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$6.

95 JUN/09
v.54 n.06

DOLBEAU-MISTASSINI
CORPORATE IDENTITIES

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Contents
Marc Gibert

Ben Rahn

Nick Nelson
13 Salle de Spectacle Dolbeau- 9 News
In Study Model Wonderland from Halifax to
Mistassini Vancouver at Montreal’s Galerie
P aul Laurendeau and Jodoin Lamarre Pratte designed this dramatic performing MONOPOLI; winners of the AIBC
arts centre, creating a coherent new focal point for a small Quebec com- Architectural Awards.
munity. TEXT Thomas Strickland
24 Practice
Robert Billard and KMBR Architects
18 Agnico-Eagle Mines and Planners Inc. have developed a workflow

Torys LLP management process called the Holistic


Project Delivery method, a clear
The interior renovations to the headquarters of both a mining company and a enhancement to the Integrated Design
leading law firm move far beyond standard corporate office design, courtesy
of Taylor Smyth Architects and Kuwabara Payne McKenna Blumberg Architects.
Process.
TEXT Leslie Jen

26 Review
The recent Carrot City exhibition at the
Design Exchange promotes valuable ideas
Dennis Evans

of urban agriculture and local food


production, asserts Sanam Samanian.

29 Calendar
Speed Limits at the Canadian Centre for
Architecture in Montreal; Twenty and
Change in Toronto.

30 Backpage
Dennis Evans reports on how the Straw
Bale Observatory in Saskatchewan facili­
tates the appreciation of the ethereal and
sublime qualities of light, sky and the
prairie landscape.

COVER The reflective exterior of the Salle


de Spectacle Dolbeau-Mistassini | Des­
JUNE 2009, v.54 n.06
jardins | Maria-Chap­delaine in Quebec by
Paul Laurendeau | Jodoin Lamarre Pratte |
architects in consortium. Photograph
The National Review of Design and Practice/
by Marc Gibert.
The Journal of Record of the RAIC

06/09 canadian architect 

p05 Contents.indd 5 6/12/09 10:44:27 AM


Viewpoint
canadian architect

Federalist buildings, Erickson’s Chancery refer-


ences the porticos, columns and entablatures of
its neighbours—but is expressed through a vo-
­­Editor
cabulary of exposed concrete elements integrated Ian Chodikoff, OAA, MRAIC

with ample greenery and a publicly accessible Associate Editor


Leslie Jen, MRAIC
landscaped courtyard. But most importantly, Editorial Advisors
Erickson’s architectural intentions and aspira- John McMinn, AADipl.
Marco Polo, OAA, MRAIC
tions transcend formal geometries, exuding val- Contributing Editors
Gavin Affleck, OAQ, MRAIC
ues that reflect contemporary Canadian culture Herbert Enns, MAA, MRAIC
and democracy. Douglas MacLeod, ncarb

Erickson’s reputation as an architect entered Regional Correspondents


Halifax Christine Macy, OAA
our collective imagination long before Gehry, Montreal David Theodore
Winnipeg Herbert Enns, MAA
Libeskind or Koolhaas were considered house- Regina Bernard Flaman, SAA
Calgary David A. Down, AAA
hold names. This became apparent to us at the Edmonton Brian Allsopp, AAA
vancouver adele weder
magazine, as we have had in the past weeks the
Publisher
privilege of hearing from many readers wanting Tom Arkell 416-510-6806
to share their personal experiences of either associate publisher
greg paliouras 416-510-6808
Erickson the man or an Erickson building—from Circulation Manager
those who knew him well as far back as the 1950s, beata olechnowicz 416-442-5600 ext. 3543

above Arthur Erickson (right) gives Pierre to the aspiring architecture student who, recently Customer Service
malkit chana 416-442-5600 ext. 3539
Trudeau (middle) a tour of the UBC
having toured an Erickson structure, discovered Production
Museum of Anthropology—one of jessica jubb
Erickson’s most important Vancouver the importance of his chosen field of study. Graphic Design
buildings. Erickson was an architect who could inspire us Sue Williamson
Vice President of Canadian Publishing
with his bravado and humanism as much as he Alex Papanou
On May 20th, Canada lost one of its greatest could provide us with lessons about the plasticity President of Business Information Group
Bruce Creighton
architects. By the time of his passing at 84 years of concrete, the expansiveness of glass, and the
Head Office
of age, Arthur Erickson had built a career that elegance of steel. 12 Concorde Place, Suite 800,
Toronto, ON M3C 4J2
spanned several decades, providing us with a Arthur Erickson taught us about leading with Telephone 416-510-6845
Facsimile 416-510-5140
number of significant buildings that defined an substance over style: culture, history and human- E-mail editors@canadianarchitect.com
emerging nation through an architecture that ac- ity are the true foundations of good architecture, Web site www.canadianarchitect.com

knowledges its geography and expresses the and these aspirations can be realized through Canadian Architect is published monthly by Business Information Group,
a division of BIG Magazines LP, a leading Cana­dian information company
vitality of its citizens: the venerable Roy Thomp- programmatic invention. At Simon Fraser Uni- with interests in daily and community news­papers and business-to-business
information services.
son Hall, the groundbreaking Simon Fraser Uni- versity, for example, he responded to the chal- The editors have made every reasonable effort to provide accurate and
versity, the landscape-inspired University of lenge of building a new educational facility by authoritative information, but they assume no liability for the accuracy or com-
pleteness of the text, or its fitness for any particular purpose.
Lethbridge, and the Museum of Anthropology at breaking down social and academic barriers so Subscription Rates Canada: $52.95 plus applicable taxes for one year;
$83.95 plus applicable taxes for two years (GST – #809751274RT0001).
the University of British Columbia, a post-and- that university students from a variety of disci- Price per single copy: $6.95. Students (prepaid with student I.D., includes
beam concrete masterpiece that places First Na- plines could debate and interact freely within a taxes): $32.50 for one year. USA: $101.95 U.S. for one year. All other
foreign: $103.95 U.S. per year.
tions art and culture on par with the great cul- new space-age superstructure. When designing US office of publication: 2424 Niagara Falls Blvd, Niagara Falls, NY 14304-
5709. Periodicals Postage Paid at Niagara Falls, NY. USPS #009-192.
tures of Ancient Greece and Persia. In addition to the Vancouver Law Courts, he redefined our ex- US postmaster: Send address changes to Canadian Architect, PO Box 1118,
Niagara Falls, NY 14304.
his innumerable contributions to residential de- pectations of a democratic city by placing access-
Return undeliverable Canadian addresses to: Circulation Dept., Canadian
sign, he directly influenced the evolution of sev- ible rooftop gardens on top of a legislative facil- Architect, 12 Concorde Place, Suite 800, Toronto, ON Canada M3C 4J2.

