canadian architect - 2009 june

DOLBEAU-MISTASSINI CORPORATE IDENTITIES

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06/09 canadian architect �

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9 news In Study Model Wonderland from Halifax to

VancouveratMontreal’sGalerieMONOPOLI;winnersoftheAIBCArchitecturalAwards.

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ArchitectureinMontreal;Twenty and ChangeinToronto.

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BaleObservatoryinSaskatchewanfacilitatestheappreciationoftheetherealandsublimequalitiesoflight,skyandtheprairielandscape.

13 salle de sPectacle dolBeau-Mistassini

Paul lauReNdeau aNd JodoiN laMaRRe PRatte desiGNed this dRaMatic PeRfoRMiNG aRts ceNtRe, cReatiNG a coheReNt New focal PoiNt foR a sMall QueBec coM-MuNity. teXt thoMas stRicklaNd

18 agnico-eagle Mines and torys llP

the iNteRioR ReNovatioNs to the headQuaRteRs of Both a MiNiNG coMPaNy aNd a leadiNG law fiRM Move faR BeyoNd staNdaRd coRPoRate office desiGN, couRtesy of tayloR sMyth aRchitects aNd kuwaBaRa PayNe MckeNNa BluMBeRG aRchitects. teXt leslie JeN

cover the Reflective exteRioR of the salle de sPectacle dolBeau-MistassiNi | des-JaRdiNs | MaRia-chaPdelaiNe iN QueBec By Paul lauReNdeau | JodoiN laMaRRe PRatte | aRchitects iN coNsoRtiuM. PhotoGRaPh By MaRc GiBeRt.

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The NaTioNal Review of DesigN aND PRacTice/The JouRNal of RecoRD of The Raic

JuNe 2009, v.�4 N.06

contents

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� canadian architect 0�/09

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editorIan ChodIkoff, OAA, MRAIC

associate editorLesLIe Jen, MRAIC

editorial advisorsJohn MCMInn, AADIpl.MarCo PoLo, OAA, MRAIC

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regional correspondentshalifax ChrIstIne MaCy, OAAmontreal davId theodoreWinnipeg herbert enns, MAAregina bernard fLaMan, SAAcalgary davId a. down, AAAedmonton brIan aLLsoPP, AAAvancouver adeLe weder

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Ian ChodIkoff [email protected]

above arthur erICkson (rIGht) GIves PIerre trudeau (MIddLe) a tour of the ubC MuseuM of anthroPoLoGy—one of erICkson’s Most IMPortant vanCouver buILdInGs.

viewpoint

On May 20th, Canada lost one of its greatest architects. By the time of his passing at 84 years of age, Arthur Erickson had built a career that spanned several decades, providing us with a number of significant buildings that defined an emerging nation through an architecture that ac-knowledges its geography and expresses the vitality of its citizens: the venerable Roy Thomp-son Hall, the groundbreaking Simon Fraser Uni-versity, the landscape-inspired University of Lethbridge, and the Museum of Anthropology at the University of British Columbia, a post-and-beam concrete masterpiece that places First Na-tions art and culture on par with the great cul-tures of Ancient Greece and Persia. In addition to his innumerable contributions to residential de-sign, he directly influenced the evolution of sev-eral important Canadian cultural, educational, corporate and governmental institutions. Inter-nationally, Erickson positioned Canada as a place that could stand proud amongst the great nations of the world. Few of us were able to see his Can-ada Pavilion at the 1970 World’s Fair in Osaka, but many of us have heard him eruditely describe how his architecture came to be an ambassador for our country by confidently displaying our cul-tural and creative spirit within a wooden teepee-inspired building. The Canadian Chancery in Washington, DC, an oft-misunderstood building largely due to its postmodern inclinations, is an-other strong example of Erickson’s interpretation of Canadian architecture as emissary abroad. Lo-cated in a precinct of Washington dominated by

Federalist buildings, Erickson’s Chancery refer-ences the porticos, columns and entablatures of its neighbours—but is expressed through a vo-cabulary of exposed concrete elements integrated with ample greenery and a publicly accessible landscaped courtyard. But most importantly, Erickson’s architectural intentions and aspira-tions transcend formal geometries, exuding val-ues that reflect contemporary Canadian culture and democracy.

Erickson’s reputation as an architect entered our collective imagination long before Gehry, Libeskind or Koolhaas were considered house-hold names. This became apparent to us at the magazine, as we have had in the past weeks the privilege of hearing from many readers wanting to share their personal experiences of either Erickson the man or an Erickson building—from those who knew him well as far back as the 1950s, to the aspiring architecture student who, recently having toured an Erickson structure, discovered the importance of his chosen field of study. Erickson was an architect who could inspire us with his bravado and humanism as much as he could provide us with lessons about the plasticity of concrete, the expansiveness of glass, and the elegance of steel.

Arthur Erickson taught us about leading with substance over style: culture, history and human-ity are the true foundations of good architecture, and these aspirations can be realized through programmatic invention. At Simon Fraser Uni-versity, for example, he responded to the chal-lenge of building a new educational facility by breaking down social and academic barriers so that university students from a variety of disci-plines could debate and interact freely within a new space-age superstructure. When designing the Vancouver Law Courts, he redefined our ex-pectations of a democratic city by placing access-ible rooftop gardens on top of a legislative facil-ity, and by encasing both the public hall and courthouse within a large transparent glass en-velope.

Just as former Prime Minister Pierre Trudeau once defined a nation through his political leadership during the 1960s, ’70s and early ’80s, Arthur Erickson’s buildings of that era represent an equally sophisticated confidence and vision for Canada. Without a doubt, Erickson’s contri-butions helped define a period of Canadian architecture that exudes an unprecedented con-nection to the particularities of site and land-scape, and to First Nations heritage. He remains an inspiration to us all.

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06/09 canadian architect 9

news

aBOVe the latest exhibition organized by Montreal’s galerie Monopoli explores the use of the Maquette by architects froM across the country.

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In Study Model Wonderland from Halifax to Vancouver.This exhibition at Maison de l’architecture du Québec—MONOPOLI in Montreal begins with a question: in this day and age of AutoCAD and digital design, is the study model still playing a role in the architect’s creative process? The answer proves to be resoundingly affirmative, from a vast crossCanada investigation conducted by the MONOPOLI team with the help of three researchers under the direction of chief curator Sophie Gironnay. Forty study models have been selected for the exhibition in a variety of scales and representing a vastly divergent assemblage of projects, each possessing a unique quality of expression and beauty. They are housed within a setting courtesy of architectural firm Atelier in situ, the exhibition’s guest designers. Along with the models, photos of the finished buildings and quotes from their architects express the creatively complex process of designing a building. Accompanying the exhibition is a 56page catalogue titled 1:26, the result of a creative collaboration—graphic design by Uniform, image direction by Alain Laforest, photographs by Marc Gibert, and a colour pamphlet by Émilie Graves. The exhibition ends October 10, 2009.www.galeriemonopoli.com/?cat=22&lang=en

awards

winners of the aiBc architectural awards.At this year’s annual AIBC Architectural Awards, eight awards were bestowed upon British Columbia’s architectural leaders. Recipients of the LieutenantGovernor of British Columbia Award in Architecture Medal for 2009 are: the Arts & Social Sciences 1 and Blusson Hall complex at the Simon Fraser University Burnaby Campus by Busby Perkins+Will Architects Co; and Kensington Park, Robert Burnaby Park and Swalwell Park Washrooms by Bruce Carscadden Architect Inc. Three projects received LieutenantGovernor of British Columbia Merit Awards: the Chimo Aquatic and Fitness Centre by Hughes Condon Marler Architects; the North Vancouver City Library by Diamond and Schmitt Architects Incorporated and CEI Architecture Planning Interiors; and Whistler Public Library by Hughes Condon Marler Architects. The 2009 AIBC Innovation Award went to the “22” series of electrical accessories by Omer Arbel for Bocci, and the 2009 AIBC Special Jury Award was granted to Dockside Green—Synergy by Busby Perkins+Will Architects Co. And finally, the firstever AIBC Emerging Firm Award recognizes Bowen Islandbased JWT Architecture and Planning, led by James Tuer.www.aibc.ca

