PER NA 11 el52x v,5 No,3 1991 ARCH A PUBLICATION OF THE OF ARCHITECTS

When the jury for the OAA Architectural Excellence A wards met last October at 50 Park Road, they faced a formidable challenge. Sixty three submissions, representing a diverse range of architectural styles, intents, and solutions, awaited their evaluation. Since most of the jurors were from outside , the task had to completed in a sin9,le day. "It was a very full day, ' says Ruth Cawker, professional advisor to the 1990 Awards Jury. "To provide a working context, I gave the jury background on the awards program, and mapped out an agenda for evaluation." The jury began its evaluations with the 25 year award, which received nine submissions. The historical distance of these projects set an objective tone for the day's deliberations. The criteria used for the 25 year award submissions included spatial or exterior design features, the current condition of the building, the extent to which it exemplifies the era in which it was built, innovations in materials and systems, and its overall importance to the community and regional heritage. "TheJ'ury began by using a matrix system, which a ss.i'luf' 1::\tinc s tn arh c...rit '? ri -~D ./ ' S~"C: C ?!.'tAIker 1I1311t it soon became apparent that this wasn''t necessary, and winners. The graphic standard was also very striking." An early sketch from they switched to cliscussions of the relative importance of Cawker points out that there was a high degree of Quadrangle Architects each submission." consensus among the jury members, who represented Limited's award winning The criteria used for the 54 submissions to the OAA electoral districts. The result was an especially work for the Canadian Architectural Excellence Awards included interesting use dynamic selection process. Imperial Bank of of materials or systems in construction, examples of good "I think the jury took a very wactica!, balanced but Commerce in Kitchener. planning, spatial or exterior design features, social and energetic approach," she says. 'They also made several community importance, and whether the project practical recommendations for future competitions." See page 11. overcomes specific hurdles such as budgetary The Jurors: Lloyd Alter, B.Arch., OAA, MRAIC, constraints. Toronto; Thomas R. Barber, OAA, MRAIC, Sault Ste. "The jury was very impressed with the high quality of Marie; Frank Carter, B.Arch., OAA, ; Robert submissions, and their diversity," says Cawker. DiMaio, OAA, Windsor; Fernando Fabiani, B.Arch., OAA, "Probably half of the projects were discussed as potential MRAIC Hamilton. Convention Contrasts in opinion 1"'_ ..... The theme" Contrasts in Scale" prompted inspired process by producing sketches of several of his projects discussion and insightful presentations at the OAA on an overhead projector. A building's inherited frame Convention in Toronto last month. The larger topics of is the primary consideration, he said. "Office blocks architecture and urban planning were discussed in don't have sufficient meaning to be floating," he said. depth at the meeting, in both daytime sessions and a "They should serve as a frame." special evening forum at the 's The evening forum at Convocation Hall was the Convocation Hall. scene of lively debate among architects Shirley American architect John Burgee started proceedings Blumberg, Edward Cullinan and Carlos Ott, and with a detailed overview of the large scale J?rojects he planner Frank Lewinberg. has worked on around the world. He explamed how Moderator Colin used his provocative style these large scale designs considered the scale of the to spark a wide ranging discussion of topics which surrounding built environment, relating to it and the included London's Canary Wharf development, density particular city's personality. in Venice, Harbourfront, and monster homes in Emphasizing the architect's responsibility to unify the Toronto. urban landscape when placing large buildings, Mr. The influence of political decisions on architecture Burgee detailed his work on tne IDS building in and the urban landscape occupied a good deal of the Minneapolis. While the project's size dictated a 50 evening's discussion, which was welf-attended by storey structure, the architects reduced its mass through architects and the public. The panel unanimously the use of reflective glass and by narrowing the profile agreed on one question raisedby a citizen: the practice of the corners. of producing renderings which misrepresent a project's Mr. Burgee completed his overview of the design impact on the urban landscape should be stopped. Volume S, Number 3 process for large scale buildings with presentations on The Friday afternoon case study and tour of the CBC Inside June, 1991 the AT&T builCiing in New York, the Pennzoil building Broadcast Centre was another informative session. in Houston, the Crystal Cathedral in California, and the Delegates got an inside look at the design development This special issue of Perspectives CBC Broadcast Centre in Toronto. process from architects David Scott and Bill Laht and highlights the work of the t990 London architect Edward Cullinan attracted a large Cadillac Fairview's Peter McAlister. Don Allen of ArchHectural Excellence Award crowd which included a sizeable contingent of students Vibron Ltd. provided a detailed analySis of the rigorous winners ... Pages 3-11 at his afternoon presentation. Utilizing a professorial acoustical standards the centre will meet. style familiar to those who studied with him at the The Architectural Products and Services Show, held 25 Year Award Winner, the SheRer University of Toronto, he examined the theme of in conjunction with the convention, provided delegates at Edwards Gardens in Contrasts in Scale in terms of "the detailed design of with an impressive display of new products and Toronto ... Page 12 new places in inherited frames". services. Exhibitors continued their tradition of Using a slide presentation for historical perspective, energetic, lively displays of new products of specific Award of Merit Winner, Three Small Mr. Cullinan took the audience through his design interest to the architectural profession. Rooms ... Page 12 Editorial serves as inspiration for and donate a large amount definitely there. Competing with excellence extra effort in any of time and expertise to The process of endeavour. charitable and social causes. rewarding excellence is a Last month, on behalf of A number of them have dynamic one. It's time we We honor those whose the OAA, I accepted the received awards in harnessed the creative work we respect and Toronto Historical Board recognition of their service. power this process can admire. In this special issue 1991 Award of Merit. The A wards inspire generate in less traditional of Perspectives, the OAA board cited two of our greatness, and help us areas of architecture and celebrates the excellence of association's centennial achieve recosnized goals. I building. As we are told its members' work. The activities for the award: the believe it is time we ad nauseam by the media, drawings and text on the publication of OAA: A architects widened the we must be competitive to following pages give us a Centennial History by scope of awards beyond survive. Let's start by glimpse of the creative Geoffrey Simmins, and the excellence in design. Why rewarding excellence in all process which has donation to the Fisher Rare not have an awards aspects of our profession. produced work which Book Library of the OAA program which encourages endures and inspires. Centennial Collection, innovation in building Our salute to this books primarily from the technology? Or a prize for a excellence is important not library of William G. Storm, project's energy efficiency, only for the sake of the our fust president. or environmental ~. talented winners. In a larger On an individual level, awareness? As the winners Eliseo Temprano context, the recognition and many of our members are in this issue demonstrate, M.Arch., OAA, MRAIC appreciation of excellence active in the community, the potential for greatness is President