eral important Canadian cultural, educational, ity, and by encasing both the public hall and Postmaster: please forward forms 29B and 67B to 12 Concorde Place, Suite
800, Toronto, ON Canada M3C 4J2. Printed in Canada. All rights reserved.
corporate and governmental institutions. Inter- courthouse within a large transparent glass en- The contents of this publication may not be re­produced either in part or in full
without the consent of the copyright owner.
nationally, Erickson positioned Canada as a place velope. From time to time we make our subscription list available to select companies
that could stand proud amongst the great nations Just as former Prime Minister Pierre Trudeau and organizations whose product or service may interest you. If you do not
wish your contact information to be made available, please contact us via
of the world. Few of us were able to see his Can- once defined a nation through his political one of the following methods:
Telephone 1-800-668-2374
ada Pavilion at the 1970 World’s Fair in Osaka, leadership during the 1960s, ’70s and early ’80s, Facsimile 416-442-2191
but many of us have heard him eruditely describe Arthur Erickson’s buildings of that era represent E-mail privacyofficer@businessinformationgroup.ca
Mail Privacy Officer, Business Information Group, 12 Concorde Place, Suite 800,
how his architecture came to be an ambassador an equally sophisticated confidence and vision Toronto, ON Canada M3C 4J2
Member of the Canadian Business Press
for our country by confidently displaying our cul- for Canada. Without a doubt, Erickson’s contri- Member of the Audit Bureau of Circulations
Publications Mail Agreement #40069240
tural and creative spirit within a wooden teepee- butions helped define a period of Canadian ISSN 0008-2872
inspired building. The Canadian Chancery in architecture that exudes an unprecedented con-
Washington, DC, an oft-misunderstood building nection to the particularities of site and land-
largely due to its postmodern inclinations, is an- scape, and to First Nations heritage. He remains
other strong example of Erickson’s interpretation an inspiration to us all. We acknowledge the financial support of the
Government of Canada through the Publications
of Canadian architecture as emissary abroad. Lo- Assistance Program towards our mailing costs.
PAP Registration No. 11093
cated in a precinct of Washington dominated by Ian Chodikoff ichodikoff@canadianarchitect.com

 canadian architect 06/09

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News

Exhibitions Competitions

In Study Model Wonderland from Halifax Winners of FormShift Vancouver ideas


to Vancouver. competition selected.
This exhibition at Maison de l’architecture du Qué­ The winners of the first-ever FormShift Vancou­
bec—MONOPOLI in Montreal begins with a ques­ ver have been selected. In the Vancouver Primary
tion: in this day and age of AutoCAD and digi­tal category, honours go to a submission from Cal­
design, is the study model still playing a role in the gary-based Sturgess Architecture. The Vancouver
architect’s creative process? The answer proves to Secondary choice is Romses Architects (Scott
be resoundingly affirmative, from a vast cross- Romses) of Vancouver. In the third and final cat­
Canada investigation conducted by the MONO­ egory—Vancouver Wildcard—the nod goes to Go
POLI team with the help of three research­ers Design Collaborative (Jennifer Uegama and Paul­
under the direction of chief curator Sophie Giron­ ine Thimm) of Vancouver. This unique competi­
nay. Forty study models have been selected for the tion, co-hosted by the Architectural Institute of
exhibition in a variety of scales and representing a British Columbia and the City of Vancouver, chal­
vastly divergent assemblage of pro­jects, each pos­ lenged architects, designers and others with crea­
sessing a unique quality of expression and beauty. tive flair to submit innovative, built-form ideas
They are housed within a setting cour­tesy of archi­ that will guide Vancouver’s future growth. Competi­
tectural firm Atelier in situ, the exhi­bition’s guest tors were encouraged to draw inspiration from sev­
designers. Along with the models, photos of the eral key initiatives developed by the city, including

Alain Laforest
finished buildings and quotes from their archi­ the Climate Change Action Plan, the EcoDensity
tects express the creatively complex process of de­ Charter, and the Greenest City Action Team.
signing a building. Accompanying the exhibition Jurors were impressed with the integration of
is a 56-page catalogue titled 1:26, the result of a wide-ranging ideas for sustainable development,
ABOVEthe latest exhi­bition organized by
crea­tive collaboration—graphic design by Uniform, including many that incorporated components of Montreal’s galerie monopoli explores
image direction by Alain Laforest, photographs by renewable energy on a community level, Vancou­ the use of the maquette by architects
Marc Gibert, and a colour pamphlet by Émilie ver’s back lane conditions, urban agriculture, land from across the country.
Graves. The exhibition ends Octo­ber 10, 2009. parcellization and tenure, and various designs for
www.galeriemonopoli.com/?cat=22&lang=en green-roof technologies. Many submissions also age 84 on May 20, 2009. Born in 1924, he graduat­
strongly addressed affordability and livability in ed from Montreal’s McGill University in 1950 and
Awards the design. The winning submissions thoughtfully worked as an associate professor at the University
put forth multiple innovations and approaches. of British Columbia from 1957 to 1963. He first
Winners of the AIBC Architectural Awards. www.formshiftvancouver.com achieved international acclaim soon after for his
At this year’s annual AIBC Architectural Awards, award-winning design for Simon Fraser Univer­
eight awards were bestowed upon British Colum­ What’s New sity in Burnaby, British Columbia. Later, he de­
bia’s architectural leaders. Recipients of the Lieu­ signed many significant buildings that make up
tenant-Governor of British Columbia Award in Landmarks, Monuments & Built Heritage of the urban landscape of Vancouver, including the
Architecture Medal for 2009 are: the Arts & Social the West. Vancouver Law Courts, Robson Square and UBC’s
Sciences 1 and Blusson Hall complex at the Simon The University of Manitoba Archives & Special Museum of Anthropology. Erick­son’s success in
Fraser University Burnaby Campus by Busby Collections, along with its partners, the Ukrain­ Vancouver soon spread around the globe. His
Perkins+Will Architects Co; and Kensington Park, ian Catholic Archeparchy of Winnipeg Archives, noted designs include Roy Thomson Hall in To­
Robert Burnaby Park and Swalwell Park Wash­ the Canadian Architectural Archives, and the ronto, the Cana­dian Embassy in Washington, Cali­
rooms by Bruce Carscadden Architect Inc. Three Archives of Manitoba, have created a website de­ fornia Plaza in Los Angeles, Napp Laboratories in
projects received Lieutenant-Governor of British voted to Western Canada’s architectural history Cambridge, England, Kuwait Oil Sector Complex
Columbia Merit Awards: the Chimo Aquatic and and the effects it has had on Canadian society. in Kuwait City, and the Kunlun Apartment Hotel
Fitness Centre by Hughes Condon Marler Archi­ The 7,000 textual documents, photographs, blue­ development in Beijing. Architecture critic Trevor
tects; the North Vancouver City Library by Dia­ prints, films, and sound clips that comprise Land­ Boddy said the distinctive stamp Erickson left on
mond and Schmitt Architects Incorporated and marks, Monuments & Built Heritage of the West the young West Coast city would be his most en­
CEI Architecture Planning Interiors; and Whistler document this rich historical legacy. during legacy, as he was the first to believe Van­
Public Library by Hughes Condon Marler Archi­ http://umanitoba.ca/libraries/archives/digital/ couver could be a world-class city. Boddy stated,
tects. The 2009 AIBC Innovation Award went to built_heritage/ “The way that he prodded and primed and hoped
the “22” series of electrical accessories by Omer that Vancouver would become a better place, more
Arbel for Bocci, and the 2009 AIBC Special Jury Obituary diverse, more dense, more visually engaging, more
Award was granted to Dockside Green—Synergy beautiful, the notion that this geographically iso­
by Busby Perkins+Will Architects Co. And finally, Legendary Canadian architect Arthur lated city could be a global contender.”
the first-ever AIBC Emerging Firm Award recog­ Erickson dead at 84.
nizes Bowen Island-based JWT Architecture and Arthur Erickson, the Vancouver-born architect Abridged from the CBC News website. For the full
Planning, led by James Tuer. known for his groundbreaking designs in concrete story, please visit www.cbc.ca/canada/story/
www.aibc.ca and glass, passed away in a Vancouver hospital at 2009/05/20/erickson-obit.html.