cOmpetitiOns

winners of Formshift Vancouver ideas competition selected.The winners of the firstever FormShift Vancouver have been selected. In the Vancouver Primary category, honours go to a submission from Calgarybased Sturgess Architecture. The Vancouver Secondary choice is Romses Architects (Scott Romses) of Vancouver. In the third and final category—Vancouver Wildcard—the nod goes to Go Design Collaborative (Jennifer Uegama and Pauline Thimm) of Vancouver. This unique competition, cohosted by the Architectural Institute of British Columbia and the City of Vancouver, challenged architects, designers and others with creative flair to submit innovative, builtform ideas that will guide Vancouver’s future growth. Competitors were encouraged to draw inspiration from several key initiatives developed by the city, including the Climate Change Action Plan, the EcoDensity Charter, and the Greenest City Action Team. Jurors were impressed with the integration of wideranging ideas for sustainable development, including many that incorporated components of renewable energy on a community level, Vancouver’s back lane conditions, urban agriculture, land parcellization and tenure, and various designs for greenroof technologies. Many submissions also strongly addressed affordability and livability in the design. The winning submissions thoughtfully put forth multiple innovations and approaches. www.formshiftvancouver.com

what’s new

Landmarks, monuments & Built heritage of the west.The University of Manitoba Archives & Special Collections, along with its partners, the Ukrainian Catholic Archeparchy of Winnipeg Archives, the Canadian Architectural Archives, and the Archives of Manitoba, have created a website devoted to Western Canada’s architectural history and the effects it has had on Canadian society. The 7,000 textual documents, photographs, blueprints, films, and sound clips that comprise Landmarks, Monuments & Built Heritage of the West document this rich historical legacy. http://umanitoba.ca/libraries/archives/digital/built_heritage/ OBituary

Legendary canadian architect arthur erickson dead at 84.Arthur Erickson, the Vancouverborn architect known for his groundbreaking designs in concrete and glass, passed away in a Vancouver hospital at

age 84 on May 20, 2009. Born in 1924, he graduated from Montreal’s McGill University in 1950 and worked as an associate professor at the University of British Columbia from 1957 to 1963. He first achieved international acclaim soon after for his awardwinning design for Simon Fraser University in Burnaby, British Columbia. Later, he designed many significant buildings that make up the urban landscape of Vancouver, including the Vancouver Law Courts, Robson Square and UBC’s Museum of Anthropology. Erickson’s success in Vancouver soon spread around the globe. His noted designs include Roy Thomson Hall in Toronto, the Canadian Embassy in Washington, California Plaza in Los Angeles, Napp Laboratories in Cambridge, England, Kuwait Oil Sector Complex in Kuwait City, and the Kunlun Apartment Hotel development in Beijing. Architecture critic Trevor Boddy said the distinctive stamp Erickson left on the young West Coast city would be his most enduring legacy, as he was the first to believe Vancouver could be a worldclass city. Boddy stated, “The way that he prodded and primed and hoped that Vancouver would become a better place, more diverse, more dense, more visually engaging, more beautiful, the notion that this geographically isolated city could be a global contender.”

Abridged from the CBC News website. For the full story, please visit www.cbc.ca/canada/story/ 2009/05/20/erickson-obit.html.

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2008-2009 RAIC Board Members

PresidentPaule Boutin, FIRAC

1st Vice-President and President-ElectRanjit (Randy) K. Dhar, FRAIC

2nd Vice-President and TreasurerStuart Howard, FRAIC

Immediate Past PresidentKiyoshi Matsuzaki, PP/FRAIC

Regional Directors

Stuart Howard, FRAIC(British Columbia/Yukon)

Wayne Guy, FRAIC(Alberta/NWT)

Charles Olfert, MRAIC(Saskatchewan/Manitoba)

David Craddock, MRAIC(Ontario Southwest)

Ralph Wiesbrock, FRAIC(Ontario North and East/Nunavut)

Claude Hamelin Lalonde, FIRAC(Quebec)

Paul E. Frank, FRAIC(Atlantic)

Chancellor of College of FellowsAlexander Rankin, FRAIC

Council of Canadian University Schools of Architecture (CCUSA)Eric Haldenby, FRAIC

Editorial LiaisonRalph Wiesbrock, FRAIC

Executive DirectorJon Hobbs, FRAIC

EditorSylvie Powell

The national office of the RAIC is located at:

330-55 Murray St.Ottawa ON K1N 5M3

Tel.: (613) 241-3600Fax: (613) 241-5750

E-mail: [email protected]

www.raic.org

updateISSUE 31.2 SUMMER 2009

The Royal Architectural Institute of CanadaThe leading voice of architecture in Canada

Have you renewed your membership?Use the RAIC online payment system

Along with the traditional member-ship categories – Architects, Interns or Intern Architects, Graduates, Faculty and Fellows – the RAIC offers opportunities to become a Life Member, Student Associate and Affiliate. With the exception of Affiliates and Student Associates, all these categories allow members to attach the MRAIC (Member of the Royal Architectural Institute of Canada) and FRAIC (Fellow of the Royal Architectural Institute of Canada) designations following their name – a recognized symbol of professionalism.

To reinforce the numerous roles held by qualified architects in society, the RAIC strongly encourages all licensed (or registered) architects to also use the title “Architect” after their name as well as the appropriate designation MRAIC or FRAIC.

Help the RAIC continue to be the voice of architects in Canada by encouraging colleagues to become members.

Second Edition of the Canadian Handbook of Practice for Architects – 2009

The Second Edition of the “CHOP” can be download-ed in a PDF format from the RAIC website as of May 22.

Architecture students, intern architects, and licensed or registered architects can purchase the new document for $75 from the RAIC. This

new edition contains over 50 checklists, many of them new, updated references and current practice advice.

This summer a CD-ROM version and a printed paper copy will also be available for sale.

A Guide to Determining Appropriate Fees for Architectural Services

The RAIC has just completed a national fee guideline which includes updated recommen-dations for percentage-based fees. The guidelines are in-tended for both clients and architects alike and supports existing provincial fee guide-lines and assists architects when negotiating fees with clients.

The document is free to download for RAIC mem-bers. Printed copies to send to clients will be avail-able for $25 each.

NEW! NEW! NEW! NEW!

Veronafiere 2009Another fabulous opportunity offered to Canadian Architects through RAIC membership

RAIC members are once again eligible to become one of six lucky architects for a terrific professional develop-ment opportunity to attend the trade show Marmomacc held in Italy Sept. 28-Oct. 2, 2009. Scholarships cover tui-tion, meals, accommodations and local transportation and the administration fee. Those selected will be responsible for travel costs to and from Verona.

Participants earn 20 hours of CORE continuing education credits. The class is limited to 30 architects, 16 from the U.S., six from Canada, and the others from the U.K., South Africa, India and Australia.

