions and private-sector or- enced architect in Canada, Parkin Architects Engineers team members in above left photo, ganizations across Canada and around the world. Limited is a longstanding, award-winning leader from left to right: Javier Uribe, Lynne Wilson- Collaboration has facilitated innovation at Smith in this highly specialized field, providing services Orr, Jaret Klymchuk, Jim Weselake, Bhavana Carter and areas of expertise range across all to clients across Canada and internationally. Bonde, Tam Nguyen, Doug Corbett, Clifford types of complex projects, with specialties in the Ninety percent of Parkin’s staff of over 100 Goodwill, Scott Stirton. Parkin Architects Limit- design of health-care and research facilities. architects, planners, designers and project man- ed team members in above right photo, from left Projects include: the Canadian Museum for agers are engaged solely in hospital commis- to right: Sohail Akhtar, Chantal Trudel, Cameron Human Rights, a complex building designed and sions. Clients include some of the foremost in- Shantz, Jennifer Haliburton, Joy Raymer, Sarah constructed completely with BIM (Building In- stitutions in Canada, many of which have worked Rahimaldeen, Oksana Posatskaya, Lynne Wilson- formation Modelling); Manitoba Hydro Place; with Parkin for over 20 years, and continue to re- Orr, Angelique Lucas-Witte, Farima Vahid. and SC3, Smith Carter’s third purpose-built turn for their ongoing planning and design headquarters, winner of a Governor General’s needs. In addition to the more traditional servi-

12/10 canadian architect 13 Cannon Design is an ideas-based practice, ality of each owner. The firm is focused on qual- ranked among the leading international firms in ity—with client satisfaction as the ultimate planning and design for health care, research, measurement. Cannon Design works continu- education, corporate, sports and government cli- ously to advance the state of the art, contributing ents. At present, the firm employs a staff of over to the built environment and quality of life of the 1,000, delivering services in 17 offices through- people for whom it creates living and working out North America, as well as abroad in Shanghai spaces. Top row, left to right: Orest Klufas, Jorge and Mumbai. Cannon Design strives to create Remolina, Vincent Yen, Marion La Rue, Winston environments that are a thoughtful response to Chong, Andrew King. Bottom row, left to right: the program mission, physical setting and func- Greg Fenske, Larry Podbora, Jennifer Beagan, tional purpose, reflecting the spirit and person- James Wu.

Founded in 1983 by Claude Provencher and Michel Roy, the Montreal architectural firm of Provencher Roy + Associés Architectes has won many awards for its work in Canada. During the 1990s, the initial partnership was strengthened Alexi Hobbs with the appointment of Line Belhumeur and Alain Compera, and then in 2000 with the ap- pointment of Marius Bouchard—renowned for his technical and legal knowledge. In 2005, Pro- vencher Roy + Associés Architectes widened the breadth of its expertise with the addition of in- terior design firm Moureaux Hauspy + Associés, along with Beauchamp & Bourbeau, a firm that has built its reputation on a strong commitment to sustainable design. Today, the highly trained team of 105 multidisciplinary professionals apply their knowledge toward the design and construc- tion of museums, universities, hospitals, hotels, airports, conference centres, corporate head- quarters, and sports facilities. Additionally, urban planning, programming, feasibility stud- ies, technical consultation, and interior and ex- hibition design are all part of the firm’s scope of services. Open-mindedness and an unwavering commitment to innovation have allowed the Provencher Roy team to adapt its practice to the major transformations that have shaped the firm’s design process. Left to right: Eugenio Carelli, Denis Gamache, Claude Provencher, Jean-Luc Rémy, Matthieu Geoffrion.

14 canadian architect 12/10 Kongats Architects is gaining a national reputation for the innovation they bring to a wide range of important educational, cultural and public institu- tions. In addition to the University of Toronto’s Mississauga Academy of Medicine, current projects include Centennial College’s Athletic and Well- ness Centre, Lambton Art Gallery in Sarnia, and the Foundry District Ener- gy Centre for Waterfront Toronto. The design work of the firm is rational and strictly edited to ensure the projects’ fundamental ambitions are never compromised while architecturally creating exceptional experiences for daily life. Offering an exceptional experience for daily life also means living in sync with our environment. “Green building” is an evident characteristic of the firm’s built projects and feasibility studies, reinforced by their on- going research into the use of self-sustaining materials and building sys- tems, and by an inventiveness in the design of the exterior building skin. The firm’s work has been honoured with several awards including a Can- adian Architect Award of Excellence for Hespeler Library. In 2006, the firm was nominated for the prestigious New York Architectural League’s Emerg- ing Voices Prize. Their work has been featured extensively in various publi- cations and has been exhibited in Canada and abroad. Clockwise from top left: Alar Kongats, Danielle Lam-Kulczak, Philip Toms, Sukie Leung, Alessia Soppelsa, David Sasaki. Missing from photo: Dieter Jensen, Andrea Ling, Derek McCallum, Tyler Walker, Steven Addeo, Tymea Sarkozy.

In 1995, Eric Pelletier co-founded Croft Pelletier architectes, where he evolved his skills as an architect through a variety of cultural and institu- tional projects, many of which have won awards. Some of the more signifi- cant buildings include the Charlesbourg Library, the Gaspésie Museum and the Montreal Planetarium. His work has been published widely, both in Quebec and Canada, as well as internationally. In 2009, Pelletier estab- lished his own architectural practice, Eric Pelletier architectes (EPA), tak- ing with him the same dynamic and passionate team. The firm has since worked on numerous projects with a broad scope, including architecture, interior design, urban design, landscape design, furniture, exhibition and stage design, and even civil engineering. Recently, the firm received an honourable mention for their proposal for a new open-air amphitheatre in Trois-Rivières, the subject of an open competition. Left to right: Eric Pelle- tier, Amélie Turgeon, Annie Martineau. Cardinal Hardy (CHA) was found- ed in 1986 by Michel Hardy and Aurèle Cardinal. Led by seven partners, the firm currently employs 70 full-time employees, including 36 architects, nine landscape architects and six urban designers, many with LEED ac- creditation. Five professionals teach at the university level in the field of urban design and landscape architecture. For the past several years, Car- dinal Hardy has been most actively engaged in the rebirth of the Montreal waterfront. The success of the Old Port of Montreal, Cité du Multimédia, Awards from the Canadian Landscape Architecture Association, an Honour Quartier Concordia, and residential communities in Old Montreal and on Award for the Waterfront Center in Washington, a Governor General’s the Lachine Canal—are all the result of their commitment and planning ef- Award for architecture, and a Prix d’excellence from the Ordre des Archi- forts. The office specializes in landscape architecture, urban studies, res- tectes du Québec. Recently, the firm won the architecture competition for toration and recycling of historical sites and buildings, transportation, Les Bassins du Nouveau Havre, a master plan proposal of a sustainable mixed-use projects and housing. As the firm strongly believes that success- mixed-use project for the old Canada Post site on the Lachine Canal. ful planning is the product of teamwork and the collaborative effort of all Les Architectes Labonté Marcil was founded in 1986. Today, its two found- professionals, they are particularly well-known for a multidisciplinary ap- ing partners—Pierre Labonté and Jean Marcil—lead the 14-person firm. proach and for their rigour in urban planning. Cardinal Hardy has been Their work focuses primarily on the cultural and institutional sectors, along recognized by numerous awards, such as National and Regional Merit with many heritage restoration projects. Labonté Marcil is known for its

12/10 canadian architect 15 Jeffrey Ma was born in 1985 in Hong Kong, and gradu- ated from the School of Architecture at McGill Uni- versity in 2010, where he was awarded the Ray Af- fleck Prize in Design for distinction in his final thesis project. During the Master’s program, he had the opportunity to partici- pate in several speculative studios and theoretical courses with some of the most respected professors in the field of architecture. Amongst others, professors Alberto Pérez-Gómez, Michael Jemtrud, Robert Claiborne, Torben Berns research and technical expertise, in addition to its project management and Andrew King have skills. Its three core values focus on creativity, practicality and rationality. changed his perception of Eric Pelletier Architectes team members in top photo, from left to right: architecture as a profession. Throughout the two years of his Master of Eric Pelletier, Amélie Turgeon, Annie Martineau, Laura Didier, Emman- Architecture degree, Ma was faced with the constant battle between uelle Champagne, Olivier Bourgeois. Cardinal Hardy team members in logic, understanding and the built environment, from which his thesis above left photo, from left to right: Bao Nguyen, Claude Jean. Labonté Mar- entitled Logic Shift was derived. Further, his colleagues in the architec- cil team members in above right photo,3.875” from left to right: Pierre Labonté, ture program contributed significantly to the development of his thesis. Denis Cler mont, Jean Marcil. Without the continuing dialogue with his colleagues and professors throughout the evolution of this project, Ma believes that Logic Shift would not have achieved the same degree of success.