OAA Convention Highlights

Clockwise, from top left: Past president Irv Rayman congratulates 1991 Order of da Vinci recipients Brian and Brenda Parks (1) and Blandford Gates (2). (3) Ross Waddingham, associate with Peat Marwlck and Thorne and former OAA Lieutenant Governor in Council Appointee, was elected an Honorary Member. (4) Michael Burtch received the Allied Arts Award for innovative work with an architect in Sault Ste. Marie. (5) Crescent School graduate Christopher Omelon won the 1990 OAANladen Milic scholarship. Graduate associates Stephen Blood (6) and Mark Mathiassen (7) received the Raymore Medal, for the highest standing in the 1990 Admission Course. (8) Certificates of Appreciation for service were presented to retiring Councillors (I to r) James Crang, John Houghton, Douglas Neville (Past President) and Robert Stiff (Past President). (9) The 25 Year Award of Excellence for the Shelter in Edwards Gardens was presented to (left) and Robert Bundy, Toronto's Commissioner of Parks and Property. (10) Janis Kravis received the 25 Year Award of Merit for the Three Small Rooms. (11) Retired Member Dr. Thomas Howarth was elected an Honorary Member. (12) The OAA Community Service Award was presented to architect Don Loucks, who spearheaded the volunteer planting of 10,000 trees in the Rouge Valley. Lynda MacDonald accepted the award on his behalf.