06/09 canadian architect 

p09 News.indd 9 6/12/09 10:46:09 AM


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up
date
ISSUE 31.2
SUMMER 2009

NEW! NEW! NEW! NEW!


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

Second Edition of the Canadian Handbook of A Guide to Determining Appropriate Fees


Practice for Architects – 2009 for Architectural Services 2008-2009
RAIC Board Members
The Second Edition of the The RAIC has just completed
“CHOP” can be download- a national fee guideline which President
ed in a PDF format from the includes updated recommen- Paule Boutin, FIRAC
RAIC website as of May 22. dations for percentage-based
fees. The guidelines are in- 1st Vice-President and
Architecture students, intern President-Elect
tended for both clients and
architects, and licensed or Ranjit (Randy) K. Dhar, FRAIC
architects alike and supports
registered architects can
existing provincial fee guide- 2nd Vice-President and
purchase the new document
lines and assists architects Treasurer
for $75 from the RAIC. This
when negotiating fees with Stuart Howard, FRAIC
new edition contains over 50 checklists, many of
clients.
them new, updated references and current practice Immediate Past President
advice. The document is free to down­load for RAIC mem- Kiyoshi Matsuzaki, PP/FRAIC
bers. Printed copies to send to clients will be avail-
This summer a CD-ROM version and a printed paper Regional Directors
able for $25 each.
copy will also be available for sale. Stuart Howard, FRAIC
(British Columbia/Yukon)
Wayne Guy, FRAIC
Veronafiere 2009 (Alberta/NWT)

Another fabulous opportunity offered to Canadian Architects Have you renewed your Charles Olfert, MRAIC
through RAIC membership membership? (Saskatchewan/Manitoba)
David Craddock, MRAIC
RAIC members are once Use the RAIC online payment (Ontario Southwest)
again eligible to become one system Ralph Wiesbrock, FRAIC
of six lucky architects for a Along with the traditional member­ (Ontario North and East/Nunavut)
terrific professional develop- ship categories – Architects, Interns Claude Hamelin Lalonde, FIRAC
ment opportunity to attend or Intern Architects, Graduates, (Quebec)
the trade show Marmomacc Faculty and Fellows – the RAIC Paul E. Frank, FRAIC
held in Italy Sept. 28-Oct. 2, offers opportunities to become a (Atlantic)
2009. Scholarships cover tui­ Life Member, Student Associate
tion, meals, accommodations Chancellor of College of
and Affiliate. With the exception of Fellows
and local transportation and Affili­ates and Student Associates,
photo: Philip O’Sullivan, MRAIC Alexander Rankin, FRAIC
the administration fee. Those all these categories allow members
selected will be responsible for travel costs to and from Verona. to attach the MRAIC (Member of Council of Canadian University
the Royal Architectural Institute of Schools of Architecture
Participants earn 20 hours of CORE continuing education credits.
(CCUSA)
The class is limited to 30 architects, 16 from the U.S., six from Canada) and FRAIC (Fellow of the
Eric Haldenby, FRAIC
Canada, and the others from the U.K., South Africa, India and Royal Architectural Institute of
Australia. Canada) designations following their Editorial Liaison
name – a recognized symbol of Ralph Wiesbrock, FRAIC
Interested RAIC members should submit professionalism.
a résumé to Jon Hobbs, FRAIC Executive Director
(jhobbs@raic.org) before June 12, 2009. To reinforce the numerous roles held Jon Hobbs, FRAIC
by qualified architects in society,
the RAIC strongly encourages all Editor
licensed (or registered) architects to Sylvie Powell
also use the title “Architect” after
The national office of the
their name as well as the appropriate RAIC is located at:
designation MRAIC or FRAIC.
330-55 Murray St.
Help the RAIC continue to be the Ottawa ON K1N 5M3
voice of architects in Canada by Tel.: (613) 241-3600
encouraging colleagues to become Fax: (613) 241-5750
members. E-mail: info@raic.org
www.raic.org
photo: Philip O’Sullivan, MRAIC photo: Pierlucio Pellissier, MIRAC

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


en
NUMÉRO 31.2
ÉTÉ 2009 bref L’Institut royal d’architecture du Canada
Le principal porte-parole de l’architecture au Canada