Taraneh Meshkani recently received her Master of Architecture degree from the John H. Daniels Faculty of Architecture, Landscape and Design at the Univer- sity of Toronto. Previously, she earned her under- graduate architecture de- gree from Azad University in Tehran, during which time5” she worked in several architectural firms. In 2008, Meshkani received the Professional Experience Program Award from the University of Toronto and was rewarded internships at Morphosis Architects and Kohn Pedersen Fox Associates. In 2009-2010, she received the Head Office and Showroom Location: 170 Esna Park Dr., #7, Markham, ON Toronto Society of Architects scholarship, which is awarded to a gradu- (905) 475-5460 • (416) 491-2275 • Out of Town 1-888-PERMAWD ating student of the Master of Architecture (M.Arch.) or Master of Urban Design (MUD) program whose thesis project demonstrates an innova- tive approach to city building and urban form. Meshkani is currently working on the topic of public and private spaces as a continuation of her research for her thesis project. circle reply card 28

16 canadian architect 12/10

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CirCle reply Card 19 award of excellence cottages at fallingwater

architect Patkau architects inc. water are linked together by the regional land­ Each cottage forms a small ridge facing due location Mill run, Pennsylvania scape of the Laurel Highlands, a gentle landform south. In series, the cottages form swells and falls of swells and falls. No cottage here can compete of landform, creating a sheltering micro­climate The larger ambition of this project is to stitch with Wright’s masterpiece. No building form can of sunny prospect. together a sense of community from a disparate address the disparate assembly of current Con­ Openings in the landforms connect cottage set of existing buildings and a collection of frag­ ser vancy building facilities. Faced with such a interiors to the meadowland beyond, silently and mented and differentiated landscapes. The re­ predi ca ment, this project suggests that the six passively gathering the sun’s energy in the tained meadowland above Fallingwater, which is proposed cottages take on the role of the binding shoulder and winter seasons, shading openings the proposed site of six new cottages, is a frag­ landscape, becoming part of the regional land­ and providing ventilation during the summer’s ment of a “recent” cultural landscape. It provides form. In so doing, they add their own immediacy heat. Inside, the cottages are open in plan, gen­ a complementary experience to the surrounding of swell and fall to that of the larger vistas and erous with a sense of luminous space. Interiors native forest from which to appreciate and topographic histories. They have no need of as­ are surfaced in light­toned wood, grounded by understand both native ecology and cultural hist­ suming yet another form of architecture on site; concrete floors and sculpted by daylight. A large ory. The meadow opens a clearing in the forest they are part of the site. opening to the southern meadow focuses the and within this clearing, the design of the six cot­ Cuts are made into the landscape: Sunset Cut living space, allowing easy access to an outdoor tages is intended to construct synergetic, sus­ opens the forest to occasion, and a Pond Cut is terrace. Bedrooms are more enclosed, with tainable relationships between dwelling and the located northeast of the meadow, linked to both double or two single beds as required, and extra sun’s energy. Sunset Cut and the assorted Conservancy build­ guests can sleep on the long couch in the living Frank Lloyd Wright’s Fallingwater is an ac­ ings adjacent to the main trail crossing on Route space. knowledged architectural masterpiece, a signifi­ 38. This large pond retains excess water on site, Sustainable building practices take the form of cant artifact of the cultural heritage of the last recycles treated wastewater back into the natural a Net Zero Energy strategy, achievable within the century. Other Conservancy buildings on the ex­ water cycle, and increases on­site biodiversity. constraints of a modest budget and taking into panded Fallingwater site are a collection of the An enlarged narrative for educational programs account material choice, energy, water, and air­ vernacular and the architectural. All are inten­ is suggested and an on­site source of building quality considerations. tional and functional but unrelated and unrecog­ material is provided to facilitate the earthworks nizable as the presence of a community of com­ associated with cottage construction. Bottom a rendered iMage of one of the new cottages that is literally iMMersed mon purpose. The introduction of the six new Cottage form is an intensification of landscape in this significant Pennsylvania cul­ cottages could benefit the whole; they could act as form. Just as Fallingwater is an intensification of tural landscaPe. oPPosite Bottom one of a kind of glue, binding the community together, the rock outcroppings that characterize Bear Run, the Many anticiPated jet­setting archi­ making linkages between things, setting parts the meadow cottages are an intensification of the tourists enjoying his Morning news­ into a new relationship with one another. swelling ground plane of the meadow, made from PaPer while the beauty of the natural world surrounds hiM. The existing Conservancy buildings at Falling­ the very soil and grasses of the meadow itself.

20 canadian architect 12/10 client western Pennsylvania conservancy architect team john Patkau, Pat Patkau, thoMas schroeder, luke stern, jaMes eidse structural read jones christoffersen ltd., robert silMan asso­ Jc: This is a wonderful project that is a landscape ciates aBoVe the retained Meadowland near landscaPe Mtr landscaPe architects llc sculpture on the exterior, and a cave­like cocoon frank lloyd wright’s fallingwater will interiors Patkau architects sustainaBility consultant recollective on the interior—in contrast to Wright’s famous be the site of six new cottages de ­ area 5,625 ft2 Budget $900,000 us right bold and open cantilevers over falling water. signed by Patkau architects. a ser­ comPletion tbd ies of drawings illustrates the Process of building—and burying—the new aK: This project represents quiet excellence. The cottages. earth­sheltered house is almost a “must do” of the critical architecture practice, an essential part of the repertoire. It’s a tough challenge that de­ Jl: This proposal is really in the private realm, fines a designer. What this project bravely and and as such allows the architects much greater succinctly does is almost nothing. It steps back, freedom of expression. They really ran with it disappears and is nearing silence. It operates as a very beautifully. I think it takes a very mature foil and counterpoint to the iconic presence of practitioner to tackle a design that so severely Fallingwater, receding into and becoming the controls all views and infiltration of light. In ad­ landscape. It is defined only by a series of ele­ dition, this is the only project this year that is mental window and skylight voids, set into undu­ multivalent in its reading: it is both a very build­ lating rows of berms. Within, the project is able proposition and it can also be appreciated as equally mute, allowing itself to sculpt space from a speculative essay on a desirable way to live. the earth through light and simple undulations. This is a brave project, a John Cage­like sympho­ ny of almost nothing.

section

12/10 canadian architect 21 award of excellence capilano film centre

architect Cannon Design building. This becomes the armature around trial object. It becomes the foundation on and location north VanCouVer, British ColumBia which all the other building components must around which the remaining primary program- exist. Its placement is paramount for the func- matic components are placed. The design of the Capilano University Film Cen- tional considerations of the building, but this The second of the components is the support tre addresses many fundamental conceptual component gives little support for nuanced or spaces. These are placed as a screen or shroud issues—including creating an environment where delicate public spaces. Secondly, the project must around the southern and eastern faces of the the study of film and its allied arts and technolo- navigate the larger-scale issues of maximum sound stage, and include meeting rooms, support gies are fostered and nourished, as well as com- build-out, infrastructural access, and various for the sound stage as well as extensive accessible pleting the campus as a legible, compelling and pathways into the campus as a whole. Thirdly, the circulation spaces. They are interconnected, easily accessible building that acts as a gateway to project has limited and definite program, budget multi-floor public spaces that tell the story of the the northern side of the campus. These primary and schedule requirements that cannot be ex- building, comprising publicly accessible pro- issues form the foundation for the integrated de- ceeded under any circumstance. gramming such as cafés, the primary screening sign intent for the building form. The design of the project evolved from a large, room, and the various bridges and connections to The building’s purpose is the driver for many sound stage-driven object building into a delicate the bus access, the north/south campus pathway, of the formal, spatial and material development series of elevated bars and thin support compon- the landscape, and the public plaza. This building design decisions in the work. Recognizing this, ents that wrap, skirt and rise over the massive component is composed of glass and wood. the building is defined as a “machine for film.” sound stage element. These can be seen as three The third primary building component is the In this sense, it addresses notions of film on clear programmatic components with their own elevated bar, which houses classrooms and multiple levels. It becomes a device in support of massing, material and special strategies. These smaller-scale spaces of learning. This sits atop the teaching of film, it creates moments of pot- are organized on the site such that they allow a the soundstage/support building components entially cinematic power, and it acts on many large public plaza on the southwest quadrant and pushes across the site to hover over the east- scales as a metaphor for cinematic qualities and of the site and a clearly defined conclusion to ern side of the site, supported by a stair tower devices. the primary north/south circulation path of the near its eastern end. It is the primary iconic This is based on an understanding of where campus. component of the project, dramatically hanging architecture and cinema merge. This common The first of these primary programmatic com- across the site, 120 metres long, glazed to the ground is becoming increasingly understood as a ponents is the sound stage, which is pushed as far south and north. The raised element defines a powerful critical and conceptual generator of north and west as possible, allowing extensive true gateway to the campus as the user actually ideas and work in both disciplines. vehicular access to the north. It has been seen as moves under the bar in various ways. It allows The project has a few undeniable givens. First a black box, necessarily sealed and enclosed and protection and enclosure, defines the entry to the is the very large sound stage component of the as such is perceived as a massive concrete indus- building as well as to the campus, and becomes