2 JURY REPORT Avoiding the trend to NEWCASTLE TOWN HALL, BOWMANVILLE abandon an existing town hall and build new facilities, this project provides a refreshingly DESIGN STATEMENT contextual solution to a The Newcastle Municipal Administration building consolidates the town's municipal common problem in the government facilities into a new civic complex. The legislative and administrative Ontario townscape. Lauded aspects of civic government are acknowledged by the separation of orders in the for its witty relationship to scheme. the historic structure, the Legislative facilities, including the council chamber, committee rooms and offices of addition incorporates bold elected officials, are housed in the renovated Town Hall, opened in 1904. colors and thoughtfully Administrative offices are located behind the Town Hall in a new addition. A curved concrete wall separates the two aspects of the project, creating a Great exaggerated forms to Hall between the old building and the addition. Public circulation and reception produce a new municipal counters for all floors are directly behind the wall. centre that is truly an The wall serves as the sign for the complex and as a backdrop for the historic town ensemble. The slender hall. Its extension south towards the downtown core reorganizes and appropriates an vertical element uniting old adjacent park as an integral component of the civic centre. Structurally, the wall is a and new structures is a spme, out of which project the cantilevered roof beams over the hall and the beams sophisticated architectural supporting the office floors. element. A number of fixed objects, the vault, the core, and the north entrance drum, are Gary Mcluskie, A.J. Diamond, inserted into the new building volume. This strategy of insertion is also used in the Donald Schmitt and Company, council chamber, where the council table, balcony, and floating ceiling are placed Architects; Fred Horwath, Town of within the restored envelope of the old town hall. Newcastle. The addition is a straightforward office building attached to the wall. The massing of the building's north and south facades replicates that of the existing building. In general, the symmetry of the latter has been abandoned in favor of a more abstract approach which clearly identifies the addition as a modern building. However, an exaggerated cornice and centred, punched windows on the north facade ensure that the addition remains deferential to its host. The addition is clad in red brick, with painted metal frame strip windows, pigmented precast concrete sills, and a painted wood cornice. Poured concrete structural elements -- the curved wall, columns, and sloped beams -- are smooth architectural concrete with integral black pigment. Exterior and interior elements such as the triangular stair wall, vauft, and drum are stucco, while glazed screens are patterned with textured glass. Railings are painted steel. Interior finishes are glazed block, terrazzo, carpet, perforated metal wall panels and ceilings, and stained wood millwork. 3 CROSS SECTION

JURY REPORT The sailing club sets a high architectural standard. Bow trusses and exposed laminated structure NEPEAN SAILING CLUB PAVILION contribute to a sense of continuity with maritime design traditions. Small, DESIGN STATEMENT porthole-like windows and balcony projections also Situated at the edge of the Ottawa River on reclaimed land, the pavilion acts as a contribute to the nautical bridge between the docks, where 360 keel boats are moored, and the" dry sail" or character. The jury also dinghy area. In this position, the pavilion commands the head of the man-made commended the architects harbour, and provides a backdrop for the moored boats, closing views to a highway for a highly evocative and townhouses beyond. project presentation. The spit and harbour join with a linear park which follows the water's edge, and includes cycle and walking paths. A lightnouse, compatible with the sailing club in design, has been proposed to improve safety and serve as a destination and lookout. John Cook, Griffilhs Rankin Cook, The building provides social and administrative facilities, organized on two levels. Architecls; Cily of Nepean Mayor A large, multi-purpose club room and associated outdoor deck, along with a kitchen, Ben Franklin. occupy the second floor. Washrooms, mechanical space, office and storage areas fill the ground floor. The building was developed jointly with the municipality, and is available to the public for social events. This shared use required that the social space be capable of division to ensure that some space is always reserved for the club, with joint access to support facilities. The interior form and exterior character of the club room is provided by a clear span curved wood truss roof, with structural wood decking. In addItion to areas definedby the bar, the space is inflected by a series of undulating window bays, a fireplace, and a dance floor. Lanterns in the roof bring light into the room by day, and act as beacons at night. With the exception of some interior steel columns, the pavilion is constructed of wood. The exterior is clad with pressed wood fibre roof shingles, applied vertically. Exterior wood is stained, while interior wood is left with the natural color and grain exposed.