DU NOUVEAU !
Conseil d’administration Deuxième édition du Manuel canadien de Un guide aidant à déterminer les honoraires
de l’IRAC de 2008-2009 pratique de l’architecture – 2009 appropriés pour les services d’un architecte
La deuxième édition du L’IRAC vient tout juste de pu­
Présidente
Paule Boutin, FIRAC
Manuel canadien de pratique blier un guide national sur les
de l’architecture pourra être honoraires qui comprend notam­
Premier vice-président et téléchargée en format PDF à ment des recomman­dations à
président élu partir du site Web de l’IRAC à jour concernant les honoraires à
Ranjit (Randy) K. Dhar, FRAIC compter du 22 mai. pourcentage. Ce guide s’ad­res­
Les étudiants en architecture, se autant aux clients qu’aux
Deuxième vice-président et
les stagiaires et les archi­ architectes et aide les archi­tec­
trésorier tes à négocier leurs hono­raires
Stuart Howard, FRAIC tectes peuvent se procurer le
nouveau document au coût avec leurs clients. Il se veut
de 75 $. Cette nouvelle édition comporte plus de 50 également un complé­ment aux
Président sortant de charge
Kiyoshi Matsuzaki, PP/FRAIC aide-mémoire dont plusieurs nouveaux, des biblio­ tarifs d’hono­raires existants de
graphies à jour et des conseils adaptés à la pratique certaines provinces.
Directeurs régionaux d’aujourd’hui. Les membres de l’IRAC peuvent télécharger le docu­
Stuart Howard, FRAIC
Dès l’été, il sera également possible de se procurer le ment gratuitement. Des copies imprimées pouvant être
(Colombie-Britannique/Yukon)
Manuel sur CD-Rom ou en version imprimée. transmises aux clients seront en vente au coût de 25 $
Wayne Guy, FRAIC chacune.
(Alberta/T.N.-O.)
Charles Olfert, MRAIC
(Saskatchewan/Manitoba) Veronafiere 2009
David Craddock, MRAIC Une autre fabuleuse occasion offerte aux architectes canadiens
(Sud et Ouest de l’Ontario) Avez-vous renouvelé votre membres de l’IRAC
Ralph Wiesbrock, FRAIC adhésion? À nouveau cette année, les membres
(Est et Nord de l’Ontario/
Nunavut)
Si non, vous pouvez le faire dès de l’IRAC ont la chance de devenir
maintenant en utilisant le système l’un des six architectes qui recevront
Claude Hamelin Lalonde, FIRAC
de paiement en ligne de l’IRAC. une bourse pour suivre un cours sur
(Québec)
En plus des catégories de membres la pierre et le marbre et assister au
Paul E. Frank, FRAIC
usuelles – architectes, stagiaires, salon pro­fessionnel Marmomacc en
(Atlantique)
diplômés en architecture, universitaires Italie, du 28 septembre au 2 octobre
Chancelier du Collège des et fellows – l’IRAC offre maintenant la 2009. Les bourses couvrent les frais
fellows possibilité de devenir membre à vie, de cours, les repas, l’héberge­ment et
photo : Philip O’Sullivan, MRAIC
Alexander Rankin, FRAIC membre étudiant associé ou membre le transport sur place, de même que
affilié. À l’exception des membres les frais d’administration. Les architectes choisis doivent toutefois assu­
Conseil canadien des écoles affiliés et des étudiants associés, tous mer leurs frais de transport en direction et en provenance de Vérone.
universitaires d’architecture
(CCÉUA)
les autres membres ont droit d’inscrire La participation au cours est reconnue et représente 20 heures de
Eric Haldenby, FRAIC les initiales MIRAC (membre de l’Insti­ formation continue dans le volet formation DIRIGÉE. Le nombre de
tut royal d’architecture du Canada) participants est limité à 30 architectes dont 16 proviennent des États-
Conseiller à la rédaction ou FIRAC (fellow de l’Institut royal Unis, 6 du Canada et les autres du Royaume-Uni, de l’Afrique du Sud,
Ralph Wiesbrock, FRAIC d’archi­tecture du Canada) après leur de l’Inde et de l’Australie.
nom – un symbole de profession­
Les membres de l’IRAC qui désirent poser
Directeur général nalisme reconnu.
Jon Hobbs, FRAIC leur candidature doivent faire par­venir un
Pour mieux faire connaître les nom­ curriculum vitae à Jon Hobbs, FRAIC
Rédactrice en chef breux rôles des architectes dans la (jhobbs@raic.org), avant le 12 juin 2009.
Sylvie Powell société, l’IRAC invite aussi fermement
tous les architectes à utiliser leur titre
Le siège social de l’IRAC « d’architecte » avec la désignation
est situé au,: MIRAC ou FIRAC.
55, rue Murray, bureau 330 Encouragez vos collègues à devenir
Ottawa ON K1N 5M3
membres de l’IRAC et renforcez ainsi
Tél.,: (613) 241-3600 l’IRAC dans son rôle de porte-parole
Télec.,: (613) 241-5750 des architectes du Canada.
Courriel,: info@raic.org
www.raic.org
photo : Lee Gavel, FRAIC 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 ABOVE The front entrance to the performing arts centre grace-

theatre is as dramatic as the perform- fully reflects the existing buildings along Avenue de l’Église.
ances held within its carefully propor-
In the 1980s, the City of Dolbeau, located 300 kilometres north of Quebec
tioned interiors.
City in the regional municipality of Maria-Chapdelaine, began planning a
hall to concentrate the area’s extant community of folk and opera singers,
PROJECT Salle de Spectacle DOLBEAU-MISTASSINI | DESJARDINS | MARIA- musi­cians and graphic artists. Yet it was the 1997 merger of Dolbeau with
CHAPDELAINE, Dolbeau-Mistassini, Quebec Mistas­sini, a neighbouring city, and growing support from broadcasters,
ARCHITECTS Paul Laurendeau | JODOIN LAMARRE PRATTE | architects in

consortium
producers and municipal politicians that crystallized the idea into a project.
TEXT Thomas Strickland In 2005, following a thorough study, a site was chosen in the former city of
PHOTOS Marc Gibert 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
The combination of architecture and the performing arts has often featured bour­hood.” (Salle de spectacles de Dolbeau-Mistassini, Concours d’architecture,
significantly in projects of civic reorganization and unification, both 2005).
literally and symbolically. One public works project, L’Opéra Paris (Palais Out of roughly 30 submissions, Laurendeau was initially selected as one
Garnier) instigated by Baron Georges-Eugène Haussmann and designed by of four finalists for Phase I of the project’s design competition. Before
architect Charles Garnier in 1861, was planned to unify not only the new continuing on to Phase II, and after a change in provincial policy regarding
formal order of the city but the people as well; it was to be the public face of design competitions, he was “encouraged” to form a collaboration with a
new Paris. In the 20th century, the white sails of Sydney’s Opera House, more experienced firm that was familiar with buildings of similar scale to
designed by Jørn Utzon in 1957, have come to symbolize the emergence of the performing arts centre. Forming a consortium with Jodoin Lamarre
Australia as a cultural and economic force in the international arena. At a Pratte, Laurendeau’s design went on to win the commission. He is accus­
smaller scale but with as much ambition, Dolbeau-Mistassini in Quebec tomed to working with the arts and design community, honing his design
hopes a recently completed performing arts centre, designed by Paul approach on projects such as Fashionlab (a clothing design agency) in 2001
Laurendeau Architecte in consortium with Jodoin Lamarre Pratte et and DESERT for the collective Champ Libre in 2004 (see CA, November
associés architectes, will concentrate its diverse and prolific arts scene in 2004). While the Dolbeau-Mistassini Salle de Spectacle represents a shift
one place and represent the continuity of the recent amalgamation of two in complexity and the architect’s first foray into theatre architecture, the
distinct cities under one governing body. design shows a confi­dent merging of the client’s program requirements and

06/09­ canadian architect 13

p13-17 Dolbeau.indd 13 6/12/09 10:48:51 AM


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.