22 canadian architect 12/10 but rather engages the creative possibilities of its conscious building in the best possible way, as oppoSite top, left to riGht inspireD By a Cam- era’s lens, the proJeCt is DefineD By the academic program (film) and its context (buses, the site, construction technique, conjoining of Composition of apertures along its mountains, buildings) enhances its power as a program and meaning are all equally rendered. axes anD eleVations; the site plan high- gateway to the campus from the north and a for- The architects have resisted the temptation to lights the proJeCt’s Views; the CompleteD mal terminus from the south. become too literal by simply employing cinematic massing with its two highly artiCulateD techniques—splicing, framing, editing, crop- axes. aBove, left to riGht a series of sKetChes illustrate the proJeCt’s Design eVolution. Jc: This project takes apart the traditional her- ping—to assign architectural meaning. Rather, metic black-box type of solution for film studios they have done the really difficult work of drilling an iconic symbol for the university. This building and turns its program into a strong formal parti down to express these attributes in architectural component is defined in steel and glass, with its of open “bars” anchored by the closed sound spaces. extensive exposed structural strategy, zinc clad- stage. These long horizontal bars ground the en- ding and glass screen-like façades addressing the tire project in response to the landscape and the client Bill thumm, Capilano uniVersity exterior public spaces. rest of the campus in the best of the West Coast architect team anDrew King, larry poDhora, James wu, win- ston Chong, Jorge remolina, DaVe reeVes, VinCent yen, Jon- The fact that the building does not act neutrally traditions. sCott Kohli, marion la rue, orest Klufas, Jennifer Beagan, wil wiens, greg fensKe Structural equiliBrium Consulting inC. (eriC Karsh) aK: Andrew King recused himself from com- mechanical aerius engineering (geoff mCDonell) oppoSite Bottom, left to riGht a series of Com- electrical mmm group (anDrew tashiro) mentary and judging due to his professional as- civil DelCan (Colin Kristiansen) puter renDerings helps artiCulate the landScape pwl partnership (Chris sterry) sociation with this project. Geotechnical horizon (troy issigonis) struCture’s linearity anD rhythm while code conSultant lmDg (geoff triggs) inCorporating CinematiC metaphors coSt conSultant Bty (toBy mallinDer, ellis pang) area 97,000 ft2 of CompresseD spaCe, montage anD Jl: This is a juicy building type that every archi- BudGet $37 m completion april 2011 Collage. tect wants to tackle! The Film Centre is a self-

12/10 canadian architect 23 award of excellence

Bloc_10

architect 5468796 Architecture inc. Dotted across each elevation are cantilevered aBoVe A vieW looking doWn niAgArA location Winnipeg, MAnitobA projections that extend the floor plates for a var- Street. Bottom A SerieS of vignetteS thAt iety of expanded living spaces. Alternating with eMphASize the unitS’ AdAptAbility. Bloc_10 is a condominium project situated on a the projections are intermediate decks criss- busy Winnipeg corridor. Each of the 10 units is a crossing the façade, shielded from the street by a within a single unit is extremely inventive and distinct three-storey walkup with expansive in- vertical wood screen. The standard three-storey appropriate on a busy corridor. terior spaces that traverse the site as they ascend walkup building typology is distorted—to instead each level. This allows occupants to have views in provide 10 unique layouts that are distributed aK: This project represents excellence through at least two directions within their unit, as well as across and through the site. redefinition. The low-rise condominium project making eight of the 10 units into three-sided is not often the context for the redefinition of ar- corner suites. Conceived as “white box” layouts, Jc: It is an extremely fresh and innovative solu- chitectural experience. The forces at play are a strict service core contains all mechanical ser- tion to perhaps the most common and mundane powerful and the momentum is often away from vices and circulation space. This frees the open form of the three-storey walkup wood-frame innovation and experimentation. Bloc_10 un- living spaces to accommodate a wide range of apartment typology. It is both simple and com- packs completely the way in which multi-unit layout opportunities. plex. Multiple orientations and spatial diversity projects are conceptualized, redefining much of

24 canadian architect 12/10 core

Bloc

Shell

Screen

componentS diagram

HVAC HW

our preconceived ideas on how a habitation proj- aBoVe eAch of the three-Storey condoS ect is conceived and developed. Program is chal- hAS vieWS in At leASt tWo directionS. lenged through entry sequences, building and eighty percent of the developMent coM- air water unit circulation and unit room adjacencies. As a priSeS three-Sided corner unitS. Bottom left power result, notions of “house” are challenged through An AxonoMetric drAWing deScribing the ASSeMblAge of the 10 diStinct unitS. SerViceS diagram the resulting lack of unit definition and identity. Bloc_10 is that achievement within critical archi- tecture: a usable, workable, beautiful and com- pelling experiment that teaches us all something.

Jl: This is a very canny, intelligent tweak of the client bloc10 developMent corporAtion, MArk penner, conventional (and I mean this in a positive way) korWynn buhler architect team ShAron AckerMAn, MAndy Aldcorn, MAriA stick-frame three-storey residential walkup AMAgAtSu, ken borton, Michelle heAth, AynSlee hurdAl, JohAnnA hurMe, criStinA ioneScu, grAnt lAboSSiere, colin neufeld, zAch typology. The functionalist aesthetic is upended pAulS, SASA rAdulovic, ShAnnon Wiebe Structural lAvergne drAWArd & ASSociAteS with the inventive sectional drawing that’s like mechanical g.d. StASynec & ASSociAteS ltd. electrical McW Age conSulting profeSSionAl engineerS a riff of Hollywood Squares, illustrating how contractor greenSeed developMent corporAtion area 11,000 ft2 the design can host a panoply of independent Budget $1.5 M activities. completion 2011

12/10 canadian architect 25 award of excellence

women and newborn hospital

architect Smith Carter arChiteCtS and engineerS inCorporated in aSSoCiation with parkin arChiteCtS aboVe the hoSpital’S main entranCe at the Corner of william avenue and Sherbrook Street iS open and welComing, aS the location winnipeg, manitoba bulk of the building iS lifted two StoreyS above grade, Sup- ported by playfully angled ColumnS.

The Women and Newborn Hospital will replace the existing Women’s Pavil- the building, using products that relate to the existing scale, texture, and ion at the Health Sciences Centre (HSC) campus constructed over 60 years character of the neighbourhood. With this in mind, the building will utilize ago. The 173-bed facility has a floor area of 37,000 square metres and is de- high-performance unitized fritted curtain wall and shingled zinc cladding. signed with the patient and family in mind. The building is a five-storey Green roofs will reduce rainwater runoff and provide a natural outdoor en- structure above one level of underground parking for patient use. An over- vironment for patient and staff views. A dramatic and welcoming two-storey head link and underground tunnel connect the new hospital to the campus, main entrance and covered dropoff area will occupy the corner of William linkages required for critical medical support services and connection to Avenue and Sherbrook Street. Further, the south façade of the building will the central power plant systems. have a striking integrated photovoltaic array enclosing a three-storey staff There are no significant surrounding buildings that directly inform the lounge suspended above the entry on levels three to five that will form the design of the new building. The east and south façades will be the public architectural signature corner. faces of the new hospital. Conceptually, they will be transparent, delicate, Using a public consultation process, three principles were identified to well-detailed, and reflective of the women’s health programs contained guide the design such that the new building should be a place to serve the within. The design intent is to simplify the number of different materials in unique and diverse health-care needs of women through the life cycle; a place to advance care, through excellence in research and education; and a place that is welcoming, respectful, calming and peaceful. Fundamentally, the design is rooted in the philosophy of patient and family-centred care, environmental sustainability, and accommodation of the many different cultures of Manitoba and downtown Winnipeg. A central atrium stair orients and guides patients and families to clinic areas. Consolidation and organization of medical services is another im- portant feature of the design. One of the most significant improvements over the existing hospital is the inclusion of a 60-bed Neonatal Intensive Care Unit (NICU). The site is located at the northeast corner of the HSC campus. In the con- text of the neighbourhood, this will be an important edge to the campus, as it interfaces with the community and provides an opportunity for the HSC to create a welcoming image for the campus. The critical design interface is oriented towards the residential properties on the north side of Elgin Av- enue, and the building massing responds to the West Alexander and Cen- tennial Neighbourhood Plan. The plan requires a landscaped front yard to

26 canadian architect 12/10 match the residential zoning, and a tapered façade as the building height increases to preserve sunlight and reduce the scale. The height is also re- stricted to five storeys, with no vehicular access off Elgin Avenue. Winnipeg has the largest remaining urban elm forest in North America. This is due to an ongoing unique “banding” program initiated locally when Dutch Elm Disease was first detected on the continent. The canopy created by the elm branches on the neighbourhood streets is striking and precious. This became the design concept for the building façade along Sherbrook Street. The building is targeting LEED Gold certification and includes plans for 100-percent fresh air in the building, as opposed to recirculated air. Heat- wheel technology to reclaim heat and recycled materials from the decon- structed Weston Bakery on site are key sustainable features. Specifically, the most important sustainable criteria will be “indoor environmental qual- ity” which will include air quality, an abundance of natural daylighting, and low VOC-emitting materials, all for the health, comfort and productivity of occupants. The interior design is feminine, sensitive to the needs of women, warm to the touch and gently exhilarating to the eye. Passive daylighting strategies have been incorporated throughout the building—most significantly through a large atrium that penetrates all floors. A woman’s need for privacy has been addressed by an entrance for new mothers separated from those used by women and families experiencing loss or other potentially devastating health issues. The building envelope is conceived as a skin, conveying support and en- closure. It is easily maintainable in the context of the severe Winnipeg cli- mate and gritty urban location. Simplicity of design, longevity of materials, and efficient systems are the underlying objectives; the concept of bio- mimicry is used to design and construct a building that will function as ele- gantly and efficiently as a flower, a building informed by its eco-region’s native characteristics.