Interested RAIC members should submit a résumé to Jon Hobbs, FRAIC ([email protected]) before June 12, 2009.

photo: Pierlucio Pellissier, MIRACphoto: Philip O’Sullivan, MRAIC

photo: Philip O’Sullivan, MRAIC

p11-12 RAIC.indd 11 6/12/09 10:47:49 AM

Conseil d’administration de l’IRAC de 2008-2009

PrésidentePaule Boutin, FIRAC

Premier vice-président et président éluRanjit (Randy) K. Dhar, FRAIC

Deuxième vice-président et trésorierStuart Howard, FRAIC

Président sortant de chargeKiyoshi Matsuzaki, PP/FRAIC

Directeurs régionaux

Stuart Howard, FRAIC(Colombie-Britannique/Yukon)

Wayne Guy, FRAIC(Alberta/T.N.-O.)

Charles Olfert, MRAIC(Saskatchewan/Manitoba)

David Craddock, MRAIC(Sud et Ouest de l’Ontario)

Ralph Wiesbrock, FRAIC(Est et Nord de l’Ontario/ Nunavut)

Claude Hamelin Lalonde, FIRAC(Québec)

Paul E. Frank, FRAIC(Atlantique)

Chancelier du Collège des fellowsAlexander Rankin, FRAIC

Conseil canadien des écoles universitaires d’architecture (CCÉUA)Eric Haldenby, FRAIC

Conseiller à la rédactionRalph Wiesbrock, FRAIC

Directeur généralJon Hobbs, FRAIC

Rédactrice en chefSylvie Powell

Le siège social de l’IRAC est situé au,:

55, rue Murray, bureau 330Ottawa ON K1N 5M3

Tél.,: (613) 241-3600Télec.,: (613) 241-5750

Courriel,: [email protected]

www.raic.org

en brefNUMÉRO 31.2 ÉTÉ 2009

L’Institut royal d’architecture du CanadaLe principal porte-parole de l’architecture au Canada

Avez-vous renouvelé votre adhésion?Si non, vous pouvez le faire dès maintenant en utilisant le système de paiement en ligne de l’IRAC.

En plus des catégories de membres usuelles – architectes, stagiaires, diplômés en architecture, universitaires et fellows – l’IRAC offre maintenant la possibilité de devenir membre à vie, membre étudiant associé ou membre affilié. À l’exception des membres affiliés et des étudiants associés, tous les autres membres ont droit d’inscrire les initiales MIRAC (membre de l’Insti-tut royal d’architecture du Canada) ou FIRAC (fellow de l’Institut royal d’architecture du Canada) après leur nom – un symbole de profession-nalisme reconnu.

Pour mieux faire connaître les nom-breux rôles des architectes dans la société, l’IRAC invite aussi fermement tous les architectes à utiliser leur titre « d’architecte » avec la désignation MIRAC ou FIRAC.

Encouragez vos collègues à devenir membres de l’IRAC et renforcez ainsi l’IRAC dans son rôle de porte-parole des architectes du Canada.

Deuxième édition du Manuel canadien de pratique de l’architecture – 2009

La deuxième édition du Manuel canadien de pratique de l’architecture pourra être téléchargée en format PDF à partir du site Web de l’IRAC à compter du 22 mai.

Les étudiants en architecture, les stagiaires et les archi-tectes peuvent se procurer le nouveau document au coût

de 75 $. Cette nouvelle édition comporte plus de 50 aide-mémoire dont plusieurs nouveaux, des biblio-graphies à jour et des conseils adaptés à la pratique d’aujourd’hui.

Dès l’été, il sera également possible de se procurer le Manuel sur CD-Rom ou en version imprimée.

Un guide aidant à déterminer les honoraires appropriés pour les services d’un architecte

L’IRAC vient tout juste de pu-blier un guide national sur les honoraires qui comprend notam-ment des recommandations à jour concernant les honoraires à pourcentage. Ce guide s’adres-se autant aux clients qu’aux architectes et aide les architec-tes à négocier leurs honoraires avec leurs clients. Il se veut également un complément aux tarifs d’honoraires existants de certaines provinces.

Les membres de l’IRAC peuvent télécharger le docu-ment gratuitement. Des copies imprimées pouvant être transmises aux clients seront en vente au coût de 25 $ chacune.

DU NOUVEAU !

Veronafiere 2009Une autre fabuleuse occasion offerte aux architectes canadiens membres de l’IRAC

À nouveau cette année, les membres de l’IRAC ont la chance de devenir l’un des six architectes qui recevront une bourse pour suivre un cours sur la pierre et le marbre et assister au salon professionnel Marmomacc en Italie, du 28 septembre au 2 octobre 2009. Les bourses couvrent les frais de cours, les repas, l’hébergement et le transport sur place, de même que les frais d’administration. Les architectes choisis doivent toutefois assu-mer leurs frais de transport en direction et en provenance de Vérone.

La participation au cours est reconnue et représente 20 heures de formation continue dans le volet formation DIRIGÉE. Le nombre de participants est limité à 30 architectes dont 16 proviennent des États-Unis, 6 du Canada et les autres du Royaume-Uni, de l’Afrique du Sud,

de l’Inde et de l’Australie.

Les membres de l’IRAC qui désirent poser leur candidature doivent faire parvenir un curriculum vitae à Jon Hobbs, FRAIC ([email protected]), avant le 12 juin 2009.

photo : Lee Gavel, FRAIC

photo : Philip O’Sullivan, MRAIC

photo : Philip O’Sullivan, MRAIC

p11-12 RAIC.indd 12 6/12/09 10:48:15 AM


SubStance and Spectacle

the architecture of thiS new regional theatre iS aS dramatic aS the perform-anceS held within itS carefully propor-tioned interiorS.

proJect Salle de Spectacle dOlBeaU-MIStaSSINI | deSJaRdINS | MaRIa-cHapdelaINe, dOlBeaU-MIStaSSINI, QUeBec architectS paUl laUReNdeaU | JOdOIN laMaRRe pRatte | aRcHItectS IN cONSORtIUM teXt tHOMaS StRIcklaNd photoS MaRc GIBeRt

The combination of architecture and the performing arts has often featured significantly in projects of civic reorganization and unification, both literally and symbolically. One public works project, L’Opéra Paris (Palais Garnier) instigated by Baron Georges-Eugène Haussmann and designed by architect Charles Garnier in 1861, was planned to unify not only the new formal order of the city but the people as well; it was to be the public face of new Paris. In the 20th century, the white sails of Sydney’s Opera House, designed by Jørn Utzon in 1957, have come to symbolize the emergence of Australia as a cultural and economic force in the international arena. At a smaller scale but with as much ambition, Dolbeau-Mistassini in Quebec hopes a recently completed performing arts centre, designed by Paul Laurendeau Architecte in consortium with Jodoin Lamarre Pratte et associés architectes, will concentrate its diverse and prolific arts scene in one place and represent the continuity of the recent amalgamation of two distinct cities under one governing body.

In the 1980s, the City of Dolbeau, located 300 kilometres north of Quebec City in the regional municipality of Maria-Chapdelaine, began planning a hall to concentrate the area’s extant community of folk and opera singers, musicians and graphic artists. Yet it was the 1997 merger of Dolbeau with Mistassini, a neighbouring city, and growing support from broadcasters, producers and municipal politicians that crystallized the idea into a project. In 2005, following a thorough study, a site was chosen in the former city of Mistassini and a competition call was issued for a theatre that would pro-mote “a new coherence in spite of the heterogeneous character of the neigh-bourhood.” (Salle de spectacles de Dolbeau-Mistassini, Concours d’architecture, 2005).

