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The Journal of the

Ontario Association

of Architects

Volume 19, Number 1

Spring 2011 $5.00

The Journal of the

Ontario Association

of Architects

Volume 19, Number 2

Summer 2011 $5.00

2011 OAA

ANNUAL

DESIGN

AWARDS

••••••••

tor Life Cycle Planning

•••••••

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Perspectives is the official journal of theOntario Association of ArchitectsPublished Spring, Summer, Fall, Winter ©2011

EDITOR Gordon S. Grice

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Articles from Perspectives may be reproduced with appropriate credit and written permission.

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The Association was founded in 1889 and its primary role is to serve and protect the public interest through administration of the Architects Act, and through leadership of the profession in Ontario.

For further information, contact the Administrator, Website and Communications, Ontario Association of Architects (OAA)111 Moatfield DriveToronto, Ontario M3B 3L6Tel: 416.449.6898Fax: 416.449.5756e-mail: [email protected]: www.oaa.on.ca

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PUBLISHED JULY 2011/OAA-Q0211/5727

IN THIS ISSUE

05 PRESIDENT’S MESSAGE

President Sheena Sharp discusses the OAA’s

global reach, the spring Conference, the new

Website and the Annual Awards.

06 RESPONSE

Our readership accepted the challenge in

the WORDS issue and responded by writing

thoughtful letters. Other readers were

apprehensive that the new digital Perspectives

would replace the hard copy. Not on our watch.

08 FEATURE

In keeping with our tradition, this Summer

issue is dedicated to the results of the OAA

Awards Program. Three distinguished juries

have selected two dozen winning submissions

in the categories of Design Excellence,

Concepts and Presentations and Service to the

Profession and the Community.

25 HONORARY MEMBERS

This year, two new Honorary Members have

been nominated to join the OAA roster.

30 LIFETIME DESIGN ACHIEVEMENT

Replacing Ontario Places for this one issue,

our last page celebrates the career of Eb

Zeidler, recipient of our new Lifetime Design

Achievement Award.

2011 OAA ANNUAL DESIGN AWARDS

88

EDITORIALWHO WOULD HAVE IMAGINED THAT the digital revolution, with all its

capability to help architects create forms and spaces only dreamed of in the past,

has brought with it a new urgency: the need for us to explain what we’re doing.

The cruel paradox is that as the design potential of our machines increases, our

ability to explain it deteriorates. In the thrall of PhotoShop, SketchUp, autocor-

rect, spell-check, texting abbreviations and emoticons, we have assigned the task

of communication to machinery that is incapable of understanding.

OMG!!! ;-)

Over the years that the OAA Honours and Awards Task Group has been per-

fecting the Awards program, it has never been overlooked that our submissions

are judged solely by text and image. The actual architecture may never have been,

and may never be, experienced fi rst-hand by the jury members. This means that

our submitters are forced to communicate their ideas and intentions in a graphic,

two-dimensional way: words and pictures. To the extent that the presentation is

cohesive and believable and that the verbal explanations and imagery appear to

indicate a degree of success, the submission will be rewarded or rejected. It’s not

that complicated. And it’s not all that different from the way that commissions

for important projects are awarded in the real world.

The necessity to explain oneself is not unique to the architectural profession.

Everyone involved in changing the built environment is in the same boat. The work

is what’s important, but how do you get to do the work, if you don’t get the job?

How do you establish your credentials if you don’t get the awards? How do you

claim success, if you can’t explain what you were trying to do in the fi rst place?

Through words and pictures, we experience not just architecture, but the entire

world. In professional hands, these are powerful tools.

THE MEMBERS OF THE THREE AWARDS JURIES. KEITH PENNER PHOTOGRAPHY

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P R E S I D E N T ’ S M E S S A G E

I T ’ S BEEN A WHIRLWIND SCHEDULE this spring.

There was constant traveling during May as I attended the

AIA Conference in New Orleans, the next week the OAA Con-

ference in Toronto and fi nally the RAIC Festival of Architecture

in Vancouver. At each of these events I met architects from

across the country and throughout the world clearly reinforc-

ing the globalization of the profession, but also the common

issues that we face: affordable housing, environmental issues

and delivering buildings that are good value, to name just a

few key concerns.