Jc: Hospital programs are complex and rigid, which often results in cold and hard objects that relate to neither patient comfort nor context. This project demonstrates that hospital design can be elevated to another level of excellence. aK: The urban hospital can be the anathema of critical architecture. It is a building type so subservient to its program, the orthodoxy of planning strategies, the relationship between patients and users, and the terrifyingly complex matrix of functional demands, that the normative challenges of compelling space and form often recede in priority and investment. This project delicately and convincingly finds the cracks where moments of ex- cellence can take root. Through careful and compelling manipulation of the ground plane, massing at grade, public space, and urban linkages, it defines a delightful series of moments where the user and the building meet. It is aboVe, top to bottom the hoSpital’S main entranCe; the north eleva- good urbanity and good space acting in concert to engage the user. The tion in the Context of elgin avenue; a photo montage of the project uses equally compelling strategies of transparency/opacity along the northeaSt Corner in itS urban Context. façade to animate and define the addition while respecting and clarifying the existing context, creating an identity that balances the complexity of the building with the necessary legibility of the building type. This project takes the urban hospital as an opportunity to redefine its context, and to delight client provinCe of manitoba/winnipeg regional health authority/health SCienCeS Centre architect team Smith Carter arChiteCtS and engineerS inCorporated (prime ConSultant): SCott Stir- users who are often most in need of it. ton, Jim weSelake, doug Corbett, Jaret klymChuk, Javier uribe, lori penner, larry hamilton, bhavana bonde, ron pidwerbeSky, donna todd, geoff bulmer, philip harmS, tam nguyen, Clifford goodwill, daniel melendez, galen JohnSon. parkin arChiteCtS (health-Care planning and CliniCal areaS deSign): lynne wilSon-orr, Cameron Shantz, Sohail akhtar, Chantal trudel, angelique luCaS-witte, Jennifer Jl: This project provoked a very important discussion about how we define haliburton, farima vahid. structural CroSier kilgour and partnerS “excellence.” The architects of this building took on a very difficult mandate mechanical/electrical SmS engineering which is to open up the ground floor of the hospital. In doing so, they virtu- landscape/interiors Smith Carter arChiteCtS and engineerS architectural rendering norm li ag+i ally inverted the type as it is currently designed— which is, typically, her- photography Smith Carter arChiteCtS and engineerS inC./david lipnowSki area 280,000 ft2 metic. In addition, they extended their reach to the landscape and made a budget n/a completion fall 2014 very open and civic institution. That’s a remarkable achievement.

12/10 canadian architect 27 award of excellence U

architect Atelier Big City St. Jacques ridge. circulation spine. location MontreAl, QueBeC The envelope is an interpretation of a contem- Extending out from the courtyard façade is a porary curtain wall. Floor-to-ceiling windows of staccato sequence of light wells, privacy screens U is the third project developed over the years mullion-free glazing, with coloured glass span- and handrails arranged in such a way that day- in relation to the Unity Building, a historic drel panels and Stanstead granite vertical piers, light can penetrate deep within the courtyard, property situated on Paper Hill in Montreal. seamlessly hug the faceted form. and the boundaries between public and private It is a 77-unit housing project, with mixed com- An architecturally sensitive issue, the façade of domains are maintained. mercial and professional spaces on the lower the new project distinguishes itself clearly from The project emphasizes quality, and the gener- levels, and an important urban courtyard space. its neighbours while addressing their architec- ously sized apartments feature imported fixtures, U is inspired by diverse Montreal typologies: tural characteristics subtly and significantly. the deeply set-back entrance evokes Montreal’s Great care is taken in developing a particular re- typical porte cochère and helps articulate a proper lationship with the Unity Building. An architec- sense of arrival, comprising a drop-off, parking tural reveal is created at the junction between the entry, and the principal access to offices on the two buildings that follows the advancing and re- lobby mezzanine. A three-storey-high gymna- treating movements of the new façade, revealing sium space is situated above the entry hall, with at times the red brick and concrete frame of the 30 small studio apartments grouped around this Unity Building. vertical atrium. An exterior courtyard contains As a vertical city, this project is structured the circulation for the upper eight floors of the upon the transformative qualities of the inner building. courtyard typology. A four-storey-deep service The morphology of the new building responds core is located in the parking spiral, and a two- to that of the Unity building and Unity 2. The storey “mall” space contains the lobby, business alignment of the cornice is respected, and the centre, and commercial heart of the project. The entrance is reminiscent of the tall double-height first three floors of studio apartments surround lobby of Unity 2. U offers varying views up and the gym/atrium, while the majority of residential down rue de la Gauchetière as it bends along the units are organized around the outdoor terrace/ Section

28 canadian architect 12/10 pre-fab kitchens, closets and door units to create oPPoSite the undulAting fAçAde of u is A dynAMiC juxtAposition to unity 2, An fluid interior environments. eArlier projeCt Also designed By Atelier Big City And CoMpleted in the fAll of Jc: It is often very difficult to push the bound- 2005. aBoVe, left to riGht As in unity 2, u’s aries in high-density multi-family projects. This interior CourtyArd plAys An iMportAnt project excels in all aspects, from the formal role in proMoting lively ground-floor ACtivity in this developMent. resolution of the façade to the innovative unit planning and stacking, resulting in the sophisti- cated resolution of urban infill.

aK: The high-density commercial housing project is an enigma within architectural history. Mo- ments of brilliance have emerged from what is generally considered a context for, at best, unreal- ized potential, or worst, fodder for the market- place. Creating excellence within this context de- mands thoughtful strategies and a cunning sense of priority. This project is a superlative example of what can happen when a talented design team has a mature understanding of typology and context in addtion to the making of commercially viable housing. As such, it creates an intensely interest- ing façade that is tied to unit amenities, a compel- ling and powerful entry sequence and a complex axonometricS series of shared public spaces. The project creates temporary with the heritage, offering individual its own opportunities and then exploits them in a identity within a larger whole, which gives an very mature, convincing and rigorous way. urban edge and an exegesis of curtain-wall po- tential. The fact that the architects convinced the Jl: This is a truly outstanding design—intelligent, developer to do an interior courtyard and a pri- careful, and spare—grammatically correct keeps marily single-loaded corridor proves their com- coming to mind. The variegation of the front ele- mitment to pushing a high-level architectural iSonometric vation is a four-for-one story, relating the con- goal with every project.

client federiCo Bizzotto architect team howArd dAvies, rAndy Cohen, seBAstien st. lAurent, trAiAn diMA StrUctUral silverio MArzin mechanical/electrical Blondin fortin area 90,000 ft2 BUdGet $9 M 11 comPletion tBd

6 10

6 10 9 10 6 6 4 3 1 5 2 7 1 entry 7 roCk gArden 8 2 puBliC Corridor 8 storAge loCkers 12 3 offiCe 9 terrACe 12 8 4 gyM 10 ApArtMents 12 8 5 retAil 11 penthouse 12 8 6 exterior wAlkwAy 12 pArking 0 10m axonometric of the UrBan BlocK

12/10 canadian architect 29 award of excellence

Brian c. nevin welcome center, cornell Plantations

architect Baird SampSon neuert architectS gardens and a surface parking lot which currently occupies the central re- location cornell univerSity, ithaca, new york gion of the site. Conceived as a pavilion that forms an integral part of the garden experi- Sited within Cornell University’s botanical garden, the Welcome Center and ence, the Center is sited deep within the garden at the transition between related site improvements provide integrated visitor and educational ex- flatland and knoll where a series of existing pathways converge. Organized periences that advance the identity of Plantations as a “green” garden. A into two levels that respond to these two topographic conditions, the lower new organizational framework was developed for the overall garden that re- level of the Center forms an active terrace that accommodates visitor service inforces the primacy of the existing topography, vegetated states, and re- needs. Educational and events programming are located on the upper level sulting spatial conditions. This framework establishes an armature that within a flexible multipurpose space. Both levels are organized to connect interconnects existing formal and naturalized garden systems, and antici- with outdoor terraces that facilitate programmatic and spatial extensions pates ongoing garden development. between architectural and landscape environments. The components of this Stage 1 project consist of a 6,000-square-foot Parking facilities are relocated to the periphery of the site adjacent to es- visitor services and education center, parking facility, fire access route, and tablished planting. Organized in response to the curved landform of the stormwater bioswale. These components emerged through an extended fa- surrounding bowl, the new parking lot and arrival terrace engage pedestrian cility and garden planning effort undertaken at the outset of the project. linkages from the main campus, and consolidate systems for visitors arriv- This compact botanical garden possesses an extraordinary topography. ing by foot, bicycle, car, tour bus and public transit. This common point of The southern edge of the site is defined by an expansive “bowl,” and a gla- arrival promotes visitor orientation and interpretation of the facility’s ob- cial “knoll” defines its northern edge. Both of these landforms are planted jectives, and directs visitors along a new route that extends between arrival with naturalized vegetation and are criss-crossed by a series of curvilinear terrace, the Welcome Center and the adjoining campus community. pathways that negotiate steep grades. Flatland extends between these two The legible passage of water across the site, the expression of its contain- naturalized landforms, and contains a geometric patchwork of plots, formal ment and on-site use, the dependence of plants and people on water—all

Plantation maP

30 canadian architect 12/10 client plantationS Botanical Garden, cornell univerSity architect team Jon neuert, yveS Bonnardeaux, harvey wu, andrea macecek, teddy Benedicto, winda lau, cyril charron, huGh clark, JeSSe dormody structural Blackwell Bowick enGineerinG mechanical/electrical m&e enGineerinG civil tG miller enGineerinG landscaPe halvorSen deSiGn partnerShip sustainaBility/leed consultant Baird SampSon neuert architectS area 6,000 ft2 + 3.2 acreS Sitework Budget $5.5 m includinG Sitework and ServicinG comPletion January 2011 provides a thematic framework that extends through the site, linking new and existing gardens, landscape and architectural environments, advancing the project’s educational objectives and green garden mandate. Building materials are used in an elemental manner to advance the idea of an interior topography. Stone is deployed to engage, manipulate and re- tain the ground plane, and extends the system of dry-laid garden walls used extensively throughout the site. Wood is deployed as an overhead element that provides shelter and modulates light. An expansive ipe louvre extends across the southern face of the building, unifying the façade of the building while providing passive solar shading for the south-facing glazing. Opaque portions of exterior wood walls and roof are super-insulated using spray foam insulation. A rooftop solar thermal system is connected to an in-floor radiant heating system, supplying 80% of the building’s heating needs. Operating systems are designed to achieve an overall 49% energy re- duction, addressing all energy optimization credits within the LEED rating system, exceeding current Architecture 2030 Challenge benchmarks.

