Arsitektur 2

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95 JUN/09
v.54 n.06
DOLBEAU-MISTASSINI
CORPORATE IDENTITIES
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13 Salle de Spectacle DolbeauMistassini

Nick Nelson
Ben Rahn
Marc Gibert
Contents
9 News

P aul Laurendeau and Jodoin Lamarre Pratte designed this dramatic performing
arts centre, creating a coherent new focal point for a small Quebec community. TEXT Thomas Strickland
In Study Model Wonderland from Halifax to

Vancouver at Montreals Galerie
MONOPOLI; winners of the AIBC
Architectural Awards.
24 Practice
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
Robert Billard and KMBR Architects

Planners Inc. have developed a workflow
management process called the Holistic
Project Delivery method, a clear
enhancement to the Integrated Design
Process.
26 Review
Dennis Evans
The recent Carrot City exhibition at the

Design Exchange promotes valuable ideas
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.
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.
COVER
JUNE 2009, v.54 n.06
The National Review of Design and Practice/

The Journal of Record of the RAIC
06/09 canadian architect
p05 Contents.indd 5
6/12/09 10:44:27 AM
canadian architect
Viewpoint
Arthur Erickson (right) gives Pierre

Trudeau (middle) a tour of the UBC
Museum of Anthropologyone of
Ericksons most important Vancouver
buildings.
above
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 acknowledges its geography and expresses the
vitality of its citizens: the venerable Roy Thompson Hall, the groundbreaking Simon Fraser University, the landscape-inspired University of
Lethbridge, and the Museum of Anthropology at
the University of British Columbia, a post-andbeam concrete masterpiece that places First Nations art and culture on par with the great cultures of Ancient Greece and Persia. In addition to
his innumerable contributions to residential design, he directly influenced the evolution of several important Canadian cultural, educational,
corporate and governmental institutions. Internationally, 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 Canada Pavilion at the 1970 Worlds 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 cultural and creative spirit within a wooden teepeeinspired building. The Canadian Chancery in
Washington, DC, an oft-misunderstood building
largely due to its postmodern inclinations, is another strong example of Ericksons interpretation
of Canadian architecture as emissary abroad. Located in a precinct of Washington dominated by
Federalist buildings, Ericksons Chancery references the porticos, columns and entablatures of
its neighboursbut is expressed through a vocabulary of exposed concrete elements integrated
with ample greenery and a publicly accessible
landscaped courtyard. But most importantly,
Ericksons architectural intentions and aspirations transcend formal geometries, exuding values that reflect contemporary Canadian culture
and democracy.
Ericksons reputation as an architect entered
our collective imagination long before Gehry,
Libeskind or Koolhaas were considered household 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 buildingfrom
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 humanity are the true foundations of good architecture,
and these aspirations can be realized through
programmatic invention. At Simon Fraser University, for example, he responded to the challenge of building a new educational facility by
breaking down social and academic barriers so
that university students from a variety of disciplines could debate and interact freely within a
new space-age superstructure. When designing
the Vancouver Law Courts, he redefined our expectations of a democratic city by placing accessible rooftop gardens on top of a legislative facility, and by encasing both the public hall and
courthouse within a large transparent glass envelope.
Just as former Prime Minister Pierre Trudeau
once defined a nation through his political
leadership during the 1960s, 70s and early 80s,
Arthur Ericksons buildings of that era represent
an equally sophisticated confidence and vision
for Canada. Without a doubt, Ericksons contributions helped define a period of Canadian
architecture that exudes an unprecedented connection to the particularities of site and landscape, and to First Nations heritage. He remains
an inspiration to us all.
Ian Chodikoff
ichodikoff@canadianarchitect.com
Editor
Ian Chodikoff, OAA, MRAIC
Associate Editor
Leslie Jen, MRAIC
Editorial Advisors
John McMinn, AADipl.
Marco Polo, OAA, MRAIC
Contributing Editors
Gavin Affleck, OAQ, MRAIC
Herbert Enns, MAA, MRAIC
Douglas MacLeod, ncarb
Regional Correspondents
Halifax Christine Macy, OAA
Montreal David Theodore
Winnipeg Herbert Enns, MAA
Regina Bernard Flaman, SAA
Calgary David A. Down, AAA
Edmonton Brian Allsopp, AAA
vancouver adele weder
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Exhibitions
Competitions
In Study Model Wonderland from Halifax