Out of roughly 30 submissions, Laurendeau was initially selected as one of four finalists for Phase I of the project’s design competition. Before continuing on to Phase II, and after a change in provincial policy regarding design competitions, he was “encouraged” to form a collaboration with a more experienced firm that was familiar with buildings of similar scale to the performing arts centre. Forming a consortium with Jodoin Lamarre Pratte, Laurendeau’s design went on to win the commission. He is accus-tomed to working with the arts and design community, honing his design approach on projects such as Fashionlab (a clothing design agency) in 2001 and DESERT for the collective Champ Libre in 2004 (see CA, November 2004). While the Dolbeau-Mistassini Salle de Spectacle represents a shift in complexity and the architect’s first foray into theatre architecture, the design shows a confident merging of the client’s program requirements and

aboVe tHe fRONt eNtRaNce tO tHe peRfORMING aRtS ceNtRe GRace-fUlly ReflectS tHe exIStING BUIldINGS alONG aveNUe de l’ÉGlISe.

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14 canadian architect 06/09

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aBOVe The glazing along The foyer’s second level creaTes an illusory reflecTion aT nighT—one ThaT defines a dramaTic hori-zonTal elemenT To The archiTecTure. LeFt The simple landscape reinforces The ausTeriTy of This building in rural Quebec. BOttOM

LeFt This image of The exTerior of The faciliTy illusTraTes how iTs sToic volumes provide a radical conTrasT To The dynamic inTer-ior of The building.

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1 former sT-michel school (1948 secTion) 2 TheaTre 3 supermarkeT 4 sTorage 5 orpheon cinema 6 arena

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institutional agenda with Laurendeau’s design approach.Laurendeau believes that the principles of geometry and proportion are

fundamental to the design of a building. “Symmetry,” he explains, “induces a relationship with others; it becomes a shared language.” Beginning with the golden section, a ratio of purportedly divine proportions connected to Vitruvius and found in Le Corbusier’s Modular Man, Laurendeau executed an extensive study of significant 19th-century architectural treatises

combined with a geometric analysis of the Dolbeau-Mistassini program brief. Such historical allusions aside, the building, according to Lauren-deau, is not revivalist. The formal geometric arrangements also accommo-date programmatic and operational requirements while providing a prin-ciple around which contractors can coordinate.

Laurendeau’s successful proposal was in plan and volume a close match to the Management Committee’s organigramme—the functional require-ments of the proposed theatre. The procession follows a symmetrically arranged central axis beginning with the entrance on Avenue de l’Église, passing through the foyer, lobby, auditorium and ending on the stage. While

11 foyer (seen from above) 12 balcony 1 13 stage (seen from above)

aBove the gloriously proportioned verticality of the theatre space, which is dramatically dressed in red and gold.

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0 10M

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aBoVe, left to right The green room provides a spacious and open environmenT in which performers may congregaTe before and afTer The show; The ausTere qualiTies of The dressing rooms are evidenT.

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cLient CITY OF DOLBEAU-MISTASSINI architect teaM PAUL LAURENDEAU, MARC LAURENDEAU, DENIS GAUDREAULT StrUctUraL DESSAU SOPRIN MechanicaL/eLectricaL ROCHE LTÉE LandScaPe PAUL LAURENDEAU | JODOIN LAMARRE PRATTE | ARCHITECTS IN CONSORTIUM interiOrS PAUL LAURENDEAU | JODOIN LAMARRE PRATTE | ARCHITECTS IN CONSORTIUM cOntractOr UNIBEC INC. theatre cOnSULtant GO MULTIMÉDIA acOUSticS LEGAULT & DAVIDSON SiGnaGe/GraPhicS UNIFORM area 2,630 M2 BUdGet $9.2 M cOMPLetiOn OCTOBER 2008

this arrangement might seem obvious and even simple in plan, it is a considered solution to the community’s requirement for a significant amount of space in the centre of the building to be used as a meeting hall for clubs and events. Importantly, the foyer’s multipurpose role is established through movement in and out of the space, which occurs on all four sides. On one side is a grove of trees concealed from Avenue de l’Église by an early 20thcentury section of SaintMichel School; later additions were demolished to create space for the theatre. When fully grown, the green grove of trees will starkly contrast the spare and polished foyer offering a themed scene, enticing writers and composers to reflect upon the space.

Laurendeau has used contrast to effect in the Salle de Spectacle. In the auditorium, which also corresponds to the golden section, the seating is arranged in the shape of a drum, the only round form in the building. Taking full advantage of this shape to emphasize the height of the auditorium space, Laurendeau explains that he has structured the balconies to “provoke verticality and vertigo.” This impetus combined with the seats’ bright red fabric and gold balcony façades defines a palpable distinction between this room and the rest of the building. Occupying the drum’s cardinal point is an enormous circular chandelier, carrying hundreds of lights, which ignite the rich colours. Before a performance begins, the lights are dimmed and the elaborate fixture rises to the ceiling to consolidate the transformative potential of the theatre, signalling the drift from ordinary to imaginary.

On the street, the simple boxy form of the metalclad theatre sits innocuously behind the elevation. Recalling the golden age of the music hall, the marqueelike façade offers the promise of a revitalized commercial district, and speaks to DolbeauMistassini’s hope for a collective identity. Laurendeau explains that, “as an icon the building has to sustain its function.” For the designer, however, it is not the role of architecture to provide meaning; it is the community, he believes, that will bring significance to the building. Laurendeau’s approach concentrates on the object itself, bringing together principles of geometric order and a history of building typology that create a stage for community identification and articulation. After all, he notes, “It is their building.” ca

After a period of time working as an architect, Thomas Strickland is undertaking a doctorate in the history of medical architecture, considering in particular the influence of pop culture in the 1960s and ’70s on innovative, space-age hospital design. He is an occasional art curator and published critic.

cLOcKWiSe FrOM aBOVe A BARE-BULB LIGHT FIxTURE wAS CUSTOM-DESIGNED USING INExPENSIVE AND SECOND-HAND PARTS; A COST-EFFICIENT LIGHTING STRATEGY ILLUMINATES THE wELL-BALANCED CIRCULAR THEATRE SPACE; THE DARk wALLS AND CEILING PROVIDE A DEEPLY ABSORPTIVE BACkDROP FOR THE ROUND BLACk COLUMNS IN THE LOBBY SPACE THAT APPEAR TO FLOAT ABOVE THE POLISHED CONCRETE FLOOR.

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core identity

two corporate offices in downtown toronto reassert their respective identities through newly redesigned interior spaces.

proJect Agnico-EAglE MinEs officEs, ToronTo, onTArio architect TAylor sMyTh ArchiTEcTs

proJect Torys llP lAw officEs, ToronTo, onTArio architect KuwAbArA PAynE McKEnnA bluMbErg ArchiTEcTs

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In recent years, there has been an increasing level of sophistication apparent in the creation of a public image that positively reflects the values and interests of businesses in the corporate and commercial sector. Integral to this exercise in corporate identity and branding is the physical design of a company’s office space, and the message it delivers to its employees, clients, and the population at large. Here, two businesses—an international mining company and a large corporate law firm—have undertaken major redesigns of their office spaces to accommodate current functions but also to communicate and clarify not only who they are, but what they do and how they do it.

In this era of heightened environmental awareness, mining is frequently viewed as a nasty, ugly business dedicated to the extraction and depletion of the earth’s resources. However, Taylor Smyth Architects have attempted to mitigate that reputation through the creation of a subtly elegant head office for Agnico-Eagle Mines in Toronto. Gold and gold-mining operations are the focus of the company, with exploration and development concentrated in Quebec, Finland, Mexico and the US.

The Toronto headquarters occupies the top two floors of a five-storey building located just east of the financial core of downtown Toronto, enjoying privileged views of St. James Cathedral and the

OPPOSite Variegated colours and patterns characterize these split stone cores—rem-nants of the mining extraction process—which are put to good use in this expres-siVe feature wall. tOP defining one wall of the reception area, horizontally grained traVertine slabs are interspersed with the occasional strip of gold-coloured alum-inum, eVoking stratified geological layers of the earth. the frosted glass behind the display case permits shadowy glimpses of employees in the corridor behind. aBOVe con-tained within a wood-framed transparent acrylic screen, striking photographic images of miners at work are featured prominently in the fourth-floor lunchroom.