4 5
avenue de l’église

site plan 0 30M

1 former st-michel school (1948 section)


2 theatre
3 supermarket
4 storage
5 orpheon cinema
6 arena

14 canadian architect 06/09

p13-17 Dolbeau.indd 14 6/12/09 10:49:12 AM


ABOVEThe gloriously proportioned verticality of the theatre
combined with a geometric analysis of the Dolbeau-Mistassini program
space, which is dramatically dressed in red and gold. brief. Such historical allusions aside, the building, according to Lauren­
deau, is not revivalist. The formal geometric arrangements also accommo­
institutional agenda with Laurendeau’s design approach. date programmatic and operational requirements while providing a prin­
Laurendeau believes that the principles of geometry and proportion are ciple around which contractors can coordinate.
fundamental to the design of a building. “Symmetry,” he explains, “induces Laurendeau’s successful proposal was in plan and volume a close match
a relationship with others; it becomes a shared language.” Beginning with to the Management Committee’s organigramme—the functional require­
the golden section, a ratio of purportedly divine proportions connected to ments of the proposed theatre. The procession follows a symmetrically
Vitruvius and found in Le Corbusier’s Modular Man, Laurendeau executed arranged central axis beginning with the entrance on Avenue de l’Église,
an extensive study of significant 19th-century architectural treatises passing through the foyer, lobby, auditorium and ending on the stage. While

5 4 2 1 13 12 11

10
8

6 7 9

Ground floor 0 10M level two 0 10M


1 hall 6 loading dock 11 foyer (seen from above)
2 foyer 7 green room 12 balcony 1
3 caterer 8 dressing room 13 stage (seen from above)
4 orchestra 9 garden
5 stage 10 administration

06/09­ canadian architect 15

p13-17 Dolbeau.indd 15 6/12/09 10:49:36 AM


The green room provides a spacious and open
ABOVE, LEFT TO RIGHT

environment in which performers may congregate before


and after the show; The austere qualities of the dressing
rooms are evident.

longitudinal section
0 10M

lateral section through the foyer


0 10M

lateral section through the auditorium 0 10M

16 canadian architect 06/09

p13-17 Dolbeau.indd 16 6/12/09 10:49:55 AM


A bare-bulb light fixture was custom-designed
CLOCKWISE FROM ABOVE

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.

this arrangement might seem obvious and even simple in plan, it is a con­
sidered 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 multi-purpose 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
20th-century section of Saint-Michel School; later additions were demol­
ished 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 ar­
ranged 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 verti­
cality 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 po­
tential of the theatre, signalling the drift from ordinary to imaginary.
On the street, the simple boxy form of the metal-clad theatre sits
innocuously behind the elevation. Recalling the golden age of the music
hall, the marquee-like façade offers the promise of a revitalized commercial
district, and speaks to Dolbeau-Mistassini’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 CLIENT CITY OF DOLBEAU-MISTASSINI
ARCHITECT TEAM PAUL LAURENDEAU, MARC LAURENDEAU, DENIS GAUDREAULT
of building typol­ogy that create a stage for community identifi­ca­tion and STRUCTURAL DESSAU SOPRIN
articulation. After all, he notes, “It is their building.” CA 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.
After a period of time working as an architect, Thomas Strickland is undertaking THEATRE CONSULTANT GO MULTIMÉDIA
ACOUSTICS LEGAULT & DAVIDSON
a doctorate in the history of medical architecture, considering in particular the SIGNAGE/GRAPHICS UNIFORM
AREA 2,630 M2
influence of pop culture in the 1960s and ’70s on innovative, space-age hospital BUDGET $9.2 M
COMPLETION OCTOBER 2008
design. He is an occasional art curator and published critic.

06/09­ canadian architect 17

p13-17 Dolbeau.indd 17 6/12/09 10:50:14 AM


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

TEXT Leslie Jen


Ben Rahn, A-Frame

18 canadian architect 06/09

p18-23 Core.indd 18 6/12/09 10:50:50 AM


Ben Rahn, A-Frame

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
Ben Rahn, A-Frame

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
OPPOSITEVariegated colours and patterns characterize these split stone cores—rem-
operations are the focus of the company, with
nants of the mining extraction process—which are put to good use in this expres-
exploration and development concentrated in sive feature wall. TOP Defining one wall of the reception area, horizontally grained
Quebec, Finland, Mexico and the US. travertine slabs are interspersed with the occasional strip of gold-coloured alum-
The Toronto headquarters occupies the top two inum, evoking stratified geological layers of the earth. The frosted glass behind the
Ben Rahn, A-Frame

floors of a five-storey building located just east of display case permits shadowy glimpses of employees in the corridor behind. ABOVE Con-
tained within a wood-framed transparent acrylic screen, striking photographic
the financial core of downtown Toronto, enjoying
images of miners at work are featured prominently in the fourth-floor lunchroom.
privileged views of St. James Cathedral and the

06/09­ canadian architect 19

p18-23 Core.indd 19 6/12/09 10:51:42 AM


Ben Rahn, A-Frame

7 7

8 9 1 9
10 10 8

7
11 8
2 4 12

2 2 2 3 3 6 5

fifth floor
0 15M
1 elevator/lobby 7 terrace
2 office 8 stair
3 workstation 9 elevator
4 servery 10 washroom
5 meeting room 11 boardroom
6 break-out area 12 supply/copy

7 7
7
2 2 2 2 2
2

2 3 3 3 2 2
2 6
8 9 9
2 10 10 8
2 2
5
4 1
7
2 2 5 2
2
2
3
2 2 2 2 2 2 2
3 2

2
2

fourth floor 0 15M

1 reception 6 lounge/kitchen
2 office 7 terrace
3 workstation 8 stair
4 map room 9 elevator
5 meeting room 10 washroom

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
Ben Rahn, A-Frame

AV Consultant AVW-TELAV
Contractor Marant Construction
Ground Floor Area 1,500 m2
Budget $1.74 M
Completion December 2007

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
TOPThe 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
cherry wood-framed screen, into which clear
reception area, showcasing raw samples of gold ore. acrylic screens are placed. Transferred onto these

20 canadian architect 06/09

p18-23 Core.indd 20 6/12/09 10:52:09 AM


Tom Arban
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.
Tom Arban
The Toronto-Dominion Centre has long been
established as the financial heart of the country
and one of Canada’s architectural icons. Com­
TOPThe vast and spacious reception area of the Torys office on the 33rd floor, where
prised of six office towers and a low-rise banking compelling artwork competes with spectacular views of Lake Ontario. ABOVE Pascal
pavilion, the TD complex is best known for its Grandmaison’s competition-winning photographic study of an androgynous
Mies van der Rohe design, the commission of model covers an entire wall in the north multi-conference room.
which we are forever indebted to Phyllis Lam­
bert. Though Mies (along with Bregman + ings were designed to be harmoniously con­sis­ original TD Bank Tower. Torys is a massive
Hamann and John B. Parkin Associates) was tent with their older siblings. business and commercial law firm with offices in
responsible only for the design of the plaza, the Within this prestigious complex, Torys LLP Toronto and New York, and with an impending
banking pavilion, the original TD Bank Tower occupies 10 floors in the 36-storey TD Water­ lease expiration, debated on whether to move
(1967) and the Royal Trust Tower (1969), over house Tower (1985) on the south side of entirely or to conduct a substantial renovation to
the next two decades, the remaining four build­ Wellington Street across the road from Mies’ its existing space to better meet the firm’s spatial

06/09­ canadian architect 21

p18-23 Core.indd 21 6/12/09 10:52:50 AM


Tom Arban
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 mill­
work, 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 one-third 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 north-facing multi-conference
“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,
16-hour workdays and an insatiable appetite for
Tom Arban

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 cutting-edge con­temporary Canadian

The corridor terminates in a spec-


TOP LEFT

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.