to Vancouver.
Winners of FormShift Vancouver ideas

competition selected.
This exhibition at Maison de larchitecture du Qu

becMONOPOLI in Montreal begins with a ques
tion: in this day and age of AutoCAD and digital
design, is the study model still playing a role in the
architects creative process? The answer proves to
be resoundingly affirmative, from a vast crossCanada investigation conducted by the MONO
POLI team with the help of three researchers
under the direction of chief curator Sophie Giron
nay. Forty study models have been selected for the
exhibition in a variety of scales and representing a
vastly divergent assemblage of projects, each pos
sessing a unique quality of expression and beauty.
They are housed within a setting courtesy of archi
tectural firm Atelier in situ, the exhibitions guest
designers. Along with the models, photos of the
finished buildings and quotes from their archi
tects express the creatively complex process of de
signing a building. Accompanying the exhibition
is a 56-page catalogue titled 1:26, the result of a
creative collaborationgraphic design by Uniform,
image direction by Alain Laforest, photographs by
Marc Gibert, and a colour pamphlet by milie
Graves. The exhibition ends October 10, 2009.
www.galeriemonopoli.com/?cat=22&lang=en
The winners of the first-ever FormShift Vancou

ver have been selected. In the Vancouver Primary
category, honours go to a submission from Cal
gary-based Sturgess Architecture. The Vancouver
Secondary choice is Romses Architects (Scott
Romses) of Vancouver. In the third and final cat
egoryVancouver Wildcardthe nod goes to Go
Design Collaborative (Jennifer Uegama and Paul
ine Thimm) of Vancouver. This unique competi
tion, co-hosted by the Architectural Institute of
British Columbia and the City of Vancouver, chal
lenged architects, designers and others with crea
tive flair to submit innovative, built-form ideas
that will guide Vancouvers future growth. Competi
tors were encouraged to draw inspiration from sev
eral 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
wide-ranging ideas for sustainable development,
including many that incorporated components of
renewable energy on a community level, Vancou
vers back lane conditions, urban agriculture, land
parcellization and tenure, and various designs for
green-roof 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
Awards
Winners of the AIBC Architectural Awards.
At this years annual AIBC Architectural Awards,

eight awards were bestowed upon British Colum
bias architectural leaders. Recipients of the Lieu
tenant-Governor 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 Wash
rooms by Bruce Carscadden Architect Inc. Three
projects received Lieutenant-Governor of British
Columbia Merit Awards: the Chimo Aquatic and
Fitness Centre by Hughes Condon Marler Archi
tects; the North Vancouver City Library by Dia
mond and Schmitt Architects Incorporated and
CEI Architecture Planning Interiors; and Whistler
Public Library by Hughes Condon Marler Archi
tects. 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 GreenSynergy
by Busby Perkins+Will Architects Co. And finally,
the first-ever AIBC Emerging Firm Award recog
nizes Bowen Island-based JWT Architecture and
Planning, led by James Tuer.
www.aibc.ca
Whats New
Landmarks, Monuments & Built Heritage of
the West.
The University of Manitoba Archives & Special

Collections, along with its partners, the Ukrain
ian Catholic Archeparchy of Winnipeg Archives,
the Canadian Architectural Archives, and the
Archives of Manitoba, have created a website de
voted to Western Canadas architectural history
and the effects it has had on Canadian society.
The 7,000 textual documents, photographs, blue
prints, films, and sound clips that comprise Land
marks, 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 Vancouver-born architect

known for his groundbreaking designs in concrete
and glass, passed away in a Vancouver hospital at
Alain Laforest
News
the latest exhibition organized by

Montreals galerie monopoli explores
the use of the maquette by architects
from across the country.
ABOVE
age 84 on May 20, 2009. Born in 1924, he graduat

ed from Montreals 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
award-winning design for Simon Fraser Univer
sity in Burnaby, British Columbia. Later, he de
signed many significant buildings that make up
the urban landscape of Vancouver, including the
Vancouver Law Courts, Robson Square and UBCs
Museum of Anthropology. Ericksons success in
Vancouver soon spread around the globe. His
noted designs include Roy Thomson Hall in To
ronto, the Canadian Embassy in Washington, Cali
fornia 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 en
during legacy, as he was the first to believe Van
couver could be a world-class 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 iso
lated 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.
p09 News.indd 9
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up
date
ISSUE 31.2
SUMMER 2009
The Royal Architectural Institute of Canada

The leading voice of architecture in Canada
NEW! NEW! NEW! NEW!