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peaceful park surrounding it. The design of the space concentrates the primary offices and a huge boardroom on the penthouse level, and offices on both floors enjoy generous amounts of outdoor terrace space.

Both literal and metaphorical allusions to mining and geological exploration are ever-present. As such, material selections include plenty of stone: travertine sheathes entire walls and limestone is used for flooring. Accented by strips of gold-coloured aluminum, a massive travertine wall rises two storeys from the fourth-floor reception area to the fifth floor, wrapping around an open stair. Contained within this wall is a display case that showcases raw samples of gold ore, the focus of Agnico-Eagle’s business.

Literal imagery is also incorporated into the office design. In the fourth-floor lunchroom, a seating area is separated from the corridor by a cherry wood-framed screen, into which clear acrylic screens are placed. Transferred onto these

tOP The boardroom door is adorned by a floor-To-ceiling luminous backliT panel of TranslucenT sTone. aBOVe a display case is seT inTo The sTriking TraverTine wall in The recepTion area, showcasing raw samples of gold ore.

client agnico-eagle mines architect team michael Taylor, brian harmer, pochi lu, Joanne pukier Structural read Jones chrisToffersen mechanical Toews engineering inc. electrical ianuzziello & associaTes inc. interiOrS Taylor smyTh archiTecTs art cOnSultant darren alexander aV cOnSultant avw-Telav cOntractOr maranT consTrucTion GrOund FlOOr area 1,500 m2 BudGet $1.74 m cOmPletiOn december 2007

1 recepTion 2 office 3 worksTaTion 4 map room 5 meeTing room

FiFth FlOOr

FOurth FlOOr

6 lounge/kiTchen 7 Terrace 8 sTair 9 elevaTor 10 washroom

1 elevaTor/lobby 2 office 3 worksTaTion 4 servery 5 meeTing room 6 break-ouT area

7 Terrace 8 sTair 9 elevaTor 10 washroom 11 boardroom 12 supply/copy

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screens is an enlarged black-and-white photo-graphic image of miners at work, discovered in Agnico-Eagle’s archives. The transparency allows views of movement and activity behind the screens, and the effect is striking.

But most compelling is the incorporation of actual byproducts from the mining process into the design of the office. Core samples of beauti-fully patterned and textured stone have been used to create a feature wall in the reception area. Extracted from bore holes drilled during mining investigations, these split stone cores would otherwise be disposed of, but were meticulously arranged in a vertical sequence of slender columns by the architectural team, who also re-tained the hand-drawn chalk marks on the stone as a record of the mining industry process. Visu-ally arresting, this wall offers one of the most poetic memories of the office.

The Toronto-Dominion Centre has long been established as the financial heart of the country and one of Canada’s architectural icons. Com-prised of six office towers and a low-rise banking pavilion, the TD complex is best known for its Mies van der Rohe design, the commission of which we are forever indebted to Phyllis Lam-bert. Though Mies (along with Bregman + Hamann and John B. Parkin Associates) was responsible only for the design of the plaza, the banking pavilion, the original TD Bank Tower (1967) and the Royal Trust Tower (1969), over the next two decades, the remaining four build-

ings were designed to be harmoniously consis-tent with their older siblings.

Within this prestigious complex, Torys LLP occupies 10 floors in the 36-storey TD Water-house Tower (1985) on the south side of Wellington Street across the road from Mies’

original TD Bank Tower. Torys is a massive business and commercial law firm with offices in Toronto and New York, and with an impending lease expiration, debated on whether to move entirely or to conduct a substantial renovation to its existing space to better meet the firm’s spatial

tOP The vasT and spacious recepTion area of The Torys office on The 33rd floor, where compelling arTwork compeTes wiTh specTacular views of lake onTario. aBOVe pascal grandmaison’s compeTiTion-winning phoTographic sTudy of an androgynous model covers an enTire wall in The norTh mulTi-conference room.

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requirements—and, more importantly, to refresh its identity and reputation for contemporary leadership and innovative spirit. After an extensive study was conducted with selected firm Kuwabara Payne McKenna Blumberg Architects (KPMB), the choice was ultimately made to stay put and renovate. The scope of the project was more or less confined to a complete overhaul of the 32nd and 33rd floors, each ringing in at 30,000 square feet.

Revealing the characteristically understated good taste of KPMB, the redesign is in keeping with the generally staid conservatism of a law firm and also the gorgeously ascetic restraint of Mies' original vision. A neutral colour and material palette of dark walnut floors and millwork, fumed oak, marble slab, bronze accents, glass, and matte white walls provides the perfect backdrop for an impressive art collection, and to better accept magnificent views of the lake and the city along with abundant natural daylight.

By consolidating all client functions on the 33rd floor and onethird of the 32nd floor, the firm was able to eliminate redundancies and “demonstrate its commitment to providing a high level of client service.” Two impressively scaled conference spaces occupy prime real estate on the 33rd floor. A northfacing multiconference “room” can be divided into as many as five separate spaces through articulated partition walls that fold up into the ceiling. Moreover, this space enjoys views of Mies’ darkly austere TD Tower across the street. Divisible into four separate spaces, the opposite conference suite occupies the southwest corner of the 33rd floor, capturing glorious views of Lake Ontario.

The conventional image of a law firm as an old boys’ club of tufted leather sofas, stinky cigars, 16hour workdays and an insatiable appetite for billable hours is blown away here, for one could mistake the 33rd floor for a cool, contemporary art gallery. Torys has a long history of collecting art which began in the 1970s, but which really accelerated in the mid’90s when they retained the services of art consultant Fela Grunwald. The firm communicates its progressive culture and creatively innovative approach to the practice of law through the acquisition and display of art and through its support of artists.

Consequently, the firm now owns over 400 pieces of cuttingedge contemporary Canadian

tOP LeFt The corridor TerminaTes in a spec-Tacular floor-To-ceiling view of The firsT building compleTed in The ToronTo-dominion cenTre complex—The mies van der rohe-designed Td bank Tower (1967). The provision of seaTing offers lawyers a poeTic place of respiTe for reflecTion or informal meeTings. LeFt The sculpTural solidiTy of The sTaircase forms a focal poinT in The secondary recepTion area on The 32nd floor.

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art, much of which hangs on the walls of the lengthy corridors which form deliberately continuous loops of circulation. These whitewalled corridors were designed extrawide to provide the requisite distance from which to view the art, which further amplifies the gallery feel. Comprising all scales and types, the pieces hang at continuous intervals down the corridors, forming a pleasing rhythm as one moves through the space.

Capitalizing upon the role of art in the firm’s identity, the renovation project presented an opportunity to commission fresh contemporary Canadian artwork to help define and embellish the folding partition walls in the aforementioned conference spaces. From submissions by five invited artists, pieces by Montrealbased Pascal Grandmaison and Toronto resident Robert Fones were selected. Grandmaison’s massively scaled closeup photographs of an androgynous face are utterly captivating in the north conference area, and one doesn’t know where to look: the photos or the fabulous view of the Mies tower to the north? In the southfacing conference zone, Fones adapts text from Miguel de Cervantes’ Don Quixote and renders it in barely legible script, superimposing it over photographic images of a blue, blue Lake Ontario, echoing the exhilarating views of the same lake at the city’s edge below.