4 JURY REPORT This adaptive re-use of a residential building for a DUPONT STREET, TORONTO graphic deSign studio is 103 remarkable, for both its urban integration and high graphic impact. Using DESIGN STATEMENT modest materials and An existing semi-detached townhouse was renovated to provide office space for a simple forms, the front leading graphic design firm, Kramer Design Associates. facade projects a new The playful street elevation, consisting of coloured metal window frames and a triangular bay window into canopy against a background of stamped corrugated aluminum panels, represents the the street. Consistent with design firm as creative, bold, outspoken, and able to communicate simply and clearly. the oiten two-dimensional The principle elements of the neighbouring buildings -- small upper storey window, scope of graphic deSign, the second storey bay window, and entrance canopy -- are interpreted in a modern idiom, architecture explores flat making a new statement while placing the renovated office within the context of the and seemingly folded neighbourhood. surface projections to The side and rear of the building are clad in green stucco, which terminates at the Peter Hamillon, Peter Haminon front in a ziggurat pattern. The rear elevation is completed by a blue exposed open maximum effect. Arch~ecls ; Burton Kramer, steel grating emergency exit stair, leading to a roof deck. Kramer Design Associates. The office contains a reception area at grade, boardroom and private office a half level above grade, and general offices on the top two floors. A darkroom and photography studio occupy the basement. The middle of the building is pierced by a light shaft which penetrates the top two floors, bringing light to the centre of the building and dividing the floor space into front and rear offices. Interior spaces are open and simple. The use of readily available components made it possible to create a unique interior at a very low cost. Standard " off the shelf" industrial components are employed as handrails, guards, fluorescent light shades, and display elements. Careful attention has been paid to artificial lighting, which varies from general fluorescent supplemented by task lighting in offices to halogen for boardroom presentations. Principal materials used are stucco, standard structural steel comyonents, precast concrete masonry units, stamped corrugated aluminum panels, stee and aluminum windows, and glass block. 5 o EAST ELEVATION

o SOlmi ELEVATION

JURY REPORT Recognized for observing a MOODIE HOUSE, LAKEFIELD vernacular tradition of wood construction in the Lakefield area, Moodie House is an example of architectural DESIGN STATEMENT ingenuity within apparent programmatic constraints. The design challenge was to ensure that a fairly simple and traditional form displayed The combination of student some ingenuity and design appeal, and blended with the campus. Ensuring coherence with the campus was no easy fea t, as there was no common architectural style, and a and housemaster variety of materials ranging fro m asbestos-shingle siding to logs had been used. accommodations within a Predominant colors are &Teen and w hite, and the school's property committee single structure is most wanted to retain the essentIally rural character. With this in mind, cedar Siding, stained successful in the more white, and pre-finished aluminum clad wood windows were selected as the permanently appointed predominant exterior materials. The expanse of horizontal, channel groove siding was facilities for the relieved by regular green flashing lines, which are continuous above and below the house master. Simplicity of window heads and sills. The horizontality is further emphasized by clusters of short construction is an appealing awning windows. characteristic of the Jon Hobbs, Jon Hobbs, Architect; Interior finishes were selected fo r durability: pine wainscotting to protect walls, tile residence. David Hadden, Headmaster, on alI bathroom surfaces, metal stairs and balustrades, and nylon carpets. To maintain lakefield School a traditional ambience, the residence was well trimmed in pine, which was pickled to prevent any yellowing. The housemaster, a teacher living with his family adjacent to the students, has a well-appointed residence complete with den, fireplace, ensuite bathroom, and full basement. Selection of finishes here was done in consultation with· the housemaster and his wife.