Jc: This beautiful facility is a highly sophisticated and sensitive insertion into an existing university botanical garden by an architect in full control of his craft. The finely resolved building with simple materials, mediating be- tween a knoll and the flatland, is also highly environmentally responsive. aK: This project represents excellence and the sublime, in that the sublime context is a mixed blessing. The Welcome Center is located in a place of beauty and its job is to curate our experience of that place in a variety of ways. It must somehow find a presence within this beauty without under- mining it. It would, at best, do all this and function as a meaningful public amenity; it exceeds the highest of these expectations. Through architecture, it evidences how truly meaningful the landscape/architecture construct can be. The Welcome Center relates to the landscape in myriad ways. As an ob- ject, it emerges from, nestles within, frames and defines views to the land- scape. As a curatorial device, it discusses the history, potential and ecologi- cal systems of the site. As a spatial construct, it beautifully moves one through spaces and sequences that heighten one’s understanding of the 26 building, and of the world the building inhabits. This project achieves the highest aspirations of architecture by moving beyond it.

Jl: This project represents such a successful architectural act of honouring a Judd falls road 16 18 landscape precisely by the surgical insertion of a beautifully scaled and ar- 15 ticulated building without in any way deferring to the natural elements. 14 13 17 forest home drive There isn’t one false note or cloying move. In addition, this is one of the 12 19 11 submissions where every drawing, diagram and image serves to illuminate 8 an intention. Plantations road 7 9 10 6 20 21 oPPosite toP a renderinG illuStratinG the vew from the Botanical 2 5 GardenS to the entry court and exterior café. toP right the ex ­ 4 hiBition hall leadinG towardS the entry court. aBove right the 1 3 22 entrance veStiBule and Gift Shop in the exhiBition hall. 23

1 vehicle entrance/exit 10 roadway and pedeStrian 19 younG flower Garden 2 arrival plaza path 20 mulleStein winter Garden 1 3 urBan foreSt 11 entry court 21 GardenS 4 rain Garden walkway and 12 SeaSonal terrace 22 event lawn 25 pedeStrian BridGeS 13 welcome center 23 tree Grove 24 5 rain Garden/BioSwale 14 knoll plateau 24 pounder heritaGe veGetaBle 6 new Stormwater outfall 15 pavilion Garden 7 pathway 16 lewiS BuildinG 25 mcclintock Shed 8 rock Garden/alpine plantS 17 container Garden 26 BeeBe lake 9 tranSitional Garden 18 roBiSon york herB Garden site Plan concePt 0 100’

12/10 canadian architect 31 GA-2002/0070 ED-0009/2010

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3230-1053_PencilTwit_caD5.indd 1 10/1/10 2:23 PM award of Merit

Mississauga acadeMy of Medicine

architect Kongats architects aBoVe the Massing of the MUlti-tiered Location University of toronto, MississaUga, ontario facility is intended to create a More hUMane and intiMate scale. Left a detail of the stainless steel fins.

The new Mississauga Academy of Medicine sissauga’s South Campus. These three buildings, (MAM) at the University of Toronto Mississauga together with the constructed Hazel McCallion will accommodate teaching and research facili- Learning Centre and CCT Building, will define a ties for the new medical program to be based out new academic quad for the campus. The MAM is of the Mississauga campus. The campus is home situated on sloped terrain rising up from the to several recent and important buildings that outer campus defined by Ring Drive, and will have been recognized for their excellence in de- landmark the entrance to the proposed academic sign: the Student Centre; the Communications, quad. The shifting floor plates of the MAM ac- Culture and Technology Building; the Hazel centuate the soft landscape to the east, south and McCallion Academic Learning Centre; and Erin- west, while the Health Science Centre’s north dale Hall. face in its vertical uniformity provides a more The MAM is the first of three proposed new formal façade to the academic quad. The faceted buildings within the University of Toronto Mis- façades of stainless steel will capture both natural

LeVeL 5

LeVeL 4 6 6 6 6 7 8 8

LeVeL 3 3 2 2 4 3

7 LeVeL 2 2 2 5 8

LeVeL 1 1

LeVeL 0

section 0 10M 0m 10m 1 lectUre theatre 5 loUnge/Kitchenette 2 classrooM 6 laboratory 3 facUlty office 7 terrace 4 Meeting rooM 8 green roof

34 canadian architect 12/10 and ambient artificial light, ensuring its land- requirements, with a focus on maximizing views scheme. However, this is one of the submissions mark presence is articulated day and night. and access to daylight. The residual interstitial that suffered from a lack of information both The innovative design provides an iconic outdoor spaces created between the stacked with the graphic material and the text. It made it image for this newest branch of the University of boxes will accommodate accessible terraces and virtually impossible for the jury to independently Toronto’s Academy of Medicine that exemplifies indigenously planted roof gardens with protect- verify the architect’s assertions about such items the faculty’s high level of education and profes- ive overhangs for the occupants on each floor. as innovation and site appropriateness. sionalism in the fields of medicine and research. The project is currently under construction, and The program for the new Academy of Medicine will be open for classes in the Fall of 2011. includes video conference-ready lecture theatres cLient University of toronto and a studio, classrooms, seminar rooms, faculty Jc: The development of the glass skin and undu- architect teaM alar Kongats, danielle laM-KUlczaK, PhiliP toMs, dieter Jensen, dave sasaKi, alessia soPPelsa, sUKie leUng, andrea offices and an instructional laboratory. The lec- lating stainless steel fins is the most interesting ling, dereK MccallUM, tyler WalKer, steven addeo, eric van ziffle, tyMea sarKozy ture theatres and studio will be connected to the aspect of this project. structuraL halsall associates liMited MechanicaL/eLectricaL crossey engineering ltd. University of Toronto St. George Medical Sci- Landscape corban and goode aK: interiors Kongats architects ences Building, Trillium Health Centre and At its essence, this project is a tough pro- contractor harbridge + cross liMited Credit Valley Hospital for shared lectures and gram box with a delicate skin. It effectively site serVices MbM consUlting inc. acoustics engineering harMonics communication. The new facility will also house achieves what great architecture often aspires to: LaBoratory Watson MaceWen teraMUra architects code consuLtant randal broWn & associates ltd. the faculties of Biomedical Communications, understanding and assessing a complex and chal- proJect Manager PMX inc. area 64,155 ft2 Anthro pology and Forensics, including faculty lenging program to the degree that a great build- Budget $25 M coMpLetion March 2011 offices, studios and research laboratories. ing can emerge. This project is defined by very A skin of glass and undulating stainless steel clear, nuanced and beautiful formal and tectonic fins wrap a series of stacked “boxes” that step up strategies. Its completeness is evidenced by its BuiLding serVices the existing hill of the site. These boxes enlarge structural strategies, its spatial sequencing, and LeVeL 5 and shrink from floor to floor to suit the program most succinctly in the articulation of its skin. It ultimately acts as a very serious object in a con-

cLocKwise froM BeLow tWo rendered text that is perhaps a bit too architecturally self- vignettes illUstrate tWo different aP - conscious, showing the depth that the discipline Proach es to the bUilding; one version can achieve without flourish or whimsy. research LaBs anatoMy LaBs of the acadeMy’s distinc tive fins, LeVeL 4 betWeen Which stUdents can be seen JL: The stainless steel crenellated fins in contrast socializing on the oUtdoor terrace. to the curtain wall is a beautiful moment in the

Vp of research BioMedicaL coMMunications anthropoLogy LeVeL 3 forensic science

MedicaL acadeMy adMinistration facuLty offices LeVeL 2 pBLs

MedicaL acadeMy cLassrooMs & Lecture theatre LeVeL 1 Video-conferencing studio

LeVeL 0

BuiLding serVices

site axonoMetric

12/10 canadian architect 35 award of Merit canadian art Pavilion, Musée des Beaux-arts de Montréal architect Provencher roy + Associés Architectes location MontreAl, Quebec Since its founding in 1860, the Musée des Beaux- Arts de Montréal (Montreal Museum of Fine Arts) has moved and expanded a number of times. Its growth, in the form of pavilions, has always evolved from a profound reflection on museum architecture. The Michal and Renata Hornstein Pavilion, the Liliane and David M. Stewart Pavilion, and the Jean-Noël Desmarais Pavilion are all tectonic expressions of strong museological visions inspired by cultural and technical concerns specific to the periods in which they were built. The new pavilion is also in keeping with this tradition of continuity and proposes a distinct expression that reflects today’s concerns and knowledge. The result is the dynamic integration of a heritage building with an architectural whole that has a strong presence in the urban environ- ment, utilizes the latest museum-building tech- niques, and creates a harmonious dialogue with the other museum buildings. It does not, how- ever, fall back on stylistic mimicry. The transformation of the Erskine and Amer- ican Church and the construction of the new Canadian Art Pavilion for the Musée des Beaux- Arts de Montréal demonstrates the museum’s willingness to preserve the heritage of our built environment while pursuing its goal of pre- serving and publicly exhibiting Canadian art- work dating all the way back to the 17th century. The project satisfies contemporary museum re- quirements and blends harmoniously with its existing architectural whole, providing a unique opportunity to create an exceptionally rich heri tage environment while legitimately in- tegrating the Erskine and American Church with the museum’s permanent collection of Cana dian art. The Musée des Beaux-Arts de Montréal was relocated to its current location on rue Sher- brooke in 1912, after having spent more than 50 years on Phillips Square. In constant need of more exhibition space, the museum developed as a campus-style urban typology. Three new buildings were constructed, each with a contem- porary approach to form, materials, technique

toP left looking eAst towArd rue sher- brooke, the new cAnAdiAn Art PAvilion is seen froM Avenue du Musée. left A cut- AwAy view illustrAting the coMPlete Addition And renovAtion to the erskine And AMericAn church.