22 canadian architect 06/09

p18-23 Core.indd 22 6/12/09 10:53:11 AM


9

7 1
North multi-coNfereNce room
8
South multi-coNfereNce room

clieNt ZoNe
3
2 PartNer/aSSociate officeS
6
art Gallery/hall
4

33rd floor 0 50’

5
1
North multi-coNfereNce room

South multi-coNfereNce room

Shai Gil
clieNt ZoNe
2 6 PartNer/aSSociate officeS

4 art Gallery/hall

32nd floor 0 50’

1 elevator lobby
2 reception North multi-conference room
3 caucus
4 boardroom South multi-conference room
5 kitchen/servery
6 cloakroom Client Zone
7 storage
Partner/Associate Offices
8 dining
9 dedicated video
Art Gallery/Hall
conferencing

art, much of which hangs on the walls of the


lengthy corridors which form deliberately con­
tinuous loops of circulation. These white-walled
corridors were designed extra-wide to provide
the requisite distance from which to view the art,
which further amplifies the gallery feel. Compris­
ing all scales and types, the pieces hang at con­
tinuous 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

Tom Arban
Canadian artwork to help define and embellish
the folding partition walls in the aforementioned
conference spaces. From submissions by five
invited artists, pieces by Montreal-based Pascal TOPStaircases link the main client-focused floor to the more utilitarian PRACTICE
floors below on which lawyers’ offices are located. ABOVE Eroding the sharp corner
Grandmaison and Toronto resident Robert Fones of the client dining room, sliding doors easily disappear into wall pockets, enabling
were selected. Grandmaison’s massively scaled a greater appreciation of the art lining the corridor walls.
close-up photographs of an androgynous face are
utterly captivating in the north conference area, architect to just design a nice office. The de­ Client Torys LLP
and one doesn’t know where to look: the photos mands being made on design firms require a Architect Team Marianne McKenna, Steven Casey, George
Bizios, Rita Kiriakis, Gary Yen, Thom Seto, Jose Emilia, Lilly Liaukus,
or the fabulous view of the Mies tower to the clear under­standing and articulation of what the Jill Greaves
Structural Halcrow Yolles
north? In the south-facing conference zone, client represents and what that client chooses to Mechanical Andronowski & Associates
Electrical Stantec Engineering Inc.
Fones adapts text from Miguel de Cervantes’ Don communicate. The design for Agnico-Eagle Cost Consultant Curran McCabe Ravindran Ross
Acoustical Consultant Aercoustics Engineering Ltd.
Quixote and renders it in barely legible script, Mines is very clear about tangibly referencing AV Consultant Westbury
Art Consultant Fela Grunwald Fine Arts
superimposing it over photographic images of a what the company’s business is all about. In the Lighting Suzanne Powadiuk Design
Contractor Rae Brothers Limited
blue, blue Lake Ontario, echoing the exhilarating Torys office, while the design is less literal, it Ground Floor Area 180,000 ft2
Budget withheld
views of the same lake at the city’s edge below. does an excel­lent job of conveying the ideology of Completion August 2008
Clearly, it is no longer sufficient to hire an the firm, its process, and its identity. CA

06/09­ canadian architect 23

p18-23 Core.indd 23 6/12/09 10:53:36 AM


Practice

A Holistic Approach
Holistic Project Delivery

Roundtable Session Roundtable Session Roundtable Session


Week 1&2 Week 5&7 Week 9&11

Pre-Design Session Session Session Working


1&2 3&4 5&6 Drawings

Approval Approval

Week 2&4 Week 6&8 Approval


Problem-Solving Problem-Solving
Questions Questions
BIM BIM

A Vancouver-based architect is helping to ABOVEUsing a holistic project delivery method, problem-solving questions are defined
develop a streamlined project management at the outset, making discussions with planning and permitting authorities more effi-
process known as the Holistic Project cient. Additionally, there is a more equitable negotiation process just prior to the
Delivery method. approvals and working drawings stages.

TEXT Robert Billard needs. Alternatively, the IDP promotional mate­ wasteful expenditure of resources often amounts
rials infrequently deal with issues of schedules to time lost in circuitous and elaborate lines of
In recent years, there has been a push for sustain­ and budgets. Certainly, being sustainable has a communication where internal teams are too
able initiatives through measurement tools such far broader definition than simply being green. large, meetings are ineffective, and there is a lack
as Green Globes and LEED. However, using a What appears to be missing from many IDP in­ of strict control over the outcomes and schedul­
version of the Integrated Design Process (IDP) itiatives is an actual plan—a strong set of objec­ ing of these meetings. Using Lean principles with
has reduced many of these strategies to mere tives and a firm schedule. Each version of the IDP HPD seeks to streamline these things and get
buzz­­words and marketing tools. offers either highly complex or overly simplistic people to focus on their goals.
To some, current approaches to the IDP-inten­ bubble diagrams in an attempt to fit within the
sive process can have a single-minded focus on traditional phases of a project, but rarely a sched­ What is HPD?
LEED or other green initiatives. Unfortunately, it ule and a process flow. With HPD, many basic concepts of IDP are in­
is incorrect to suggest that IDP emerged as a res­ To address these issues, KMBR Architects cluded; however, the key is the provision of a
ponse to programs like LEED. The IDP approach Planners Inc. have developed the Holistic Project “how” along with a clearer vision for the design
has been around for much longer and has at least Delivery (HPD) method. At the root of our con­ workflow process. It is founded in a strict objec­
partly contributed to many successful non-com­ cern, we noticed that processes developed for tive-based process led by the project schedule
petitive design-build projects, especially in the IDP could benefit from the the application of a and physical deliverables. It incorporates green
private sector. workflow management process originally devel­ initiatives such as LEED but is not led solely by
Being green is only one part of the goal of a oped by Toyota that considers the expendi­ture of them. The intent is to approach the project from
successful project. The evolution in thinking resources for any goal other than the creation of as many sides with as many minds as possible to
about ecological and sociological issues as a neces­ value for the end customer to be wasteful. Known ensure as holistic an outcome as possible. HPD
sary component to the health of our built environ­ as the “Lean” process, its methodology was de­ can be adapted to any project but used in its pur­
ment has developers and designers needing to signed to distill the essence of management deci­ est form, it results in a significant departure
increasingly address a Triple Bottom Line (i.e., sions and reduce ineffective time manage­ment. from the traditional schedule and phased project
measuring economic, ecological and social suc­ Its implementation focuses on getting the right delivery method.
cess) approach. things to the right place at the right time in the
In and of itself, focusing solely on LEED or right quantity to achieve optimum workflow How HPD Works
other green measurement tools is neither an in­ while minimizing waste and maximizing both Traditionally, the design of a project is broken
tegrated nor a holistic approach to a client’s flexibility and adaptability. In architecture, a down into distinct phases: Schematic Design,