Clearly, it is no longer sufficient to hire an

architect to just design a nice office. The demands being made on design firms require a clear understanding and articulation of what the client represents and what that client chooses to communicate. The design for AgnicoEagle Mines is very clear about tangibly referencing what the company’s business is all about. In the Torys office, while the design is less literal, it does an excellent job of conveying the ideology of the firm, its process, and its identity. ca

tOP StaircaSeS link the main client-focuSed floor to the more utilitarian Practice floorS below on which lawyerS’ officeS are located. aBOVe eroding the SharP corner of the client dining room, Sliding doorS eaSily diSaPPear into wall PocketS, enabling a greater aPPreciation of the art lining the corridor wallS.

client toryS llP architect team marianne mckenna, Steven caSey, george bizioS, rita kiriakiS, gary yen, thom Seto, JoSe emilia, lilly liaukuS, Jill greaveS Structural halcrow yolleS mechanical andronowSki & aSSociateS electrical Stantec engineering inc. cOSt cOnSultant curran mccabe ravindran roSS acOuStical cOnSultant aercouSticS engineering ltd. aV cOnSultant weStbury art cOnSultant fela grunwald fine artS lighting Suzanne Powadiuk deSign cOntractOr rae brotherS limited grOund FlOOr area 180,000 ft2 Budget withheld cOmPletiOn auguSt 2008

33rd FlOOr

1 elevator lobby 2 recePtion 3 caucuS 4 boardroom 5 kitchen/Servery 6 cloakroom 7 Storage 8 dining 9 dedicated video

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Roundtable SessionWeek 1&2



Holistic Project Delivery

Approval

Week 2&4Problem-Solving

QuestionsBIM

Session1&2

Pre-Design Session3&4

Session5&6

Approval

Week 6&8Problem-Solving

QuestionsBIM

Approval

Working Drawings

Practice

aBOVe Using a holistic project delivery method, problem-solving qUestions are defined at the oUtset, making discUssions with planning and permitting aUthorities more effi-cient. additionally, there is a more eqUitable negotiation process jUst prior to the approvals and working drawings stages.

a hOlistic aPPrOach

a vancoUver-based architect is helping to develop a streamlined project management process known as the holistic project delivery method.

teXt robert billard

In recent years, there has been a push for sustainable initiatives through measurement tools such as Green Globes and LEED. However, using a version of the Integrated Design Process (IDP) has reduced many of these strategies to mere buzzwords and marketing tools.

To some, current approaches to the IDPintensive process can have a singleminded focus on LEED or other green initiatives. Unfortunately, it is incorrect to suggest that IDP emerged as a response to programs like LEED. The IDP approach has been around for much longer and has at least partly contributed to many successful noncompetitive designbuild projects, especially in the private sector.

Being green is only one part of the goal of a successful project. The evolution in thinking about ecological and sociological issues as a necessary component to the health of our built environment has developers and designers needing to increasingly address a Triple Bottom Line (i.e., measuring economic, ecological and social success) approach.

In and of itself, focusing solely on LEED or other green measurement tools is neither an integrated nor a holistic approach to a client’s

needs. Alternatively, the IDP promotional materials infrequently deal with issues of schedules and budgets. Certainly, being sustainable has a far broader definition than simply being green.

What appears to be missing from many IDP initiatives is an actual plan—a strong set of objectives and a firm schedule. Each version of the IDP offers either highly complex or overly simplistic bubble diagrams in an attempt to fit within the traditional phases of a project, but rarely a schedule and a process flow.

To address these issues, KMBR Architects Planners Inc. have developed the Holistic Project Delivery (HPD) method. At the root of our concern, we noticed that processes developed for IDP could benefit from the the application of a workflow management process originally developed by Toyota that considers the expenditure of resources for any goal other than the creation of value for the end customer to be wasteful. Known as the “Lean” process, its methodology was designed to distill the essence of management decisions and reduce ineffective time management. Its implementation focuses on getting the right things to the right place at the right time in the right quantity to achieve optimum workflow while minimizing waste and maximizing both flexibility and adaptability. In architecture, a

wasteful expenditure of resources often amounts to time lost in circuitous and elaborate lines of communication where internal teams are too large, meetings are ineffective, and there is a lack of strict control over the outcomes and scheduling of these meetings. Using Lean principles with HPD seeks to streamline these things and get people to focus on their goals.

What is hPd?With HPD, many basic concepts of IDP are included; however, the key is the provision of a “how” along with a clearer vision for the design workflow process. It is founded in a strict objectivebased process led by the project schedule and physical deliverables. It incorporates green initiatives such as LEED but is not led solely by them. The intent is to approach the project from as many sides with as many minds as possible to ensure as holistic an outcome as possible. HPD can be adapted to any project but used in its purest form, it results in a significant departure from the traditional schedule and phased project delivery method.

how hPd WorksTraditionally, the design of a project is broken down into distinct phases: Schematic Design,

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Individual Design Objective

HPD Coordinator

Objective-Based Design Team

Solution Option(s)

All Design Team Viability

Review

HPDCoordinator

HPD Coordinator

HPD Coordinator

DESIGN OBJECTIVE PROCESS FLOW

HPDSession

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Design Development, and Working Drawings. Through a pre-determined, strictly scheduled and coordinated number of sessions, along with well-directed Objective-Based Design Groups (OBDG) between the sessions, the HPD method seeks to blur and compress these phases by work-ing at the micro and macro levels of design simul-taneously. For example, issues such as orienta-tion, programming and massing are intrinsically linked to choices in image, traffic flow, material, planting, energy use, and systems.

Why hPd WorksBy continuously moving back and forth from the micro to the macro in what would normally be the schematic design phase helps to limit the num-ber of unresolved issues which contribute to er-rors or omissions that can be costly in the grand-est phase of all—construction. HPD provides a crystallization of the design prior to assembling the construction documentation in the same way as the traditional schedule allows, but in a faster and more fluid manner while maintaining a strict adherence to the process laid out at the begin-ning of the project.

The time between sessions is used to develop solutions to the next set or layer of program re-quirements. The Objective-Based Design Groups (OBDGs) are charged with the responsibility to return with solutions to the project’s goals and deliverables. These solutions will range from how to obtain a particular LEED point to meeting a client’s budget constraints to what type of struc-ture to employ. Through strong skills in the areas of project management and organization, the HPD Coordinator is tasked with ensuring that these solutions, and possibly divergent interest groups such as the client and the community, are coordinated and brought to the session table.

HPD sessions are similar to the wrap-up sec-tions of a typical design charrette. At the session, information from the Objective-Based Design Groups is presented and the preferred option is selected. This is accomplished through the facili-tation of an experienced HPD Coordinator. Em-phasis is placed on using the sessions to make decisions. Minutes of these sessions are pre-dominantly documentation of these design deci-sions, and written acceptance of the minutes is strictly required.

Including the client’s groups and authorities in the OBDGs and the sessions serves to negate the traditional phases, where typically there are a series of periodic owner’s reviews and official approvals that break the step of the project and

distort the logical continuity of the developing design. In HPD, the approvals process happens at the sessions. Buy-in by all relevant parties is in-tegrated, immediate and informed.

When hPd WorksHPD fosters a more fluid way of conducting the design meetings. The issues and goals are brought forth and tackled by all, regardless of discipline, but held in check by the HPD Coordi-nator. For example, the choice of glazing will af-fect not only the energy efficiency of the HVAC system but the aesthetics, daylighting, glare, secu-rity, orientation, landscaping and user schedul-ing. The HPD Coordinator must keep his finger on the pulse of the project at all times.