36 canadian architect 12/10 and spatial organization. Built across the street Jc: While I appreciate the way this project ad- the complicit buildings and the city beyond. It is in the early 1990s, the Jean-Noël Desmarais dresses the urban context, program and historic a beautifully complex, intelligent and satisfying Pavilion was established with its underground precedence, I do have reservations about the way work. gallery, and a tightly knit cultural network in the new engages the old, and also about the for- this dense urban area emerged. In 2004, the mal architectural resolution of the new addition. Jl: This is a very challenging project in that it is museum acquired the Erskine and American part restoration, part adaptive reuse, and part Church and selected it as the home of the new aK: This project simultaneously represents new build. Each aspect in itself is very convincing Canadian Art Pavilion. urban stitching, artifact and parasite, evidencing and the underground connection looks like it will The project includes five new exhibition halls a clear and beautiful strategy for the way a city be stunning. It appears to be a very compressed and an underground gallery linking the existing uses and animates its artifacts. It is a wonderfully site, but again the submission made it difficult to network to a new concert hall in the church. parasitic but formally distinct addition to an understand the overarching ideas. Modelled as a journey through time, the exhi bi- iconic object on a very important street within a tion halls are stacked one above each other, and loaded context. The project is quietly aggressive, client Musée des beAux-Arts de MontréAl architect teaM André beAudette, AlAin blAnchette, clAude Pro- each represents a particular period in Canadian finding crevasses and cracks in the urbanity, to- vencher, dAnielle dewAr, denis gAMAche, eugenio cArelli, JonA- thAn bélisle, JeAn-luc réMy, kiA MoAzAMi fArAhAni, lAurent Put- art. From Colonial to Modern, visitors can ex- pography and geology to link disparate objects zolu, MélAnie cAron, MArie-clAude lAMbert, MAtthieu geoffrion plore different periods, beginning in the under- into a cohesive and extremely compelling com- structural nicolet chArtrAnd knoll liMitée Mechanical/electrical enerPro & le grouPe conseil berMAn ground gallery and visiting each level, connected position of forms and spaces. This success con- landscaPe/interiors Provencher roy + Associés Architectes contractor PoMerleAu inc. via a main staircase. As they ascend, the relation- tinues as one moves through the public spaces, existing stone restoration dfs Architecture + design scenograPhy go MultiMédiA ship between light and environment changes, performance venue and galleries, culminating in area 5,400 M2 Budget $28.5 M each floor gradually allowing in more and more a series of buoyant, sky-filled spaces that engage coMPletion februAry 2011 natural light. The top level, with its glass roof and walls, is literally drenched in daylight and offers visitors a stunning view of the city. From here, one can see all of the museum’s pavilions, its sculpture garden, and the church’s impressive rooftop. With architectural unity in mind, the exterior cladding is comprised of Vermont white marble originating from the same quarry as the other pa- vilions, which covers the entirety of the new Cana dian Art Pavilion’s exterior surfaces. The cladding system utilizes a rain screen with a pressurized cavity in the back. The Musée des Beaux-Arts de Montréal recog- nizes the value of the Erskine and American Church as part of the architectural heritage of Montreal and Canada, and wishes to restore and preserve it. Consequently, the museum has re- stored the church’s envelope and interior finish- es, repaired its exterior walls, showcased the stained glass windows, and has also ensured that the organ is in optimum condition. Ulti mately, this project represents a decisively contemporary undertaking that complements the existing building in a most sensitive manner.

clocKwise froM toP left the drAMAtic sloPing glAss roof; the design MAkes A con- scious effort to exPress verticAl sPAces within the new Art PAvilion’s four- storey gAllery voluMe; A section illus- trAting the Architects’ APProAch to renovAting the church And Adding five levels of gAllery sPAce.

12/10 canadian architect 37 award of Merit

Ville Saint-laurent library

architectS Cardinal Hardy | labonté MarCil | which is raised above ground to form a direct out- aboVe tHE draMatiC rooflinE of tHE nEw EriC PEllEtiEr arCHitECtEs, arCHitECtEs En door link between the city and the park. Here, the ConsortiuM library. bottoM, left to riGht tHE soutH- library acts as an important interface between faCing tErraCE lEads visitors uP to tHE location saint-laurEnt, MontrEal, QuEbEC these two components. A true connection between building’s grEEn roof; tHE glass atriuM It is rare to witness social and cultural environ- the city and nature is established, offering ProvidEs an iMPrEssivE CountErPoint to tHE strEngtH of tHE building’s roof ments as diverse as in the borough of Saint- passersby a visual opening towards the park. gEoMEtry. Laurent, and the wealth of cultures introduced by In this project, architecture is landscape and newcomers enriches the community. The library landscape is architecture. The architecture chan- a vertical connection to the landscape. must therefore support a wide range of activities ges shape, unfolds, spreads out and rises up, re- The roof is an imposing wooden shell that where everyone, no matter where they are from, ducing the boundaries between the built space and floats above the library, stretching over the can learn more about themselves and each other. the site. There are several means of access to the spaces in a way that seems to change the geom- Consequently, the architecture of such a library building—a simple footpath for contemplation etry, controlling the way the light penetrates the should encourage interaction and a feeling of be- along the way, a paved square, a suspended walk- building and the way that sound travels. It pro- longing, promote exploration and discovery, and way through the trees, or an enclosed space at the jects over the exterior spaces in continuity with provide places to meet and exchange ideas. heart of the project. All of these mechanisms en- the interior, and thus appears boundless. At the The first gesture, on an urban scale, is the cre- courage interaction and discovery. These different very centre of the space, the shell opens towards ation of a large linear park, a band of vegetation paths weave the city and park together, and break the sky, allowing a shaft of natural light to illu- that runs parallel to the library, providing a segue down the boundaries between the built form and minate the main reading room. This luminous from the existing buildings to Boulevard Thimens the site. The library functions as a living environ- opening is a beacon to visitors. A poetic yet and creating a strong, cohesive space. This linear ment rather than merely as a public building. force ful response to the natural setting, the shell threshold of a wide, planted plaza is dotted with a The great hall is like an immense forecourt—a adds richness to the site and helps to architectur- number of variably sized hard surface areas that space that is at once spectacular and intimate. Lo- ally define the space. form public and cultural spaces. A linear series of cated at the heart of the building, it is similar to a The clarity of the building materials contrib- planting beds reinforces the visual aspect of the Roman piazza, a place for events, shows and tem- utes greatly to the understanding of the structure, boulevard and immediately introduces the library porary exhibitions, and a place for gathering and but there is also innovation in the library’s building, which then extends towards the city. interaction. Here, the great hall offers more than mechanical systems: a stormwater recovery sys- The second gesture is the formation of a land- one perspective. The vast space beneath the sky- tem supplies water to the wetland area, a geo- scaped “strip” that crosses the city to the forest, light is a spectacle of extraordinary scale, offering thermal system connects to a heat exchange loop,

38 canadian architect 12/10 and a passive heating system utilizes the heat that has accumulated in the glass prism for redistri- bution. Low-flow ventilation through the floors reduces the number of ducts required, and green shelving installed in several locations throughout the library filters out the CO2 emissions. Addi- tionally, the abundance of natural daylight com- bined with special task lighting translates into major energy-cost savings. 9 10 a 5 3 Jc: The idea that architecture is landscape and 4 landscape is architecture is very interesting for a b 2 suburban library. The materiality of the façades, 8 6 1 especially on the park side, seems not to be as 7 well resolved as the plans and sections. aK: This project is an example of mediated ur- banity, whose primary power is not in its inter- pretation of a potentially laden program, the 1 EntranCE community library. It achieves excellence in its 2 library EntranCE 3 Café complex urbanity and its aspiration to define a 4 MultiMEdia sECtion 5 youtH sECtion community in flux. The project makes a strong 6 CHildrEn’s sECtion 7 EntErtainMEnt rooM argument for the integration of landscape and 8 CloakrooM 9 MultiPurPosE rooM community architecture, mediated by formal 10 sHowrooM strategies sympathetic to both. The borough of Site Plan 0 10M Saint-Laurent is a growing and densifying com- munity, moving from a suburban to an urban condition. The project works hard to define the street, animate the linear park, and mediate ac- cess to the wooded area and sports fields behind. The library acts as both a constructed landscape, formally finding a middle ground between the dense housing units, the adjacent schools and Section a big-box sports facilities, and finally, the land- scape elements behind. It is architecture as me- diator, beautifully creating thresholds and limits necessary to define the parameters of spaces and communities in flux.