24 canadian architect 06/09

p24-25 Practice.indd 24 6/12/09 10:55:31 AM


Design Development, and Working Drawings. distort the logical continuity of the developing DESIGN OBJECTIVE PROCESS FLOW
Through a pre-determined, strictly scheduled design. In HPD, the approvals process happens at
and coordinated number of sessions, along with the sessions. Buy-in by all relevant parties is in-
HPD
well-directed Objective-Based Design Groups tegrated, immediate and informed. Session
(OBDG) between the sessions, the HPD method
seeks to blur and compress these phases by work­ When HPD Works
ing at the micro and macro levels of design simul­ HPD fosters a more fluid way of conducting the Individual Design Objective

taneously. For example, issues such as orienta- de­­­sign meetings. The issues and goals are
HPD Coordinator
tion, programming and massing are intrinsically brought forth and tackled by all, regardless of
linked to choices in image, traffic flow, material, discipline, but held in check by the HPD Coordi­
Objective-Based Design Team
planting, energy use, and systems. na­tor. For example, the choice of glazing will af-
fect not only the energy efficiency of the HVAC
Why HPD Works system but the aesthetics, daylighting, glare, sec­u­ Solution Option(s)

By continuously moving back and forth from the rity, orientation, landscaping and user schedul-

RESOLVAB LE
micro to the macro in what would normally be the ing. The HPD Coordinator must keep his finger
HPD Coordinator
schematic design phase helps to limit the num- on the pulse of the project at all times.
ber of unresolved issues which contribute to er- We have found that a strictly coordinated and
rors or omissions that can be costly in the grand- focused team can deliver a complex project in All Design
ACC EPT REJECT
est phase of all—construction. HPD provides a roughly six to nine sessions over a period of 12 to Team Viability
Review
crystallization of the design prior to assembling 18 weeks and at that point move seamlessly into
HPD Coordinator
the construction documentation in the same way construction documentation. Having team mem- HPD
as the traditional schedule allows, but in a faster bers at the sessions with approval authority is Coordinator

and more fluid manner while maintaining a strict crucial in compressing the schedule in this man-
HPD UNRESOLVABLE
adherence to the process laid out at the begin- ner. For example, a recent school project bene- Session
ning of the project. fited from having a member of the British Col- Decision Point
The time between sessions is used to develop umbia Ministry of Education at the sessions and
solutions to the next set or layer of program re- the schedule was dramatically compressed. Hav- examples. While the HPD members’ individual
quirements. The Objective-Based Design Groups ing been a part of the design process, the Minis­ hourly rates increase, the effectiveness of their
(OBDGs) are charged with the responsibility to try was able to approve the project much faster to input and the reduction in implementation time
return with solutions to the project’s goals and avoid significant delays based upon traditional results in a net gain.
deliverables. These solutions will range from how review periods. There are many other aspects of HPD that
to obtain a particular LEED point to meeting a The use of a Building Information Modelling serve to provide the client and the project with
client’s budget constraints to what type of struc- (BIM) tool, such as Revit, is also integral to HPD. tangible benefits in areas such as program, sus-
ture to employ. Through strong skills in the areas Using a three-dimensional design tool to its full- tainability, operations and maintenance. How-
of project management and organization, the est potential provides a fundamental change in ever, at the heart of every project are the simple
HPD Coordinator is tasked with ensuring that the way the design team functions. BIM offers the matters of schedule and budget. Approaching the
these solutions, and possibly divergent interest client a fast and dynamic means to understand solution holistically from all angles simultan-
groups such as the client and the community, are the project rather than otherwise complicated eously and with a strict process not only provides
coordinated and brought to the session table. and static two-dimensional drawings. BIM also the best solution for the client but also works to
HPD sessions are similar to the wrap-up sec- provides an integrated and swift ability to change, meet the goals of time and cost.
tions of a typical design charrette. At the session, quantify and coordinate various building com- As the economy continues to challenge the in-
information from the Objective-Based Design ponents. dustry, clients are becoming savvy in their under­
Groups is presented and the preferred option is In addition, in the old model of project deliv- standing of the architectural process. Providing a
selected. This is accomplished through the facili- ery, senior members with a wealth of experience clear plan and method that addresses their goals
tation of an experienced HPD Coordinator. Em- rely on junior members to implement ideas, cre- on a holistic level—and not simply providing lip
phasis is placed on using the sessions to make ating a “delay” in the realization of a solution. service to an integrated design process or essen-
decisions. Minutes of these sessions are pre- Using BIM brings the tools back into the hands of tial sustainable design strategy—will benefit every­
dominantly documentation of these design deci- senior designers and offers earlier results. Con- one. In architecture, it is obvious why we need an
sions, and written acceptance of the minutes is cepts are input into the design in real time, cut- integrated design approach. With the HPD meth-
strictly required. ting out the inefficiency of “middle-men” com- od, we also have the how. CA
Including the client’s groups and authorities in munication such as between the senior architect
the OBDGs and the sessions serves to negate the and the junior architect/designer and then the Robert Billard is an architect specializing in educa-
traditional phases, where typically there are a architectural technologist. For architects, there is tional and sustainable projects across Canada. He
series of periodic owner’s reviews and official a significant amount of time and money spent on developed the HPD method with KMBR Architects
approvals that break the step of the project and meetings and drawing coordination, to name two Planners Inc. in Vancouver.