The theme of this year’s OAA Conference, Architecture:

Urbanization and Globalization, is a timely one. Ontario archi-

tects export their work all over the globe. Starting this year,

the awards program is accepting entries from Ontario Archi-

tects for work outside the province.

The Conference program included presenters from all over

the world. While my particular favorite was a workshop on

Lean Construction, there were many other popular offerings.

We hope that you have noticed that very few presentations

sell out; this is because we manage room sizes as you register

in order to best accommodate members’ choices. The Confer-

ence was a great success. With more than 1750 in attendance,

there was an energetic audience to help us celebrate our

accomplishments.

One notable accomplishment is the new OAA Website. This

is a direct response to the OAA research project initiated in

2009, to clearly defi ne the state of our relationships with our

members, our clients and the public. It came as no surprise

that we had a bit of work to do. In response we adopted a set

of strategic objectives, each aimed at improving these differ-

ent relationships:

• Cultivate member trust

• Provide rich and diverse programs

• Increase effi ciency and responsiveness

• Foster excellence in design, education and business

• Raise architecture’s public profi le

The new Website is a keystone on our efforts. It has taken

a lot of work, research, design and development to create a

great foundation on which the site will be built. It creates a

community accessible to all that clearly defi nes who we are

and what we are doing. It also creates a vehicle for architects

to communicate with one another, our potential clients and

the world around us.

The results of our work were unveiled at 8 p.m. EDT on

Thursday, May 19 as the new OAA Website was launched. With

a crowd of more than 300 at the Steam Whistle Brewery in

Toronto, we counted down and fl ipped the switch. A more seri-

ous presentation took place at lunch on Friday, where we gave

members a glimpse into what it takes to produce a truly inter-

active website.

There are a lot of new areas and features to explore and more

to come. Members can watch for WebNews bulletins which will

identify these newest functions of the site and explain how to

take advantage of the opportunities they present.

Coming this summer, we are aiming to launch “My OAA,” a

profi le area of the site where architects, practices and emerging

+ emeriti can post a personal profi le. This can include images

and text, your favourites and your thoughts – all to create a

glimpse into the profession and what people are doing.

The OAA blog “BLOAAG” will be a place to post articles,

images, videos and comment on what is happening in architec-

ture, the industry and design today. This area is designed to

create a visual record and a dialogue about what’s on the minds

of architects. We look forward to your active participation.

In the meantime, I’d like to take the opportunity to

highlight two of the newest areas of the site. One of the

objectives of the OAA Website is to incorporate meaningful

content. Areas have been designed to become a resource

centre where information and feedback can evolve as mem-

bers share their expertise, insight and lessons learned. Two

OAA committees, the Construction Contract Administration

Task Group and the Sustainable Built Environments Com-

mittee, have been working for the past several months

to create these mini-sites. I encourage you to visit: Sus-

tainable Design, www.oaa.on.ca/professional+resources/

sustainable+design/knowledge+center to explore the

Knowledge Centre, articles and case studies and to get an

overview of the resources currently available.

In the same category, under Construction Contract Admin-

istration www.oaa.on.ca/professional+resources/construction+

contract+administration/ca+home, visit Procedures at a

Glance, the Questions + Answers section and the Resource

Library, to become familiar with the information currently

available, with much more still to come.

The Website is about sharing knowledge. Taken as a whole,

it is the OAA’s response to the challenges faced by architects

working in a global market and competing, ultimately, by

offering a better service and successful projects.

The exceptional services, ideas and projects of Ontario

architects were evident at this year’s OAA awards gala dinner

and presentations. More than 500 architects, clients, and

guests attended the Celebration of Excellence at the Metro

Toronto Convention Centre on May 20. Emcee Wendy Mesley

kept the energy high throughout the evening, assisted by

an impressive on-stage OAA ice sculpture that added extra

sparkle. It was indeed a celebration of Ontario architecture

and architects. Congratulations to all the winners.

I hope you enjoy this annual Awards Issue of Perspectives.

It serves as a reminder that the work of Ontario architects

is second to none.

SHEENA SHARP, OAA, FRAIC, PRESIDENT


LETTERSTo the publisher:

The digital version of Perspectives may be fi ne for archival

purposes. However, I hope that you will still be sending

out the hard copy. The digital version is a real pain to

read and view.