We have found that a strictly coordinated and focused team can deliver a complex project in roughly six to nine sessions over a period of 12 to 18 weeks and at that point move seamlessly into construction documentation. Having team mem-bers at the sessions with approval authority is crucial in compressing the schedule in this man-ner. For example, a recent school project bene-fited from having a member of the British Col-umbia Ministry of Education at the sessions and the schedule was dramatically compressed. Hav-ing been a part of the design process, the Minis-try was able to approve the project much faster to avoid significant delays based upon traditional review periods.

The use of a Building Information Modelling (BIM) tool, such as Revit, is also integral to HPD. Using a three-dimensional design tool to its full-est potential provides a fundamental change in the way the design team functions. BIM offers the client a fast and dynamic means to understand the project rather than otherwise complicated and static two-dimensional drawings. BIM also provides an integrated and swift ability to change, quantify and coordinate various building com-ponents.

In addition, in the old model of project deliv-ery, senior members with a wealth of experience rely on junior members to implement ideas, cre-ating a “delay” in the realization of a solution. Using BIM brings the tools back into the hands of senior designers and offers earlier results. Con-cepts are input into the design in real time, cut-ting out the inefficiency of “middle-men” com-munication such as between the senior architect and the junior architect/designer and then the architectural technologist. For architects, there is a significant amount of time and money spent on meetings and drawing coordination, to name two

examples. While the HPD members’ individual hourly rates increase, the effectiveness of their input and the reduction in implementation time results in a net gain.

There are many other aspects of HPD that serve to provide the client and the project with tangible benefits in areas such as program, sus-tainability, operations and maintenance. How-ever, at the heart of every project are the simple matters of schedule and budget. Approaching the solution holistically from all angles simultan-eously and with a strict process not only provides the best solution for the client but also works to meet the goals of time and cost.

As the economy continues to challenge the in-dustry, clients are becoming savvy in their under-standing of the architectural process. Providing a clear plan and method that addresses their goals on a holistic level—and not simply providing lip service to an integrated design process or essen-tial sustainable design strategy—will benefit every-one. In architecture, it is obvious why we need an integrated design approach. With the HPD meth-od, we also have the how. ca

Robert Billard is an architect specializing in educa-tional and sustainable projects across Canada. He developed the HPD method with KMBR Architects Planners Inc. in Vancouver.

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review

carrot city

A recent visit to the Evergreen Brick Works in Toronto convinced me that the ideas and theories pertaining to sustainable design in the urban context are continuing to be realized. This former Don Valley industrial site is cur-rently transforming into an extraordinary place where gardening and food production is being put into practice, right in the middle of the city. Could the future of architecture actually see effective strategies for enabling food production incorporated into mainstream design proposals?

Based on current population growth estimates, our planet’s human popu-lation is expected to reach 9 billion by 2040. The recognition of environ-mental degradation within our cities has motivated many researchers, en-vironmentalists and designers to consider relocating food-producing entities to serve our urban populations more effectively. With the constant influx of people into urban areas, the need for fresh, accessible and safe food supplies has never been more critical. These concerns have inspired the implementation of innovative ideas relating to urban agriculture across both the developed and developing world. The desire to locate food produc-tion within the city comes from the simple need to access nutritious prod-ucts easily while mitigating costs associated with transporting the food we eat. Unfortunately, farming in cities—or “urban agriculture”—is often viewed as a problem for municipalities rather than as a solution to making them more self-reliant in sourcing food. These problems include limited space devoted to agriculture, resistance by some landowners or businesses in the community, and a general lack of infrastructure and financing to sup-port local food production and distribution. How can architecture help?

Carrot City, an exhibition held at Toronto’s Design Exchange this past spring, was devoted entirely to the subject of urban agriculture and how de-sign professionals might play a role in improving the local production of food in urban areas while examining its impact on the design of urban spaces and buildings. Included in the exhibition were numerous projects from cities such as Toronto, Vancouver, Inuvik, New York, London and Syd-

ney. One of the curatorial directors of the exhibition, June Komisar, de-scribes the process as a collaborative journey in which students, designers and architects explored ideas from Canada and around the world that pro-mote the practical adoption of current urban agricultural best practices and thinking. The curators behind Carrot City—Mark Gorgolewski, Joe Nasr and Komisar—have collaborated with their students at Ryerson University to de-velop an exhibition that addressed possible solutions on four different scales: City, Community, Home, and Products. Carrot City imagines a future where fruit, vegetables and livestock are raised and distributed in urban areas by utilizing greenhouse-growing methods and recycled resources year-round to provide greater food security for urban dwellers.

The exhibition proposed a number of architectural concepts that incor-porate food-growing techniques, such as new water management technolo-gies and effectively orienting a building on its site. The following discussion provides a brief explanation of some of the ideas contained in the exhib-ition’s four scales.

cityCities depend on a continuously operating transportation infrastructure to deliver a constant food supply. If this infrastructure shuts down, the city will run out of food in a matter of days. Therefore, it is essential to imple-ment urban agriculture programs into planning, architecture and land-scape design early in the development process and over a long period of time. The transformation of our urban spaces into green and fertile en-vironments can also mean new urban design possibilities. Underused spaces such as high-rise towers, public parks, schoolyards, and even lane-ways can become locations where food is locally produced. Strategies that introduce agriculture on the vertical surfaces of residential and commer-cial towers are but one example of improving a building’s thermal proper-ties and increasing the potential for greater local food production. An ex-ample of bringing urban agriculture to existing high-rise towers comprises part of the Tower Renewal Project, an initiative led by Graeme Stewart of the Toronto-based firm of E.R.A. Architects that hopes to reduce the eco-logical footprint of aging concrete residential towers by recladding them with more energy-efficient building materials. Introducing urban agricul-

A recent exhibition At toronto’s Design exchAnge presenteD A cross-section of current iDeAs AssociAteD with urbAn Agriculture.

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p26-28 Review.indd 26 6/12/09 10:56:31 AM


ture into the reskinning of existing concrete towers further enhances their sustainability quotient.

communityLocal food production also has the potential to strengthen community. Car-rot City clearly illustrates that spaces such as barns or schoolyards can also be used as local community food centres, not just as facilities to improve the social dynamism amongst neighbours. Facilitated through a grassroots community education program, locally grown food can enhance our social and economic lifestyle while having a positive impact on our health and en-vironment. For example, community-building educational initiatives and back-to-work programs using urban agriculture as an economic generator

OPPOSite As pArt of the MAyor’s tower renewAl proposAl, under-utilized open spAce surrounding suburbAn residentiAl towers could be trAnsforMed into fArMlAnd. aBOVe Also included in the MAyor’s tower renewAl initiAtive, creAting fArMers’ MAr-kets At the bAse of ApArtMent towers is An effective And Accessible wAy to bring AffordAble fresh fruit And vegetAbles to locAl residents. BOttOM, LeFt and MiddLe work Architecture coM-pAny’s public fArM 1 hAs trAnsforMed sections of cArdboArd tubes into plAnters for vegetAbles, herbs And fruit. BOttOM riGht under the guidAnce of edible estAtes, A non-profit devoted to proMoting locAl food production, tenAnts of this ApArtMent coMplex Are Able to grow soMe of their own vegetAbles.

is what the Artscape Wychwood Barns project in Toronto has done to strengthen its local community. Combining arts and environmental organ-izations into a single creative space supporting community engagement through education and food production, the success of Wychwood Barns relies upon the collaboration between Artscape and the Stop Community Food Centre—two non-profit organizations with a vision for sustainable re-generation. The project embraces sustainable design by responding to the issues of water conservation, reduction of greenhouse gas emissions and brownfield redevelopment. This is largely being achieved through educa-tional programs centred on environmental issues as well as through the creation of a food centre and community greenhouses where residents are able to grow their own food.

home and WorkTurning lawns, roofs and backyards into a productive landscape of vege-tables, fruits and herbs will allow hotels, restaurants and individuals direct access to fresh produce. By applying these ideas to the design of these res-taurants, hotels, condos, and residential neighbourhoods, a direct rela-tionship can be established between food production and consumption. An example of this approach is Fritz Haeg’s Edible Estates food education program in North America, which has managed to highlight the strong connection between the sources of our food and the natural environment. In Southwark, London, Haeg went so far as to fertilize the ornamental

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p26-28 Review.indd 27 6/12/09 10:56:52 AM


aBOVe artisanal baked goods are sold in a local fresh food market. tOP riGht toronto’s WychWood barns has brought a farmers’ market to an area of toronto that previously had none. aBOVe riGht the popularity of neighbour-hood baking ovens Was one of the inspirational legacies of Jane Jacobs that increased the community’s con-nection to food production.

but impractical front lawn of a social-housing estate, transforming it into productive working gardens where residents have established a food-growing cooperative. This simple farming idea has the potential to be implemented for single-family residences, roof gardens, school-yards, parks, and public spaces—in just about any city imaginable.