Second Edition of the Canadian Handbook of
Practice for Architects 2009
The Second Edition of the
CHOP can be downloaded 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 recommendations for percentage-based
fees. The guidelines are intended for both clients and
architects alike and supports
existing provincial fee guidelines and assists architects
when negotiating fees with
clients.
The document is free to download for RAIC members. Printed copies to send to clients will be available for $25 each.
Veronafiere 2009
Another 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 development 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
photo: Philip OSullivan, MRAIC
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 rsum to Jon Hobbs, FRAIC
(jhobbs@raic.org) before June 12, 2009.
2008-2009
RAIC Board Members
President
Paule Boutin, FIRAC
1st Vice-President and
President-Elect
Ranjit (Randy) K. Dhar, FRAIC
2nd Vice-President and
Treasurer
Stuart Howard, FRAIC
Immediate Past President
Kiyoshi Matsuzaki, PP/FRAIC
Regional Directors
(British Columbia/Yukon)
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.
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
Fellows
Alexander Rankin, FRAIC
Council of Canadian University
Schools of Architecture
(CCUSA)
Eric Haldenby, FRAIC
Editorial Liaison
Executive Director
Jon Hobbs, FRAIC
Editor
Sylvie Powell
The national office of the
RAIC is located at:
330-55 Murray St.
Ottawa ON K1N 5M3
Tel.: (613) 241-3600
Fax: (613) 241-5750
E-mail: info@raic.org
www.raic.org
photo: Philip OSullivan, MRAIC
p11-12 RAIC.indd 11
photo: Pierlucio Pellissier, MIRAC
6/12/09 10:47:49 AM
en
NUMRO 31.2
T 2009
bref
LInstitut royal darchitecture du Canada

Le principal porte-parole de larchitecture au Canada
DU NOUVEAU !
Conseil dadministration
de lIRAC de 2008-2009
Prsidente
Paule Boutin, FIRAC
Premier vice-prsident et
prsident lu
Ranjit (Randy) K. Dhar, FRAIC
Deuxime vice-prsident et
trsorier
Prsident sortant de charge
Kiyoshi Matsuzaki, PP/FRAIC
Directeurs rgionaux
(Colombie-Britannique/Yukon)
Wayne Guy, FRAIC
(Alberta/T.N.-O.)
Deuxime dition du Manuel canadien de

pratique de larchitecture 2009
La deuxime dition du
Manuel canadien de pratique
de larchitecture pourra tre
tlcharge en format PDF
partir du site Web de lIRAC
compter du 22 mai.
Les tudiants en architecture,
les stagiaires et les archi
tectes peuvent se procurer le
nouveau document au cot
de 75$. Cette nouvelle dition comporte plus de 50
aide-mmoire dont plusieurs nouveaux, des biblio
graphies jour et des conseils adapts la pratique
daujourdhui.
Ds lt, il sera galement possible de se procurer le
Manuel sur CD-Rom ou en version imprime.
Charles Olfert, MRAIC

(Saskatchewan/Manitoba)
David Craddock, MRAIC
(Sud et Ouest de lOntario)
(Est et Nord de lOntario/
Nunavut)
Claude Hamelin Lalonde, FIRAC
(Qubec)
Paul E. Frank, FRAIC
(Atlantique)
Chancelier du Collge des
fellows
Alexander Rankin, FRAIC
Conseil canadien des coles
universitaires darchitecture
(CCUA)
Eric Haldenby, FRAIC
Conseiller la rdaction
Directeur gnral
Jon Hobbs, FRAIC
Rdactrice en chef
Sylvie Powell
Le sige social de lIRAC
est situ au,:
55, rue Murray, bureau 330
Ottawa ON K1N 5M3
Tl.,: (613) 241-3600
Tlec.,: (613) 241-5750
Courriel,: info@raic.org
Un guide aidant dterminer les honoraires