Jl: The roof was an intelligent metaphor and area Section b 0 10M of operation for this design, as the library pro- gram is, essentially, one large room. Although the submission hints at a level of interdependency of the building and the site, the drawings do not convey enough information to make this either apparent or convincing. Finally, there is no indi- cation of the material palette for the building which is essential.

riGht a viEw of tHE library’s dynaMiC intErior sPaCEs.

client villE dE Montréal—arrondissEMEnt dE saint-laurEnt architect teaM Cardinal Hardy: bao nguyEn, ClaudE JEan. labonté MarCil: PiErrE labonté, dEnis ClErMont, JEan MarCil. EriC PEllEtiEr arCHitECtEs: EriC PEllEtiEr, aMéliE turgEon, anniE Marti- nEau, laura didiEr, EMManuEllE CHaMPagnE, oliviEr bourgEois. Structural sdk Et assoCiés inC. Mechanical/electrical lbHa inC. landScaPe/interiorS Cardinal Hardy | labonté MarCil | EriC PEllEtiEr arCHitECtEs leed conSultant tEknika–Hba area 5,700 M2 budGet $25 M coMPletion 2012

12/10 canadian architect 39 award of Merit Millipede

architect Eric PEllEtiEr ArchitEctEs clocKwiSe froM above thE EntirE milliPEdE ArmAturE; thE nEw stEEl bikE PAth snAkEs its wAy location QuEbEc city, QuEbEc through thE Existing highwAy infrAstructurE; An AEriAl Photo illustrAting thE nEw The Millipede footbridge is part of Quebec City’s instAllAtion PlAcEd on toP of its chAllEnging contExt; milliPEdE works its wAy undEr- bicycle path development project that crosses the nEAth bridgEs And ovEr rAilwAys to ExtEnd QuEbEc city’s rEcrEAtionAl trAil nEtwork. entire municipality before reaching the shores of the St. Lawrence River. This particular section of structures. contrast to typically banal highway infrastructure. the path is located in an industrial and railway Millipede acts as an object of discovery and Unfortunately, the resolution of the bridge itself site just below a main overpass—a hostile and un- site experience, a stroll at various levels and seems underdeveloped. sightly environment that is worrisome for both scales that is intended to be an object of curiosity cyclists and pedestrians. and a new landmark, capable of elevating the cyc- aK: As an urban suture, this project is a radical Integrating dedicated bike paths is difficult to list’s experience. mending. It is active in its attempt to deal with achieve in urban areas, but when they are located the disastrous results of the ubiquitous 1960s in an industrial site, the problems are very dif- Jc: It is a very interesting and poetic gesture, one and ’70s infrastructure projects which scarred so ferent. This project’s site is primarily character- that would be welcomed in any city, especially in many of our cities. The project’s success is that it ized by the concrete superstructure of the above- grade highway, in addition to an existing railway. The main purpose of the Millipede project is to establish a safe bike crossing over the railway of a busy switching yard. The architectural response was to introduce, in the words of the architects, “a bit of craziness, a touch of colour, and a new sense of chaos.” Rath- er than integrating a subtle piece of new cycling infrastructure, it was agreed upon that a brightly coloured footbridge would work its way through existing concrete columns. The design intent is to make a clear visual statement when arriving at the site. A long red glazed ribbon with its sides folded and positioned at various angles is able to reflect the lights com- ing at it from all directions. Perceptible through the existing concrete columns, the new structure will be supported with steel columns arranged in a seemingly random pattern that will only height- en the contrast between the existing and new

40 canadian architect 12/10 does so not through the normative methods of ing the harsh environment in which it is to be in- demolition, gentrification and denial, but serted. We all found that although there was through a delicate threading, suturing and medi- much to commend with its conceptual vitality, ation. Millipede has a critical neutrality. On one there was a lack of information about the tecton- hand, it inherently celebrates what was great ics—particularly how it’s made and with what ma- about these large-scale infrastructural projects: terial—that acted as a barrier to letting us engage their ambition, clarity, scale and willfulness. On fully with the proposition. If more detail were in- the other hand, it quietly critiques its context cluded, I think it would have made the submis- through formal tension and by creating spaces of sion more satisfying. movement and repose, human scale, and material engagement. Most powerfully, Millipede does all this while beautifully and carefully curating the client villE dE QuébEc user’s experience within this part of the city. architect teaM Eric PEllEtiEr, AméliE turgEon, AnniE mArtinEAu Structural Ems ingéniériE landScape Eric PEllEtiEr ArchitEctEs photographer Eric PEllEtiEr ArchitEctEs Jl: The proposition is very engaging in that it budget $2 m coMpletion 2012 doesn’t shy away from acknowledging/represent- galvanized Steel Structure

red glazed light concrete panel varieS (1400MM Min.)

concrete Slab with red coloured Surface

galvanized Steel circular coluMn – 200MM

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Yellowknife 867.920.2882 | Edmonton 780.439.0090 | Iqaluit 867.979.0555 | Whitehorse 867.633.2400 Student award of excellence logic Shift

Student­Jeffrey­Ma,­McGill­University ent conditions and on different dates, to recreate toP­Ma’s­point­cloUd­iMaGe­is­derived­ a virtual scene that resembles the represented froM­a­process­that­deconstrUcts­an­ A decade ago, Alberto Pérez-Gómez mapped for place. Ma’s thesis is about reconciling the space obJect­and­then­rebUilds­it­diGitally­ us the history of architectural representation in of Photosynth, making manifest the space in froM­varioUs­vantaGe­points.­BottoM, left his book Architectural Representation and the Per- which the built environment has left traces with- to right­Ma­has­constrUcted­an­installa- tion­where­a­diGital­aniMation­can­be­ spective Hinge (1997). He saw that one of the in the process of Photosynth. Asking the same read­siMUltaneoUsly,­allowinG­the­view- major shifts in our mode of understanding was question that Pérez-Gómez left unanswered, can er­to­experience­More­than­one­fixed­ derived from the collapse of the image and the a recording of traces be translated (rather than point­of­view­in­the­spatial­constrUct­ represented objects near the end of the 20th cen- transcribed) in built architectural projects? at­the­saMe­tiMe. tury. This thesis continues one of his arguments Ma belives that a recording of traces can be on the fallacy of neutral techniques regarding the translated into built architectural projects, but it very well presented, and it would be interesting tools of the architect. requires a strong determination on the archi- to see if some of these investigations could be Logic Shift uses Photosynth, a Microsoft soft- tect’s part to dismiss our roots in an object-based developed into design strategies. ware application, as a visual tool for Ma’s cri- understanding. This shift in logic established the tique. Microsoft’s intention for Photo synth is to foundation for this thesis project. aK: Somewhat in tension with its radical imagery provide a platform in which users around the and compelling mark-making, on first blush this world can upload photographs of a particular Jc: This is a thorough exploration of the potential project seems to fall readily into the “representa- place from different points of view, under differ- of digital media to generate form. The project is tional” bucket, where questions of the relation-

12/10­­canadian architect­43 ABOVE A series of thumbnAil sketches thAt, to quote Alberto Pérez-Gómez, questions “the Possibility thAt whole- ness cAn be evoked throuGh A frAG- ment.” FAR LEFT A sketch illustrAtes how four screenshots from different cAm- erA Positions Provide us with the free- dom to tAlk About sPAce more effective- ly thAn sinGulAr PlAnAr imAGes cAn. LEFT A sinGulAr imAGe thAt merGes four sePArAte imAGes cAPtured by A virtuAl cAmerA from four different AnGles.

ship between image and methodology drive the scent virtual construct to the act of making and ploying a clear methodology, the work illumi- experiment. The work quickly moves past the back again. In doing so, it challenges the disci- nates another way in which makers of space can reverentially gathered nuggets dropped from the pline of architecture and the schools in which we use other, more contemporary means for gener- well-worn satchel of academic discourse. It en- teach it to keep up. ating the parameters. The design applications are gages current and challenging ways in which the significant and that’s a high note that any great world is reconstructing itself, taking these tools JL: I always love students who turn an idea on its thesis should end on. Vicwestand Cndn asking Arch what Half architecture Horz ads:Layout can do with them.1 8/23/10 head 11:04 and set AM out toPage recapture 2 essential architec- The work bounces rapidly and radically from na- tural ideas, and this is what this thesis does. Em-

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Detail of Granite finish www.vicwest.com CiRCLE REpLy CARd 26 student award of excellence a Manual for non-Violent resistance student­taraneh­meshkani,­university­of­ toronto