— JOSEPH GALEA, SLIEMA, MALTA

To the publisher:

Can I still receive hard copy of The Journal?

— BLANCH VAN GINKEL, TORONTO

Hi Gord:

I just received this email from the OAA:

“The Winter 2011 online issue of Perspectives magazine

is now available! Here is what you’ll fi nd inside....”

Here is what I think the message needs to say:

“The Winter 2011 online issue of Perspectives magazine is

now available! (This supplements the print edition, which

will continue to be sent to all members.)

Here is what you’ll fi nd inside....”

I found the online edition diffi cult to navigate.... hard

to read, forcing me to upsize and downsize. Impossible to

read two facing pages as a spread. Defi nitely inferior to

the print edition.

— ROBERT G. HILL, TORONTO

R E S P O N S E

There are no plans to terminate the hard copy Perspectives

edition. Those of us who work on the magazine prefer the

hard copy as much as the above readers, and many others,

do. The digital copy, as a supplementary format, does offer

some advantages. Among these are:

• trouble-free general and international distribution

• a means of publishing material that simply doesn’t fi t into

the limited size of the print edition

• a handy new way for readers to take their magazine with

them, wherever they go.

— EDITOR

Perspectives magazine Editor:

“Words & Architecture” – excellent issue. Lots of good

reading and writing, and excellent examples of architects

trying to communicate verbally (not always fl attering). I

am always interested in how non-architects write about

architecture and how they describe what we do and take

for granted every day.

— DAVID OLESON, TORONTO

Gordon:

Nice article. However, two contrary opinions.

Firstly:

I’ve been fi ghting all my professional life to eradicate

the word “design” from any reference to the actions and

methods of the “architect”. Without getting too much into

this point, let me just say that we “architects” do not

“design” but rather we “architect”, and in our architecting

we are not designing and, when in various venues of dia-

logue over our particular architectural achievements, we can

classify such under the heading of architectonic musings,

refl ections, theoretical speculations, aesthetic effects, all

of which, of course, can be referred to as some essential

motives infl uencing the instinct to architecturalize, and to

be able to pull it all off, one has to take on the mind-frame

of an “architect”, which is a lot different from that of an

“artist”, who deals with personal perceptual interpretations

based on emotional referents or “designers”, who deal with

functional programmatics and commercial commodifi ca-

tions, specifi cally and strictly relating to the creation of

“objects”, because “architects” are not creators of objects

but manipulators of spaces and fashioners of spatial condi-

tions defi ning “human settlement patterns,” at least, and

embellishing those with a contemporary cultural relevance

which then get adulterated by art and design objects. (All

words used above can be found in the complete Oxford

Dictionary of the English language.)

Secondly:

“Keep it simple,” I agree with. However, “simple is as

simple does” is also a caveat to be considered. Engineers

Perspectives is expanding. Our new Web presence allows us to do things scarcely dreamed of in

the past: our entire catalogue (more than 60 back issues) completely

searchable; an overfl ow area for material that won’t fi t into the print

edition; news about current discussions and upcoming issues. And in

keeping with this forward thrust, our print edition will also enjoy a

re-birth.

Somewhere back in the mists of time, when the name “Perspectives”

was chosen, the lack of uniqueness was unimportant. Perspectives was

essentially a members-only newsletter – a function now wonderfully

addressed by the eBulletin. But in our modern, noisy, global, digi-

tal world, fi nding things through search engines is important, and

our Perspectives is diffi cult to fi nd and distinguish from those other

Perspectives, covering timeshares, photography, agriculture, religion,

military matters, and the fi ne Perspective publication created by the

Royal Society of Ulster Architects. So, in keeping with our higher pro-

fi le, our desire to maintain continuity and the need to make sure that

our international readership knows where we live, Perspectives will be

re-christened OAA Perspectives.

Ian Ellingham, PhD, OAA, FRAIC

Perspectives Chair


can only talk in simple terms. Architects are not engineers.