appropris pour les services dun architecte
LIRAC vient tout juste de pu
blier un guide national sur les
honoraires qui comprend notam
ment des recommandations
jour concernant les honoraires
pourcentage. Ce guide sadres
se autant aux clients quaux
architectes et aide les architec
tes ngocier leurs honoraires
avec leurs clients. Il se veut
galement un complment aux
tarifs dhonoraires existants de
certaines provinces.
Les membres de lIRAC peuvent tlcharger le docu
ment gratuitement. Des copies imprimes pouvant tre
transmises aux clients seront en vente au cot de 25$
chacune.
Veronafiere 2009
Avez-vous renouvel votre
adhsion?
Si non, vous pouvez le faire ds
maintenant en utilisant le systme
de paiement en ligne de lIRAC.
En plus des catgories de membres
usuelles architectes, stagiaires,
diplms en architecture, universitaires
et fellows lIRAC offre maintenant la
possibilit de devenir membre vie,
membre tudiant associ ou membre
affili. lexception des membres
affilis et des tudiants associs, tous
les autres membres ont droit dinscrire
les initiales MIRAC (membre de lInsti
tut royal darchitecture du Canada)
ou FIRAC (fellow de lInstitut royal
darchitecture du Canada) aprs leur
nom un symbole de profession
nalisme reconnu.
Une autre fabuleuse occasion offerte aux architectes canadiens

membres de lIRAC
nouveau cette anne, les membres
de lIRAC ont la chance de devenir
lun 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, lhbergement et
photo : Philip OSullivan, MRAIC
le transport sur place, de mme que
les frais dadministration. Les architectes choisis doivent toutefois assu
mer leurs frais de transport en direction et en provenance de Vrone.
La participation au cours est reconnue et reprsente 20 heures de
formation continue dans le volet formation DIRIGE. Le nombre de
participants est limit 30 architectes dont 16 proviennent des tatsUnis, 6 du Canada et les autres du Royaume-Uni, de lAfrique du Sud,
de lInde et de lAustralie.
Les membres de lIRAC qui dsirent poser
leur candidature doivent faire parvenir un
curriculum vitae Jon Hobbs, FRAIC
(jhobbs@raic.org), avant le 12 juin 2009.
Pour mieux faire connatre les nom

breux rles des architectes dans la
socit, lIRAC invite aussi fermement
tous les architectes utiliser leur titre
darchitecte avec la dsignation
MIRAC ou FIRAC.
Encouragez vos collgues devenir
membres de lIRAC et renforcez ainsi
lIRAC dans son rle de porte-parole
des architectes du Canada.
www.raic.org
photo : Lee Gavel, FRAIC
p11-12 RAIC.indd 12
photo : Philip OSullivan, MRAIC
6/12/09 10:48:15 AM
Substance and Spectacle
The architecture of this new regional

theatre is as dramatic as the performances held within its carefully proportioned interiors.
PROJECT Salle de Spectacle DOLBEAU-MISTASSINI | DESJARDINS | MARIACHAPDELAINE, 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, LOpra Paris (Palais
Garnier) instigated by Baron Georges-Eugne 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 Sydneys Opera House,
designed by Jrn 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
associs 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.
ABOVE The front entrance to the performing arts centre gracefully reflects the existing buildings along Avenue de lglise.
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 areas 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 darchitecture,
2005).
Out of roughly 30 submissions, Laurendeau was initially selected as one
of four finalists for Phase I of the projects 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, Laurendeaus 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 architects first foray into theatre architecture, the
design shows a confident merging of the clients program requirements and
p13-17 Dolbeau.indd 13
13
6/12/09 10:48:51 AM
The glazing along the foyers second level creates an

illusory reflection at nightone that defines a dramatic horizontal 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 interior of the building.
ABOVE
avenue de lglise
site plan
1
2
3
4
5
6
30M
former st-michel school (1948 section)

theatre
supermarket
storage
orpheon cinema
arena
14 canadian architect 06/09
6/12/09 10:49:12 AM
The gloriously proportioned verticality of the theatre

space, which is dramatically dressed in red and gold.
ABOVE
institutional agenda with Laurendeaus 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 Corbusiers 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.
Laurendeaus successful proposal was in plan and volume a close match
to the Management Committees organigrammethe functional require
ments of the proposed theatre. The procession follows a symmetrically
arranged central axis beginning with the entrance on Avenue de lglise,
passing through the foyer, lobby, auditorium and ending on the stage. While
13
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8
Ground floor
1
2
3
4
5
hall
foyer
caterer
orchestra
stage
6 loading dock
7 green room
8 dressing room
9 garden
10 administration
10M
level two
10M
11 foyer (seen from above)

12 balcony 1
13 stage (seen from above)
15
6/12/09 10:49:36 AM
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.
ABOVE, LEFT TO RIGHT
longitudinal section
lateral section through the foyer
lateral section through the auditorium
10M
10M
10M
6/12/09 10:49:55 AM
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.
CLOCKWISE FROM ABOVE
this arrangement might seem obvious and even simple in plan, it is a con
sidered solution to the communitys 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 foyers 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 lglise 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 faades defines a palpable distinction between this room
and the rest of the building. Occupying the drums 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 faade offers the promise of a revitalized commercial
district, and speaks to Dolbeau-Mistassinis 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. Laurendeaus 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.
CLIENT CITY OF DOLBEAU-MISTASSINI