6 o

Marc Laurent-Phase3(1989) TorontO,Onl.

sketch ptan by Bruce Kuwabara u·

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JURY REPORT MARC LAURENT, TORONTO Rigorous and compelling, the most recent renovations to this men's fashion store DESIGN STATEMENT exemplify the high level of craftsmanship directed by The design of Marc Laurent began in 1986, as a collaboration between Bruce Kuwabara the architect. The sensual and Thomas Payne. The initial project was a complete renovation of the existing store on treatment of materials Bloor Street, creating a rigorous order for retailing within a linear scheme of 1000 square invites contact, attracting feet. The tectonic language of the project is seminal in the proposition of making interior attention to the architecture. The essential element that unifies the project and its extensions is a steel merchandise. The interior racking system. A flexible system for various combinations of shelves and horizontal shows subtlety in both bars, based on two types of supports, was created. As merchandise is sold through each detail and overall spatial season, the system allows the regrouping of pieces of collections. No special tools are organization. An innovation required when relocating hanging rods or shelves. Rubber connectors ensure that neither of the scheme is the wood nor glass shelves move when put in place. Thorn Payne, Kuwabara Payne seamless path of movement This essential merchandising system is used to create a repetitive texture, a highly­ McKenna Blumberg, Architects; from front door to tjle new ordered ground within which selected gestural elements are developed. There is a strong client Harry Bendeyon; Bruce lower level, with access via relationship created between the curved cash desk at the entrance and a large display Kuwabara, Kuwabara Payne a stair that is all but panel of scoured aluminum, which acts as an easel at the back of the space. The ceiling is McKenna Blumberg, Arch~ecls invisible at street level. aeveloped as a Significant surface, marked by linear slots incorporating air diffusers and lighting. The second project connected the street level store to new retail and support space on a lower retail concourse level, by means of a new interconnecting stair which acts as a pivotal hinge, inflecting movement into the space. A dynamic interplay is developed between a nucleus of elements, including a second cash desk and curved screen attached to an existing central column, and the repetitive system of racking at the perimeter. Overlapping ceiling planes heighten the spatial readings of elongation and extension. The third project involved the conversion of the upstairs space into a Byblos Boutique for men and women, and the opening of a new 1600 square foot women's retail area on the lower concourse level. The phase extends and completes the sequence of movement on the lower level by creating a second loop. Specific architectural elements are situated to create both the interior promenade and its events. Materials include honed and flamed granite, pre-finished steel, scoured aluminum, bird's eye maple veneer, and glass. 7 JURY REPORT Praised for an energetic GRAND RIVER RECREATION COMPLEX, combination of construction systems often associated with industrial buildings-­ KITCHENER monitor roofs over a large rectangular building, parabolic laminated arches over the pool--this DESIGN STATEMENT recreation complex Located on the present Kitchener city boundary; this suburban complex rests on a six demonstrates remarkable hectare park at the corner of Heritage and Ottawa Streets. To the east of the site lies architectural dexterity. The farmland stretching to the Grand River, which will be developed as an expanded suburban precinct.lhe park for the centre and its athletic fields is being reserved from exterior of the building is this new development. handled with restraint, The 1885 square metre recreation complex consists of teaching, fitness, and belying an exciting recreation sWImming pools, a community hall, and support areas. The building sequence of interior spaces. David Miller, Maclennan comprises two major public volumes composed on perpendicular axes, which The architects have carefully Architects; Fred Graham, City of establish a comer to the park. The scheme frames the western edge of the park with a explored vernacular Kitchener. continuous walkway, providing a linear zone of parking adjacent to the street. The traditions to create this community hall is parallel to the park boundary walk, while the pool hall forms the striking ensemble. southern edge to Ottawa Street. Future expansion of additional public rooms will be on the armature adjacent to the community hall. The linear configuration along this western edge proVldes an enclosing elevation to the park, with all rooms having direct access to the park.