We talk differently; we must talk differently. We are not

engaged in an applied science but rather in an applied-

philosophical-art. As such, we are intertwined with the

poetical mind-frame. We therefore use those words which

not only propose simple, single meanings but also those

that engage one to focus on the word and gather from

it its polysemous power, which of course leads one to a

plurality of allusions. The architecture of Borromini can only

be appreciated with polysemous awareness, for example.

I guess we all have to learn how to “formally” com-

municate as “erudite architects” and, towards this end, I

do agree, that simple arrangement of words is best.

— ARCH. OVIDIO SBRISSA, OAA MRAIC

Dear Gordon:

When fi rst receiving the “Words and Architecture” Winter

2011 issue of Perspectives magazine and quickly fl icking

through, I anticipated being disappointed with the content.

As we all know, architects enjoy one signifi cant perk of their

profession, being that all the books and magazines have

mostly pictures – and this particular issue promised very few.

However, as I began to read I found myself enjoying the

content and feel that I have learned more valuable informa-

tion from this issue than most others – so thank you.

However, a particular note of irony for an issue on writ-

ing is that the “Response” page contained three letters,

all credited to the same author. I’m hoping that this letter

will help to provide some additional feedback and diversity

in the next issue of Perspectives.

— RICHARD WITT, TORONTO

The words issue did in fact contain three letters from the very

same reader, who is one of our most faithful correspondents.

Our WORDS issue elicited an unusually large number and variety

of letters, some of which are printed here.

— EDITOR

Hi Gordon:

Re.: your piece on writing in Perspectives – “Words &

Architecture”. I enjoyed reading your ideas about profes-

sional writing. You’re right, it can be nasty.

Let me say a bit about the writing problem you have

so well noted. It may help clarify things. I have low

expectations today in the profession in terms of literacy

and historicity. Pre-1980, the schools seemed to ban it from

the curriculum, as an engineering-focused fi eld demanded a

more technical pedagogy. Pre-1980 was the coming of age

of the professionals that are now infl uential. This infl uence

sets the tone for a suspicion of all things academic, and

may do so until they slowly pass. Strangely, I think the

grandfathers, with their “does it work” functionalism, work

well today in the fi nancial crisis.

Post-1980, with the dreaded PoMo era, a shy literacy

became the vogue, but as an import from more established

fi elds such as art historyand philosophy – those “Decon” folk.

The architects educated post-1980 were still tourists in the

sea of literature, long snubbed by the profession. Pre-1980

professors in architecture were designers who concentrated

on teaching, but didn’t do much research. There were not yet

the new PhDs, and budgets to support them. The literacy bar

was raised again when the professional B.Arch was transited

to the M.Arch in the 1990s. Now that architecture has a

more professional and equitable academic, what will be the

infl uence of this literacy in the profession?

If someone asked me today, “what course should I take

to become an architect,” I’d say fi nance, not philosophy.

Circling back to your debate about literacy in the profes-

sion – or “writing” – I’d say it’s a bit of a rearview mirror

concern. Agreed, our spelling is pretty bad. The content

providers will soon be texting so much, that new forms

of English will be sloppily created, spurred by the new

interconnectivity. It’s how English happens. I saw a sign

at Ryerson yesterday, “Soon most business meetings will

be in Mandarin”. Spell-check that.

— GARY ERICKSON, TORONTO

ASAI PRESIDENT

MASAAKI YAMADA

EXAMINES HIS

COPY OF

PERSPECTIVES IN

FRONT OF THE

1200YEAROLD

KIYOMIZUDERA

TEMPLE IN KYOTO.

PH

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: PER

SPEC

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PERSPECTIVES READ ROUND THE WORLD


F E A T U R E

ELIGIBILITY

All projects created by members of the

OAA, located anywhere in the world,

completed since January 1, 2006 and

currently in use; any form of built architec-

ture, including single buildings, groups of

buildings, additions, interiors, conversions,

restorations, and renovations. Architects,

intern architects, owners, users, builders,

and members of the public are welcome to

submit, provided the work was undertaken

by a member of the OAA.

OAA AWARDS

The three 2011 Awards juries faced a daunting task: to select, from approximately 150

submissions, 24 entries deserving of awards or honourable mentions. Add to this a new Award

category – Lifetime Design Achievement – and expanded selection criteria for the Design

Excellence Awards (see below). After many hours of thoughtful deliberation, our three panels

of 12 judges had little diffi culty in bringing forward their recommendations.