ARCHITECT TEAM PAUL LAURENDEAU, MARC LAURENDEAU, DENIS GAUDREAULT
STRUCTURAL DESSAU SOPRIN
MECHANICAL/ELECTRICAL ROCHE LTE
LANDSCAPE PAUL LAURENDEAU | JODOIN LAMARRE PRATTE | ARCHITECTS iN CONSORTIUM
INTERIORS PAUL LAURENDEAU | JODOIN LAMARRE PRATTE | ARCHITECTS iN CONSORTIUM
CONTRACTOR UNIBEC INC.
THEATRE CONSULTANT GO MULTIMDIA
ACOUSTICS LEGAULT & DAVIDSON
SIGNAGE/GRAPHICS UNIFORM
AREA 2,630 M2
BUDGET $9.2 M
COMPLETION OCTOBER 2008
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

Taylor Smyth Architects
ARCHITECT
PROJECT
Torys LLP Law Offices, Toronto, Ontario

Kuwabara Payne McKenna Blumberg Architects
ARCHITECT
Leslie Jen
Ben Rahn, A-Frame
TEXT
p18-23 Core.indd 18
6/12/09 10:50:50 AM
Ben Rahn, A-Frame
Ben Rahn, A-Frame

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 companys office space, and the
message it delivers to its employees, clients, and
the population at large. Here, two businessesan
international mining company and a large
corporate law firmhave 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 earths 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
Variegated colours and patterns characterize these split stone coresremnants of the mining extraction processwhich are put to good use in this expressive feature wall. TOP Defining one wall of the reception area, horizontally grained
travertine slabs are interspersed with the occasional strip of gold-coloured aluminum, evoking stratified geological layers of the earth. The frosted glass behind the
display case permits shadowy glimpses of employees in the corridor behind. ABOVE Contained within a wood-framed transparent acrylic screen, striking photographic
images of miners at work are featured prominently in the fourth-floor lunchroom.
OPPOSITE
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6/12/09 10:51:42 AM
Ben Rahn, A-Frame
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10
8
7
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7
fifth floor
1
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3
4
5
6
7 terrace
8 stair
9 elevator
10 washroom
11 boardroom
12 supply/copy
elevator/lobby
office
workstation
servery
meeting room
break-out area
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7
2
2
2
15M
10
10
2
4
2
2
2
2
2
fourth floor
1
2
3
4
5
reception
office
workstation
map room
meeting room
15M
6 lounge/kitchen
7 terrace
8 stair
9 elevator
10 washroom
Ben Rahn, A-Frame
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
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.
TOP
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 everpresent. 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 fourthfloor 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-Eagles 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
p18-23 Core.indd 20
6/12/09 10:52:09 AM
Tom Arban
Tom Arban
screens is an enlarged black-and-white photo

graphic image of miners at work, discovered in
Agnico-Eagles 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 Canadas 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
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
Grandmaisons competition-winning photographic study of an androgynous
model covers an entire wall in the north multi-conference room.
TOP
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 firms spatial
p18-23 Core.indd 21
21
6/12/09 10:52:50 AM
Tom Arban
Tom Arban
requirementsand, 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
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 spectacular floor-to-ceiling view of the first
building completed in the TorontoDominion Centre complexthe 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.
TOP LEFT
p18-23 Core.indd 22
6/12/09 10:53:11 AM
5
7
1
8
North multi-coNfereNce room

South multi-coNfereNce room
clieNt ZoNe
PartNer/aSSociate officeS
art Gallery/hall
4
33rd floor
50
1
North multi-coNfereNce room
Shai Gil
South multi-coNfereNce room

clieNt ZoNe
2
PartNer/aSSociate officeS
art Gallery/hall
4
0
32nd floor
elevator lobby
reception
caucus
boardroom
kitchen/servery
cloakroom
storage
dining
dedicated video
conferencing
50
North multi-conference room