8 JURY REPORT JOHN STREET PEDESTRIAN BRIDGE, The John Street Bridge is an important new catalyst in its monolithic context, TORONTO achieving an impressive presence as an urban gateway between such giant structures as the SkyDome DESIGN STATEMENT and the eN Tower. As well, The involvement of architects in the design of public works projects such as bridges the bridge affords amenity has an honorable if not continuous tradition. Otto Wagner's projects along the Danube at the small scale, relying Canal in Vienna demonstrate a vocabulary of building which is both muscular and on canopied edges and refined. Closer to home, John Lyle's McQuesten High Level Bridge outside of Hamilton makes an extraordinarily elegant gateway to that city. These precedents details at eye level to serve as reminders of the possibility of making structures for the public realm which David Sisam, Montgomery and celebrate the notion of are tough yet elegant, and capable of withstanding the vagaries 01 fashion. Sisam Arch~ecls; Robert Millward, connection for pedestrians. The John Street Pedestrian Bridge is designed as an extension of the John Street City of Toronlo; Terry Art nouveau and high-tech alignment, bridging the rail corridor and linking Front St. with the SkyDome and Montgomery, Montgomery and stylistic influences have redeveloped railway lands. The large pylons form a gateway to celebrate the re­ Sisam Architects. been combined with connection of the city across the narrowed rail corridor that has, since the 1860s, straightforwardness and formed a major barrier between the city and its waterfront. The bridge has a direct elegance. relationship with the historic fabric of the city, as well as the new public precinct initiated by the stadium. The cable stayed structure permitted a limited depth for the bridge deck, allowing clearance for the rail corridor while limiting level changes at the briage deck. The nature of the bridge structure allowed for a very fast erection time, minimizing interference with rail traffic below. The design vocabulary of the bridge responds to two scales of consideration: the large steel pylons, cables, backstays and concrete abutments respond to a civic scale, providing alignment and a sense of monumentauty to John Street. The light steel and glass canopies respond to the scale of the pedestrian by providing wind protection, shelter and separation from the rail corridor. The interplay between the monumental and the intimate allows the bridge to feel appropriate in scale for both large stadium crowds, as well as individuals or small groups crossing at other times.

9 JURY REPORT The uncluttered architecture BAY BLOOR RADIO, TORONTO of this store for an equipment distributor underscores the minimalist technical design of audio­ DESIGN STATEMENT visual components. The The renovation and expansion of Bay Bloor Radio's existing retail space, located in the novel organization ofthe basement and ground floor premises of midtown Toronto's ManuLife Centre, was space promotes quiet visual intended to create a bold new look to celebrate this farnily business's fo rtieth birthday. The pragmatic acoustic maxim of non-parallel walls was used as a basis for the inspection in a central, design, both in plan and section. Skewed walls and surfaces and sloping ceilings serve double-height showroom, two purposes: they avoid standing waves that confuse bass frequencies in sound yet accommodates audio reproduction, and help to create a state of changing experiences, shifting perspectives, testing in an acoustically­ and conceptual surprises. Spaces transfonn and overlap, adding depth and richness to separate studio. The the composition, evoking surprise and discovery in shoppers. thoughtfully limited choice Existing conditions presented unusual design opportunities. The irregular and of materials contributes unsightly below-grade concrete walls and columns were sandblasted and sealed. The strength to this bold interior. biggest challenge was working around the building's existing spaghetti of pipes, conduits, and sewers. Some remain exposed, while others sit above an overhead Raymond Moriyama, Moriyama & ceiling mesh that adds a sense of height and a feeling of space to the windowless Teshima, ArcMects basement area. A rugged vocabulary of materials used in their pure states--sandblasted concrete shear walls, rough granite on door frames, baseboards, and stair treads, raw steel fo r the 50 foot partition wall and counter bases--contrasts sharply with the refined high­ tech equipment on the store's shelves. Color and vitality are provided by people, light, and music. A .variety of connecting devices between the store's three levels (providing a total of 17,000 square feet) --small stair, cantilevered stair, and bridge--heighten the sense of the store as dramatic backdrop to the business of sales and service.