06/09­ canadian architect 25

p24-25 Practice.indd 25 6/12/09 10:55:51 AM


Review

Carrot City
Graeme Stewart

A recent exhibition at Toronto’s Design Exchange presented a ney. One of the curatorial directors of the exhibition, June Komisar, de-
cross-section of current ideas associated with urban agri­cul­ture.
scribes the process as a collaborative journey in which students, designers
and architects explored ideas from Canada and around the world that pro-
TEXT Sanam Samanian mote the practical adoption of current urban agricultural best practices and
thinking. The curators behind Carrot City—Mark Gorgolewski, Joe Nasr and
A recent visit to the Evergreen Brick Works in Toronto convinced me that Komisar—have collaborated with their students at Ryerson University to de-
the ideas and theories pertaining to sustainable design in the urban context velop an exhibition that addressed possible solutions on four different
are continuing to be realized. This former Don Valley industrial site is cur- scales: City, Community, Home, and Products. Carrot City imagines a future
rently transforming into an extraordinary place where gardening and food where fruit, vegetables and livestock are raised and distributed in urban
production is being put into practice, right in the middle of the city. Could areas by utilizing greenhouse-growing methods and recycled resources
the future of architecture actually see effective strategies for enabling food year-round to provide greater food security for urban dwellers.
production incorporated into mainstream design proposals? The exhibition proposed a number of architectural concepts that incor-
Based on current population growth estimates, our planet’s human popu- porate food-growing techniques, such as new water management technolo-
lation is expected to reach 9 billion by 2040. The recognition of environ- gies and effectively orienting a building on its site. The following discussion
mental degradation within our cities has motivated many researchers, en- provides a brief explanation of some of the ideas contained in the exhib-
vironmentalists and designers to consider relocating food-producing ition’s four scales.
entities to serve our urban populations more effectively. With the constant
influx of people into urban areas, the need for fresh, accessible and safe City
food supplies has never been more critical. These concerns have inspired Cities depend on a continuously operating transportation infrastructure to
the implementation of innovative ideas relating to urban agriculture across deliver a constant food supply. If this infrastructure shuts down, the city
both the developed and developing world. The desire to locate food produc- will run out of food in a matter of days. Therefore, it is essential to imple-
tion within the city comes from the simple need to access nutritious prod- ment urban agriculture programs into planning, architecture and land-
ucts easily while mitigating costs associated with transporting the food we scape design early in the development process and over a long period of
eat. Unfortunately, farming in cities—or “urban agriculture”—is often time. The transformation of our urban spaces into green and fertile en-
viewed as a problem for municipalities rather than as a solution to making vironments can also mean new urban design possibilities. Underused
them more self-reliant in sourcing food. These problems include limited spaces such as high-rise towers, public parks, schoolyards, and even lane-
space devoted to agriculture, resistance by some landowners or businesses ways can become locations where food is locally produced. Strategies that
in the community, and a general lack of infrastructure and financing to sup- introduce agriculture on the vertical surfaces of residential and commer-
port local food production and distribution. How can architecture help? cial towers are but one example of improving a building’s thermal proper-
Carrot City, an exhibition held at Toronto’s Design Exchange this past ties and increasing the potential for greater local food production. An ex-
spring, was devoted entirely to the subject of urban agriculture and how de- ample of bringing urban agriculture to existing high-rise towers comprises
sign professionals might play a role in improving the local production of part of the Tower Renewal Project, an initiative led by Graeme Stewart of
food in urban areas while examining its impact on the design of urban the Toronto-based firm of E.R.A. Architects that hopes to reduce the eco-
spaces and buildings. Included in the exhibition were numerous projects logical footprint of aging concrete residential towers by recladding them
from cities such as Toronto, Vancouver, Inuvik, New York, London and Syd- with more energy-efficient building materials. Introducing urban agricul-

26 canadian architect 06/09

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


Graeme Stewart
OPPOSITEAs part of the Mayor’s Tower Renewal proposal, under- is what the Artscape Wychwood Barns project in Toronto has done to
utilized open space surrounding suburban residential towers strengthen its local community. Combining arts and environmental organ-
could be transformed into farmland. ABOVE Also included in izations into a single creative space supporting community engagement
the Mayor’s Tower Renewal initiative, creating farmers’ mar- through education and food production, the success of Wychwood Barns
kets at the base of apartment towers is an effective and
relies upon the collaboration between Artscape and the Stop Community
accessible way to bring affordable fresh fruit and vegetables
to local residents. BOTTOM, LEFT and MIDDLE Work Architecture Com- Food Centre—two non-profit organizations with a vision for sustainable re-
pany’s Public Farm 1 has transformed sections of cardboard generation. The project embraces sustainable design by responding to the
tubes into planters for vegetables, herbs and fruit. BOTTOM RIGHT issues of water conservation, reduction of greenhouse gas emissions and
Under the guidance of Edible Estates, a non-profit devoted to brownfield redevelopment. This is largely being achieved through educa-
promoting local food production, tenants of this apartment
tional programs centred on environmental issues as well as through the
complex are able to grow some of their own vegetables.
creation of a food centre and community greenhouses where residents are
ture into the reskinning of existing concrete towers further enhances their able to grow their own food.
sustainability quotient.
Home and Work
Community Turning lawns, roofs and backyards into a productive landscape of vege-
Local food production also has the potential to strengthen community. Car- tables, fruits and herbs will allow hotels, restaurants and individuals direct
rot City clearly illustrates that spaces such as barns or schoolyards can also access to fresh produce. By applying these ideas to the design of these res-
be used as local community food centres, not just as facilities to improve the taurants, hotels, condos, and residential neighbourhoods, a direct rela-
social dynamism amongst neighbours. Facilitated through a grassroots tionship can be established between food production and consumption.
community education program, locally grown food can enhance our social An example of this approach is Fritz Haeg’s Edible Estates food education
and economic lifestyle while having a positive impact on our health and en- pro­­gram in North America, which has managed to highlight the strong
vironment. For example, community-building educational initiatives and con­nection between the sources of our food and the natural environment.
back-to-work programs using urban agriculture as an economic generator In Southwark, London, Haeg went so far as to fertilize the ornamental

Dan Wood/Work Architecture Group Dan Wood/Work Architecture Group Fritz Haeg

06/09­ canadian architect 27

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


Megan Torza

Products
Throughout 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

Megan Torza
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-

Megan Torza
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
ABOVE artisanal baked goods are sold but impractical front lawn of a social-housing their designs to ensure a healthier and more sus-
in a local fresh food market. TOP RIGHT
estate, transforming it into productive working tainable future. CA
Toronto’s Wychwood Barns has
brought a farmers’ market to an area gardens where residents have established a
of Toronto that previously had none. food-growing cooperative. This simple farming A graduate architect from Ryerson University, Sanam
ABOVE RIGHT The popularity of neighbour- idea has the potential to be implemented for Samanian has been participating in a variety of
hood baking ovens was one of the single-family residences, roof gardens, school- archi­tectural research projects. She has worked for
inspirational lega­cies of Jane Jacobs
yards, parks, and public spaces—in just about several architecture firms and is currently working
that increased the community’s con-
nection to food production. any city imaginable. with the Black Pen Group Inc.

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


Backpage

CUBIC EQUATION
windows and cutouts provide privi­
LEFT

leged views of the expansive prairie land­


scape of Saskatchewan. BELOW LEFT The
stucco-clad straw bale observatory.

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-
Atop a hill overlooking Flying Creek Valley, the impetus for building the observatory and tion, and social interaction for a contemporary
the straw bale observatory provides a spec­ using it for image-based investigations. Located audience. CA
tacular experiential retreat.
at Flying Creek Valley near Craven, the Straw Bale
Observa­tory provides a platform for the docu- Dennis Evans is Professor Emeritus at the University
TEXT + PHOTOS Dennis Evans mentation of light quality, movement and reflec- of Regina. The Straw Bale Observatory project has
tion. As a site-specific work, the structure facili- stimulated sky/light investigations in Tibet, Mongolia
The Saskatchewan Prairies’ low, flat horizon en- tates the record­ing of light phenomena. and Ladakh. Flying Creek Valley was documented as
courages one to pay attention to the enormous The exterior dimensions of the blocky struc- part of the television series Landscape As Muse and
blue sky. Because of its vastness, one cannot es- ture are roughly 12 feet cubed, but the consider- was featured on the SCN and Bravo television net-
cape the clear intense light. This recognition is able thickness of the walls means that the inter- works.

30 canadian architect 06/09

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


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