South multi-conference room
Client Zone
Partner/Associate Offices
Art Gallery/Hall
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 firms
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 Montreal-based Pascal
Grandmaison and Toronto resident Robert Fones
were selected. Grandmaisons massively scaled
close-up photographs of an androgynous face are
utterly captivating in the north conference area,
and one doesnt know where to look: the photos
or the fabulous view of the Mies tower to the
north? In the south-facing 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 citys edge below.
Clearly, it is no longer sufficient to hire an
Tom Arban
1
2
3
4
5
6
7
8
9
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.
TOP
architect to just design a nice office. The de

mands 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 Agnico-Eagle
Mines is very clear about tangibly referencing
what the companys 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
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
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6/12/09 10:53:36 AM
Practice
A Holistic Approach
Holistic Project Delivery
Pre-Design
Roundtable Session
Week 1&2
Roundtable Session
Week 5&7
Roundtable Session
Week 9&11
Session
1&2
Session
3&4
Session
5&6
Approval
Approval
Week 2&4
Problem-Solving
Questions
BIM
Week 6&8
Problem-Solving
Questions
BIM
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 sustain

able 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 IDP-inten
sive process can have a single-minded focus on
LEED or other green initiatives. Unfortunately, it
is incorrect to suggest that IDP emerged as a res
ponse to programs like LEED. The IDP approach
has been around for much longer and has at least
partly contributed to many successful non-com
petitive design-build 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 neces
sary component to the health of our built environ
ment has developers and designers needing to
increasingly address a Triple Bottom Line (i.e.,
measuring economic, ecological and social suc
cess) approach.
In and of itself, focusing solely on LEED or
other green measurement tools is neither an in
tegrated nor a holistic approach to a clients
Working
Drawings
Approval
Using a holistic project delivery method, problem-solving questions are defined

at the outset, making discussions with planning and permitting authorities more efficient. Additionally, there is a more equitable negotiation process just prior to the
approvals and working drawings stages.
ABOVE
needs. Alternatively, the IDP promotional mate

rials 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 in
itiatives is an actual plana strong set of objec
tives 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 sched
ule 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 con
cern, we noticed that processes developed for
IDP could benefit from the the application of a
workflow management process originally devel
oped 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 de
signed to distill the essence of management deci
sions 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 schedul
ing 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 in

cluded; 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 objec
tive-based 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 pur
est form, it results in a significant departure
from the traditional schedule and phased project
delivery method.
How HPD Works
Traditionally, the design of a project is broken

down into distinct phases: Schematic Design,
p24-25 Practice.indd 24
6/12/09 10:55:31 AM
Why HPD Works
By continuously moving back and forth from the

micro to the macro in what would normally be the
schematic design phase helps to limit the number of unresolved issues which contribute to errors or omissions that can be costly in the grandest phase of allconstruction. 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 beginning of the project.
The time between sessions is used to develop
solutions to the next set or layer of program requirements. The Objective-Based Design Groups
(OBDGs) are charged with the responsibility to
return with solutions to the projects goals and
deliverables. These solutions will range from how
to obtain a particular LEED point to meeting a
clients budget constraints to what type of structure 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 sections 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 facilitation of an experienced HPD Coordinator. Emphasis is placed on using the sessions to make
decisions. Minutes of these sessions are predominantly documentation of these design decisions, and written acceptance of the minutes is
strictly required.
Including the clients groups and authorities in
the OBDGs and the sessions serves to negate the
traditional phases, where typically there are a
series of periodic owners 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 integrated, immediate and informed.
DESIGN OBJECTIVE PROCESS FLOW
HPD
Session
When HPD Works
HPD 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 affect not only the energy efficiency of the HVAC
system but the aesthetics, daylighting, glare, secu
rity, orientation, landscaping and user scheduling. 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 members at the sessions with approval authority is
crucial in compressing the schedule in this manner. For example, a recent school project benefited from having a member of the British Columbia Ministry of Education at the sessions and
the schedule was dramatically compressed. Having 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 fullest 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 components.
In addition, in the old model of project delivery, senior members with a wealth of experience
rely on junior members to implement ideas, creating a delay in the realization of a solution.
Using BIM brings the tools back into the hands of
senior designers and offers earlier results. Concepts are input into the design in real time, cutting out the inefficiency of middle-men communication 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
Individual Design Objective
HPD Coordinator
Objective-Based Design Team
Solution Option(s)
RESOLVAB LE
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 orientation, programming and massing are intrinsically
linked to choices in image, traffic flow, material,
planting, energy use, and systems.
HPD Coordinator
ACC EPT
All Design
Team Viability
Review
REJECT
HPD Coordinator
HPD
Coordinator
HPD
Session
UNRESOLVABLE
Decision Point
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, sustainability, operations and maintenance. However, at the heart of every project are the simple
matters of schedule and budget. Approaching the
solution holistically from all angles simultaneously 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 industry, 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 leveland not simply providing lip
service to an integrated design process or essential sustainable design strategywill benefit every
one. In architecture, it is obvious why we need an
integrated design approach. With the HPD method, we also have the how. CA
Robert Billard is an architect specializing in educational and sustainable projects across Canada. He
developed the HPD method with KMBR Architects
Planners Inc. in Vancouver.
p24-25 Practice.indd 25
25
6/12/09 10:55:51 AM
Review
Graeme Stewart
Carrot City
A recent exhibition at Torontos Design Exchange presented a