10 J ·1

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JURY REPORT CANADIAN IMPERIAL BANK OF COMMERCE, Commended as an urban model for main street OntariO, this renovation KITCHENER maintains a corner bank building in its entirety. The architects have been scrupulous in their treatment DESIGN STATEMENT of the exterior: opening up the base at the entrance The Canadian Imperial Bank of Commerce is represented by buildings of note on without altering the original significant corners in cities and towns throughout the country. This building, built in street columns or street line, 1885, has been home to the crnc since 1927, when it was acquired from the 13ank of Hamilton. In 1985, the crnc commissioned Quadrangle to undertake its restoration they have synthesized the and renovation. transparency of The exterior restoration followed design guidelines established by the Local contemporary bank Architectural Conservation Advisory Committee. This included restoration of the architecture with the stability cornices, restoration and replacement of windows, and cleaning and restoration of the Irena Orlowski-Low, Canadian typical of traditional bank stone and brick. In a departure from the bank's current marketing practices, sign age Imperial Bank of Commerce; design. The interior was designed to be in keeping with the historic character of the buHding. Philip Goldsmith, Quadrangle integrates traditional details The original interior had been destroyed by inappropriate renovations over the life Architects Limited and modern requirements. of the building. Quadrangle designed a distinguished interior which accommodated the stringent requirements of contemporary banking and respected the historic qualities of the building. A formal banking hall with a vaulted ceiling dominates the ground floor. An oculus in the centre of the ceiling provides light from above and a visual connection between levels. The skewed geometry of the King and Queen Street intersection is used to generate circulation routes and to provide an order to the architectural elements. An abstraction of the Caduceus, once the corporate symbol for the crnc, has been used in the lighting standards at the teller's wickets. The chevron, the current corporate symbol, has been used in the ornamental patterns of the metal work. Through the use of local materials, careful detaHing and craftsmanshif' this project is an eXl?ression of the skills and resources characteristic of the region, 0 appropriate restoratIOn and of contemporary architectural ideas.

11 25 YEAR AWARD SHELTER, EDWARDS GARDENS

DESIGN STATEMENT

The Shelter was commissioned in 1964 by the Metro Toronto Parks Department as a commemoration to the original Edwards House, destroyed by fire in 1962. The lU....l SL~"~l'l new structure was to provide a place for resting, for viewing, and simple enjoyment. (<<."u.f :'-· ~ ) A straightforward architectural idea, the shelter was ... t,/.J built from one sheet of working drawings to a budget of only $19,000. The houses's original foundations, terraces, and formal landscaping were incorporated into the design. Built almost entirely from natural materials, the shelter sits between two large weeping willows, blending with the large, surrounding park system of naturally wooded ravines and footpaths. Screens, benches, soffits, and trim combine cedar and redwood. Trusses are of B.C. fir, and flooring is flagstone and concrete. Cedar shakes finish the roof. Oversized plywood gusset plates, softly highlighted by natural light filtering through translucent fibre glass JURY REPORT panels in the roof, are a major design element. Great The jury commended this small but significant building as a model of the architecture of attention has been paid to detailin~r exposed nails line up perfectly, screw heads are conSistently aligned, and the latter part of post war Ontario. The building's enduring relationship to its picturesque mortar joints have been raked to resemble dry park setting makes it highly accessible to the public. As a result, its importance to the stonework. regional community heritage was deemed its greatest attribute. Also cited as reasons for The setting for generations of wedding pictures, the honoring the Shelter for Edwards Gardens were the logical arrangement of its shelter remams one of Toronto's quiet landmarks. constituent spaces, and the evident craftsmanship involved in its construction.