ProductsThroughout the exhibition, several objects, tech-nologies, systems and components were exhibit-ed to illustrate the potential to increase local food production in urban locations and buildings. Often involving small-scale solutions, many ideas and schemes appear to foster urban agri-culture, such as Public Farm 1, designed by WORK Architecture and Elodie Blanchard. Here, folded planes made from cardboard tubes be-come planters for vegetables, herbs and fruit. This system can also be compartmentalized into small sections to facilitate its transport, which also enables rapid assembly and usage on various sites.

Carrot City promises the landscape of our fu-ture cities to be a productive one, offering a pos-sible solution to the challenge of increasing urban agricultural production. Now is the time for architects and designers to consciously ad-dress these issues and incorporate them into their designs to ensure a healthier and more sus-tainable future. ca

A graduate architect from Ryerson University, Sanam Samanian has been participating in a variety of architectural research projects. She has worked for several architecture firms and is currently working with the Black Pen Group Inc.

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Product ShowcaSecalendar

EXTENSIONSMay 15-June 26, 2009 This exhibition at the Japanese Canadian Cultural Centre examines the relationships between a family, the physical construction of a home and the pastoral landscape of Ontario. The exhibition is composed of a 1:1 installation of the Knoxville House in Port Hope, Ontario, designed by Toronto intern architect Haji Nakamura, and includes notebooks, models and prototypes.

Speed Limits May 20-October 12, 2009 This exhibition at the Canadian Centre for Architecture in Montreal addresses the pivotal role played by speed in modern life: from art to architecture and urbanism to graphics and design to economics to the material culture of the eras of industry and information. It marks the centenary of the foundation of the Italian Futurist movement, whose inaugural manifesto famously proclaimed “that the world’s magnificence has been enriched by a new beauty: the beauty of speed.” www.cca.qc.ca

Eric Owen Moss Architects: If Not Now, When?May 29-September 13, 2009 This exhibition at the SCIArc Gallery in Los Angeles features an installation by Eric Owen Moss Architects, which is comprised of an aluminum structure hanging from the gallery ceiling, wrapped variously with serpentining aluminum ribbons.www.sciarc.edu

Twenty and ChangeJune 3-July 5, 2009 This biennial exhibition series is dedicated to profiling emerging designers working in architecture, landscape and urban design who have yet to receive widespread public and media attention for their speculative or completed work. Canada has a rich community of young designers who are redefining the limits of their discipline, setting a new agenda for our social and physical environment. Working in a wide range of scales and across diverse interests, the collection of

works rethinks ideas of materiality, domesticity, public space, landscape, and infrastructure.www.twentyandchange.org

Making ModernJune 13-July 25, 2009 Showcasing design from the School of the Art Institute of Chicago’s (SAIC) department of Architecture, Interior Architecture, and Designed Objects (AIADO), this exhibition brings together work by recent AIADO graduate students in the department’s inaugural master’s thesis exhibition. Making Mod-ern will showcase buildings, objects, and systems where humans are part of the globe’s many entwined layers.www.saic.edu Future of canada’s infrastructure SummitJune 24-25, 2009 Taking place at the Holiday Inn Select in Toronto, this conference will enable attendees to capitalize on infrastructure spending, stimulate economic recovery, enhance environmental sustainability, assure accountability and transparency, manage risk, attain greener energy, build strategic partnerships, and measure the performance of suppliers and vendors.www.strategyinstitute.com

BoMa international conference and the office Building ShowJune 28-30, 2009 Commercial real estate professionals need the strategies and solutions to prosper in a down economy, attract and retain tenants, reduce operating expenses, negotiate more profitable leases, achieve sustainability, keep buildings and tenants safe, and make sound financial decisions that create value. This dual event is the place to learn the strategies and build the relationships needed to achieve operational excellence and sustain business through this challenging market cycle.www.boma.org

For more inFormation about these, and additional list-ings oF Canadian and inter-national events, please visitwww.canadianarchitect.com

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p29 Calendar&Showcase.indd 29 6/12/09 10:58:07 AM


Backpage

LeFt windows and cutouts provide privileged views of the expansive prairie landscape of saskatchewan. BeLOW LeFt the stuccoclad straw bale observatory.

cUBic eQUatiOn

atop a hill overlooking flying creek valley, the straw bale observatory provides a spectacular experiential retreat.

teXt + phOtOS dennis evans

ior dimensions are approximately nine feet cubed. The exterior is clad in stucco while the in-terior is detailed with hand-finished plastered walls and ceiling. The floor is wood. The four walls have two-foot square openings with cardin-al direction alignment. These openings, along with an additional elliptical cutout in the ceiling, allow for the passage of light, sound, air and weather. They also serve as viewfinders for mak-ing photographs of the landscape.

Observatories for the practice of measuring light movement are universal and ancient. The Kogi, native to the Northern Columbian High-lands, are but one of many cultures that still em-brace direct observation of the natural environ-ment to inform their codes for meaningful and responsible living. As part of their nature-based aesthetics, the Kogi build temples to watch the sun “weave” its pattern of time across the ground. These rituals of observation and reading light ensure continued contact with their life source and provide a means for expanding the perception of reality. For them, light is the med-ium. Creating the Straw Bale Observatory brings these ancient Kogi principles into a dialogue with the Prairie landscape and lifeworld—a place res-onant with its own history of First Nations’ cul-tures and their articulation of the connections between art, nature, spirituality, and healing practices. By using ancient models of observation and contemplation, the intent is to add a con-temporary dimension to this profound cultural practice.

As a means to construct order around us, this project is a system of inquiry linking ancient principles and practices with present dialogue to facilitate new modes of perception, communica-tion, and social interaction for a contemporary audience. ca

Dennis Evans is Professor Emeritus at the University of Regina. The Straw Bale Observatory project has stimulated sky/light investigations in Tibet, Mongolia and Ladakh. Flying Creek Valley was documented as part of the television series Landscape As Muse and was featured on the SCN and Bravo television net-works.

the impetus for building the observatory and using it for image-based investigations. Located at Flying Creek Valley near Craven, the Straw Bale Observatory provides a platform for the docu-mentation of light quality, movement and reflec-tion. As a site-specific work, the structure facili-tates the recording of light phenomena.

The exterior dimensions of the blocky struc-ture are roughly 12 feet cubed, but the consider-able thickness of the walls means that the inter-

The Saskatchewan Prairies’ low, flat horizon en-courages one to pay attention to the enormous blue sky. Because of its vastness, one cannot es-cape the clear intense light. This recognition is

p30 BackPage.indd 30 6/12/09 10:58:32 AM

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p31 RBC ad.indd 31 6/12/09 10:58:53 AM

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