cross-section of current ideas associated with urban agriculture.
TEXT
Sanam Samanian
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 currently 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 planets human population is expected to reach 9 billion by 2040. The recognition of environmental degradation within our cities has motivated many researchers, environmentalists 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 production within the city comes from the simple need to access nutritious products easily while mitigating costs associated with transporting the food we
eat. Unfortunately, farming in citiesor urban agricultureis 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 support local food production and distribution. How can architecture help?
Carrot City, an exhibition held at Torontos Design Exchange this past
spring, was devoted entirely to the subject of urban agriculture and how design 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, describes the process as a collaborative journey in which students, designers
and architects explored ideas from Canada and around the world that promote the practical adoption of current urban agricultural best practices and
thinking. The curators behind Carrot CityMark Gorgolewski, Joe Nasr and
Komisarhave collaborated with their students at Ryerson University to develop 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 incorporate food-growing techniques, such as new water management technologies and effectively orienting a building on its site. The following discussion
provides a brief explanation of some of the ideas contained in the exhibitions four scales.
City
Cities 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 implement urban agriculture programs into planning, architecture and landscape design early in the development process and over a long period of
time. The transformation of our urban spaces into green and fertile environments can also mean new urban design possibilities. Underused
spaces such as high-rise towers, public parks, schoolyards, and even laneways can become locations where food is locally produced. Strategies that
introduce agriculture on the vertical surfaces of residential and commercial towers are but one example of improving a buildings thermal properties and increasing the potential for greater local food production. An example 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 ecological footprint of aging concrete residential towers by recladding them
with more energy-efficient building materials. Introducing urban agricul-
p26-28 Review.indd 26
6/12/09 10:56:31 AM
Graeme Stewart
As part of the Mayors Tower Renewal proposal, underutilized open space surrounding suburban residential towers
could be transformed into farmland. ABOVE Also included in
the Mayors Tower Renewal initiative, creating farmers markets 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 Companys 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.
OPPOSITE
ture into the reskinning of existing concrete towers further enhances their
sustainability quotient.
is what the Artscape Wychwood Barns project in Toronto has done to

strengthen its local community. Combining arts and environmental organizations 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 Centretwo non-profit organizations with a vision for sustainable regeneration. 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 educational 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 Work
Community
Local food production also has the potential to strengthen community. Carrot 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 environment. For example, community-building educational initiatives and
back-to-work programs using urban agriculture as an economic generator
Dan Wood/Work Architecture Group
Turning lawns, roofs and backyards into a productive landscape of vegetables, fruits and herbs will allow hotels, restaurants and individuals direct
access to fresh produce. By applying these ideas to the design of these restaurants, hotels, condos, and residential neighbourhoods, a direct relationship can be established between food production and consumption.
An example of this approach is Fritz Haegs 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
Dan Wood/Work Architecture Group
Fritz Haeg
27
6/12/09 10:56:52 AM
Megan Torza
Megan Torza
Megan Torza
Products
artisanal baked goods are sold

in a local fresh food market. TOP RIGHT
Torontos Wychwood Barns has
brought a farmers market to an area
of Toronto that previously had none.
ABOVE RIGHT The popularity of neighbourhood baking ovens was one of the
inspirational legacies of Jane Jacobs
that increased the communitys connection to food production.
ABOVE
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, schoolyards, parks, and public spacesin just about
any city imaginable.
Throughout the exhibition, several objects, technologies, systems and components were exhibited 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 agriculture, such as Public Farm 1, designed by
WORK Architecture and Elodie Blanchard. Here,
folded planes made from cardboard tubes become 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 future cities to be a productive one, offering a possible solution to the challenge of increasing
urban agricultural production. Now is the time
for architects and designers to consciously address these issues and incorporate them into
their designs to ensure a healthier and more sustainable 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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6/12/09 10:57:29 AM
Calendar
EXTENSIONS
May 15-June 26, 2009 This exhibition