THREE SMALL ROOMS 25 YEAR AWARD OF MERIT

DESIGN STATEMENT Due to the very narrow and limited space in the basement of the hotel, greatjains had to be taken to utilize every inch, and many pipe and pieces of equipment ha to be relocated. The long and narrow interior space of the former dining room has been transformed into three smaller, more .intimate areas, each with its own particular mood. The "Grill" seats 40 people in banquette seating of natural leather and red lacquered Hans Wegner chairs, at tables covered with natural leather fumed oak edging. The counter and the wall behind the broiler in the chef's station are covered with copper. The heather brown quarry tile floor in this area extends into the service bar, main entrance, and wine cellar. The "Wine Cellar" is seven steps lower, with walls of dark brown brick. An oak chandelier with brass, glass, and clear filament bulbs hovers above the area, which seats 22. Wine is storecfin wall-hung cases. The main dining surrounds 49 diners with walls and ceilings of solid African mahogany. The deep maroon carpet was manufactured specifically for the room. Table tops are of rosewood veneer glued-up in three inch strips of alternating dark and light strips, with solid rosewood edges on two sides. Chairs were especially designed for the room by the architect in solid African mahogany and leather. Lighting throughout is recessed and rheostat controlled for desired1evels. All furniture, furnishings, uniforms, and graphic material was designed and selected by the architect.

JURY REPORT Noting the remarkable endurance of the interior renovation that set the pace for restaurant design in the 1960s and 1970s, the jury elected to confer an Award of Merit on the Three Small Rooms.

Recent Awards Congratulations to the OAA practices which received awards of merit in the 1991 Governor General's Awards: Moriyama & Teshirna, Architects, for Bay Bloor Radio; Daniel Li Architects, for Harbour Terrace Ltd.; Jones & Kirkland Architects, for Mississauga City Hall. The 1991 medallists are Patkau Architects for the Appleton Residence, Victoria; The LeBlond Partnership for Head-Smashed-In Buffalo Jump Interpretive Centre, Porcupine Hills, Alberta; Bing Thorn Architects for Point Grey mnm~mnmnnnn~ Road Condominiums, ; Hughes Baldwin Architects for Seascapes, Vancouver. Produced by the The Zeidler Roberts Partnership in Toronto has won a two stage competition to Ontario Association of Architects design the central tower of MediaPark in Cologne, Germany. The fum previously won 50 Park Road, Toronto M4W 2N5 the competition to prepare the master plan for MediaPark, an urban community being (416) 968-0188 built on 50 acres oHormer railway lands. Petroff Partnership Architects of Markham, Ontario was presented with three Editor: Paul Lebel awards for shopping centre design by the International Council of Shopping Centres in Toronto recently. The firm won first place Maple Leaf awards for the South Centre Editorial Committee: Mall in Halifax (expansions under 400,000 square feet) and Place d'Orleans in Ottawa Diarmuid Nash, M.Arch., OAA, MRAIC (expansions over 400,000 square feet) . The firm also won an Award of Merit for Robert B. Shff, B.Arch., OAA, FRAIC Mapleview Shopping Centre in Burlington, (new centres over 400,000 square feet). James M. Wright, B.Arch., OAA, FRAIC William Hurst Architects Inc. of , Ontario has received an Award of Merit from the Toronto Historical Board. The award for building restoration was Articles may not be reproduced withou t tile permission of the OAA. presented for 514 Jarvis Street, Toronto.

12 e PRINTED ON RECYCLED PAPER