This thesis is concerned with empowering the resistance of sociopolitical movements and their relationship to time and space. At the beginning of the 21st century, grassroots resistance tends to happen in urban settings, challenging the au- thority of totalitarian regimes. In this context, space plays an important role: spaces of defiance are critical in any power struggle. They can be utilized and activated by both sides of the con- flict—governments and opposition movements. This thesis provides a spatiotemporal analysis of non-violent resistance, situating the practice in the sociopolitical sphere of Iran throughout its history. In analyzing spaces of defiance, Mesh kani has chosen non-violent methods of resistance, in particular the 198 methods of non- violent action articulated by Gene Sharp. These Cinemas methods can be categorized into three different Theatres groups. Firstly, there are methods which look at the possibility of creating extreme multitudes in spaces of defiance. For example, a civic protest becomes a powerful manifestation of the political agenda of the resistance when it goes beyond a specific number of people. After a certain num- ber, it reaches the tipping point and then it be- comes difficult to control. In order to meet this critical mass, we need to know the optimal time to take to the streets, and the particularities of the spaces that are host to the demonstrations. # of Cinemas People reaching Secondly, there are other methods of non- and theatres the main street violent action which use the city as a stage for 0-5 Minutes 14 7000 communicating the message of the movement. 5-10 Minutes 15 7500 Wearing symbols, and using paint and light are 10-15 Minutes 9 4500 some examples of methods that can be adopted. 15-20 Minutes 5 2500 Thirdly, a set of methods can be employed to Total : 21500 communicate and disseminate information. Most of the means of communication and mass media toP­using­coloured­paint­or­other­visible­markers­sends­out­a­subtle­message­of­polit- are controlled by governments. Totalitarian gov- ical­solidarity.­aBoVe­meshkani’s­diagram­illustrates­how­information­moves­through­ ernments also shut down any alternative means cities­to­develop­momentum­for­protest­and­dissent. of communication that rely on the infrastructure of the city. If the resistance cannot communicate Jc: Even though these analyses are based in Iran, plinary experiment not pertinent to current peda- and disseminate information, there is no way to the lessons learned could be applied to a better gogy or practice. It is in fact the opposite, a call to reach critical mass and orchestrate groups of understanding of how the technologies of the in- arms to designers, a manifesto pointing to spatial people. Since in totalitarian systems the govern- formation age are affecting social behaviours in territory we have long since acquiesced to artists, ment controls mass media sources such as televi- our urban centres. theorists and activists. Within the academic con- sion, radio and newspapers, people must then text, it does what a thesis project should do—it ex- rely on non-substantial means of communication aK: This is radical activity. Rather brilliantly, this pands our notion of how and where architecture for informing each other about upcoming events. project does not come close to proposing a build- should act, it points to our inadequacies and failed Ultimately, Meshkani’s goal in this thesis is to ing. Instead, it proposes direct ideological action aspirations, and to the increasingly reduced radii analyze spaces of defiance and implement all the within a highly critical understanding of the city. It of our circular world. In fundamentally question- technologies and new types of media available to can possibly be seen as beyond or at least outside ing where architecture resides, this work is ideo- enhance the spatial aspect of the conflicts. of architecture, part of some broader interdisci- logical, political and embedded in urbanity.

12/10­­canadian architect­45 Jl: This is an incredible thesis that asks how an architect can deploy a strategy of protest and civic engagement through an elastic, creative applica- tion of architectural tools. What one immediately starts to think about as a result of this work is how the spatiotemporal manual can be applied to other ways within our profession so that we can all become better at consciously engaging in great city-building.

Smoke

Flag Semaphore

Heliograph

SSignallingignalling Aldis lamp Optical telegraph

No rider is needed BiologicalBiological toP left­this­diagram­illustrates­how­new­ Pigeons technologies­associated­with­broad- TTechnologicalechnological They need riders casting­political­dissent­have­the­poten- Communication systems Dogs Horses Reindeers Camels tial­to­redefine­the­spatial­dynamics­of­ WWiredired the­city.­left­a­chart­reminds­us­of­the­ many­traditional­and­evolving­meth- NNonsubstantialonsubstantial WWirelessireless Telegraph Cable Internet Telephone CanArc112010_Canadia Architect 10/26/10 9:17 AM Page 1 ods­of­communicating­information.­ aBoVe­the­heavy­tomes­of­meshkani’s­ SSubstantialubstantial research­are­beautifully­illustrated­and­ Letter Cellphone Walkie-talkie WiFi assembled.

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12/10 canadian architect 49 acknowledgements list of entrants

left to right Andrew King, JAmes Cheng And JAnnA Levitt.

Letellier Cyr Ricard Mathieu et associés archi­ tectes, L’Architecte Jacques Plante, Laroche & Gagné Architecture Design, Les Architectes Corriveau, Girard et Associés, Manon Asselin Architect (Atelier TAG), Saia Barbarese Topou­ zanov Architectes, Saucier + Perrotte Architectes/ Hughes Condon Marler Architects, Smith Vigeant Architectes, The Arcop Group, Workshop–Calce Dubreuil Architectes.

new BrUnswick Architecture 2000.

noVa scotia Fowler Bauld & Mitchell Ltd., MacKay­Lyons Sweetapple Architects Limited in association with Manasc Isaac Architects Ltd., Omar Gandhi, Sperry & Partners Architects. 2010 awards of eXcellence In addition to this year’s winners, the editors thank the following individuals and firms for participat­ newfoUndland Sheppard Case Architects. ing in the 2010 Canadian Architect Awards of Excellence: stUdent awards of eXcellence British colUmBia Allen + Maurer Architects, Architecture & Interior Design, Breathe Archi­ In addition to this year’s winners, the following BattersbyHowat, Bevanda Architecture Inc., Bing tects, Bruce March Architect, COLE + Associates architecture students were chosen by their Thom Architects, Bruce Carscadden Architect Architects Inc. in association with Reich + Petch, schools to enter their thesis projects in this Inc., Campos Leckie Studio, Campos Leckie CS&P Architects Inc., Diamond and Schmitt year’s awards: Evelyne Bouchard (McGill Univer­ Studio in collaboration with Josephine Young & Architects, Dimitri Papatheodorou Architect, sity), Andrew Bramm (University of Calgary), Sevenhaus Design, CEI Architecture, Chernoff Drew Mandel Architects, gh3, Hariri Pontarini Erica Bright (University of Waterloo), N. Paul Thompson Architects, Chow Low Hammond Architects, HOK + Stantec, Ian MacDonald Chafe (Dalhousie University), Gordon Chan Architects Inc., D’AMBROSIO architecture + Archi tect Inc., Ivan Saleff Architect, JCI Archi­ (University of Manitoba), Guillaume Drouin urbanism, Dub Architects/Hughes Condon tects Inc., Kohn Architects Inc., Kuwabara Payne Chartier (Université Laval), Andrew Chung Marler Architects, Gair Williamson Architects/ McKenna Blumberg Architects, MacLennan (McGill University), Mitchell Counsell (Carleton Ankenman Marchand Architects, GBL Architects Jaunkalns Miller Architects, MacLennan Jaun­ University), Mariela Y. de Felix­Davila (Univer­ Inc., Mackin Tanaka Architects, Patkau Archi­ kalns Miller Architects in joint venture with HIP sity of Toronto), Maya Desai (University of tects Inc./Kearns Mancini Architects Inc., Patkau Architects, NXL Architects in association with ssg Toronto), Michael Robert Doyle (Université Architects Inc. and MacLennan Jaunkalns Miller architecture inc., Parker Architects Inc., Paul Laval), Marc Häberli (University of Calgary), Architects, Rural Urban Fantasy Project Ltd., Raff Studio, RAW design, RDH Architects Inc., April Hiebert (Dalhousie University), Ken TRB Architecture Inc., Urban Arts Architecture, RDH Architects Inc. & Lintack Architects, Hoshide (University of British Columbia), Julian Wensley Architecture Ltd., Yamamoto Architec­ Rodolphe el­Khoury (Khoury Levit Fong) with Hou (University of British Columbia), Amy C.S. ture Inc. and Henry B. Mayuga. Drew Adams, James Dixon and Fadi Masoud, Klassen (University of Manitoba), Alexandre Shore Tilbe Perkins & Will, ssg architecture inc., Landry (Université de Montréal), Amanda Law­ alBerta AKA/Andrew King Studio, BKDI Archi­ Stan tec Architecture | Kuwabara Payne McKenna rence (Carleton University), Joe Yiu Ming Lee tects, Connect Architecture Inc., David J. Fergus­ Blum berg Architects—Architects in Joint Ven­ (University of British Columbia), Bryn Marler on, GEC Architecture, Gibbs Gage Architects, ture, Sweeny Sterling Finlayson & Co. Architects (Dalhousie University), Heather Maxwell (Uni­ Kasian Architecture Interior Design and Plan­ Inc., Tact Architecture Inc., Teeple Architects versity of British Columbia), Timothy Mitanidis ning Ltd. in association with Moriyama & Tesh­ Inc., The Kirkland Partnership Inc. in associa­ (Ryerson University), Mirna Monla (McGill ima, Manasc Isaac, Shelterbelt Architecture, tion with Stanford Downy Architects, The Walter University), Daan Murray (University of Calgary), Stantec Architecture Ltd., Sturgess Architecture, Fedy Partnership, Unit A Architecture Inc. + Lejla Odobasic (University of Waterloo), Clayton The Marc Boutin Architectural Collaborative. RAW Design, Whiting Design, Zeidler Partner­ Payer (Ryerson University), Brad Pickard (Dal­ ship Architects. housie University), Matthew Roper (University of manitoBa BIOS Architecture, Cohlmeyer Manitoba), Mark Siemicki (Ryerson University), Architecture Limited, Herbert Enns, Number QUeBec ACDF* architecture | TLA architectes, Andre Silva (University of Manitoba), Andréanne Ten Architectural Group. Atelier Pierre Thibault, Bisson | ACDF*_Des­ Simoneau (Université Laval), David Smith (Uni­ gagnés architectes, Charest Parenteau & Asso­ versité Laval), Sandro B. Thordarson and ontario Altius Architecture Inc., ATA Archi­ ciés, Consortium: Rubin & Rotman Associates Stephen Addeo (University of Toronto), Michael tects Inc., bbb architects Ottawa Inc., Bortolotto Architects–Douglas Cardinal Architect, Gagnon Ryan Trussell (University of Waterloo).

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