at the Japanese Canadian Cultural
Centre examines the relationships
between a family, the physical con
struction 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 in
cludes notebooks, models and proto
types.
Speed Limits
May 20-October 12, 2009 This exhib

ition 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 de
sign 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 worlds 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 ex

hibition at the SCI-Arc 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 ser
pentining aluminum ribbons.
www.sciarc.edu
Twenty and Change
June 3-July 5, 2009 This biennial exhi

bition series is dedicated to profil
ing emerging designers working in
architecture, landscape and urban
design who have yet to receive wide
spread public and media attention
for their speculative or completed
work. Canada has a rich community
of young designers who are redefin
ing 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
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Making Modern
June 13-July 25, 2009 Showcasing de

sign from the School of the Art Insti
tute of Chicagos (SAIC) department
of Architecture, Interior Architec
ture, and Designed Objects (AIADO),
this exhibition brings together work
by recent AIADO graduate students
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Future of Canadas Infra

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June 24-25, 2009 Taking place at the

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BOMA International Conference

and the Office Building Show
June 28-30, 2009 Commercial real

estate professionals need the strat
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down economy, attract and retain
tenants, reduce operating expenses,
negotiate more profitable leases,
achieve sustainability, keep build
ings and tenants safe, and make
sound financial decisions that create
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For more information about
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p29 Calendar&Showcase.indd 29
29
6/12/09 10:58:07 AM
Backpage
CUBIC EQUATION
windows and cutouts provide privi
leged views of the expansive prairie land
scape of Saskatchewan. BELOW LEFT The
stucco-clad straw bale observatory.
LEFT
Atop a hill overlooking Flying Creek Valley,

the straw bale observatory provides a spec
tacular experiential retreat.
TEXT + PHOTOS
Dennis Evans
The Saskatchewan Prairies low, flat horizon encourages one to pay attention to the enormous
blue sky. Because of its vastness, one cannot escape the clear intense light. This recognition is
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 documentation of light quality, movement and reflection. As a site-specific work, the structure facilitates the recording of light phenomena.
The exterior dimensions of the blocky structure are roughly 12 feet cubed, but the considerable thickness of the walls means that the inter-
ior dimensions are approximately nine feet

cubed. The exterior is clad in stucco while the interior is detailed with hand-finished plastered
walls and ceiling. The floor is wood. The four
walls have two-foot square openings with cardinal 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 making photographs of the landscape.
Observatories for the practice of measuring
light movement are universal and ancient. The
Kogi, native to the Northern Columbian Highlands, are but one of many cultures that still embrace direct observation of the natural environment 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 medium. Creating the Straw Bale Observatory brings
these ancient Kogi principles into a dialogue with
the Prairie landscape and lifeworlda place resonant with its own history of First Nations cultures 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, communication, 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 networks.
p30 BackPage.indd 30
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13 Salle de Spectacle DolbeauMistassini

In Study Model Wonderland from Halifax to

18 Agnico-Eagle Mines and

Robert Billard and KMBR Architects

The recent Carrot City exhibition at the

Speed Limits at the Canadian Centre for

Dennis Evans reports on how the Straw

The National Review of Design and Practice/

06/09 canadian architect

Arthur Erickson (right) gives Pierre

On May 20th, Canada lost one of its greatest

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In Study Model Wonderland from Halifax

Winners of FormShift Vancouver ideas

This exhibition at Maison de larchitecture du Qu

The winners of the first-ever FormShift Vancou

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the latest exhibition organized by

age 84 on May 20, 2009. Born in 1924, he graduat

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photo : Philip OSullivan, MRAIC

Substance and Spectacle

The architecture of this new regional

The glazing along the foyers second level creates an

former st-michel school (1948 section)

14 canadian architect 06/09

The gloriously proportioned verticality of the theatre

institutional agenda with Laurendeaus design approach.

combined with a geometric analysis of the Dolbeau-Mistassini program

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The green room provides a spacious and open

ABOVE, LEFT TO RIGHT

13 Salle de Spectacle DolbeauMistassini

In Study Model Wonderland from Halifax to

18 Agnico-Eagle Mines and

Robert Billard and KMBR Architects

The recent Carrot City exhibition at the

Speed Limits at the Canadian Centre for

Dennis Evans reports on how the Straw

canadian architect 06/09

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