JUDGING CRITERIA

1. CREATIVITY: The innovative nature of the

design solution.

2. CONTEXT: The contribution a pro-

ject makes to its unique location, to

neighbouring uses and to community

building.

3. SUSTAINABILITY: The contribution the

project makes to a sustainable environ-

ment, including: reduced site impact,

reduced dependency on fossil fuels,

high quality interior environment

(daylighting, air quality and material

use), reduced use of raw materials.

4. GOOD DESIGN IS GOOD BUSINESS: The

degree to which the project creatively

supports & interprets the business and

architectural goals of the client through

programming and design.

5. LEGACY: The contribution of the project

in establishing new standards of archi-

tectural excellence.

THE PROCESS

“I think what’s significant is that we

didn’t have to struggle to fi nd 15 great

projects. There was good quality in a lot

of diff erent categories.”

— David Craddock

This year’s Design Excellence jury wit-

nessed the introduction of some important

new innovations.

Due to the critical importance of sus-

tainable architectural strategies, it was

decided this year, to include a sustain-

ability advisor on the jury. The advisor’s job

is to answer any sustainability questions

the jury might have and to provide an

informed opinion regarding the cred-

ibility of claims made in the submissions.

Lou Ampas was able to off er invaluable

assistance in the selection process, bas-

ing his judgments on the following fi ve

considerations: (1) Energy Conservation,

(2) Renewable Energy, (3) Occupant

Health, (4) Resource Conservation and

(5) Environmental Impact.

A few of the jurors remarked that

they were favourably impressed by the

focus on sustainable practices. One juror

noted that it’s no longer just about get-

ting green points; there’s a concerted

eff ort to embrace the spirit of sustainable

buildings.

A second new feature is the acceptance

of entries from outside the province of

Ontario. This innovation, recommended

by last year’s Design Excellence jury, is

DESIGN EXCELLENCE AWARDS Recognizing the innovative skills of Ontario architects in creating spaces, buildings and communities that respect and enhance the environment and enrich human activity.

L TO R: MICHAEL TOTZKE,

SARA DIAMOND,

JANET ROSENBERG,

DAVID CRADDOCK

PHOTO: KEITH PENNER PHOTOGRAPHY


overdue recognition that Ontario-licensed

architects are active all over the world.

It is certainly worth noting that, due to

this rule change, there are three award

winners, including the Best of Show, that

would not have been eligible for an award

in previous years.

The jurors noted a few other trends

in architectural practice that are slowly

fi ltering into the public perception of our

profession.

Two of the judges remarked that the

submitted schemes indicate an increased

emphasis on working with clients and the

community by including clients in the

process and working as much as possible

to accommodate the larger user groups

that are now frequently encountered. Of

the 15 award-winning projects described

below, ten are in the cultural-institutional

sector. This community awareness could

also be inferred from the increasing

number of submissions that included

contextual information about the pro-

ject – both physical and cultural. The

jury all agreed that those architects

who explained how the submissions fi t

in with their surroundings made a more

positive impression.

Before the process began, Chair David

Craddock briefl y addressed the jury. What

he most wanted to see, he said, was pro-

jects that excel. During the course of the

day, 15 of them were found. At 9:45 a.m.,

the fi rst batch of books was handed out

and the process began in earnest.

Disclaimer –The credits for the projects

are based on information provided by

the submitters conforming to Section

42, subsections 31 and 34 of the

Regulation under the Architects Act.

We apologize if there are any errors

or omissions.

Unless otherwise noted, all quotations

have been excerpted from submission

briefs.

THE JURY

CHAIR — David Craddock, RAIC First Vice

President and OAA Past President

S a r a D i a m o n d, Pre s i d e n t , O C A D

University

Michael Totzke, Editor, Canadian Interiors

Janet Rosenberg, landscape architect,

Janet Rosenberg + Associates

1. CORNELL PLANTATIONS WELCOME CENTERITHACA, NEW YORK, USA

BAIRD SAMPSON NEUERT

ARCHITECTS INC.

“The Welcome Center and site improve-

ments were inspired by, and strive to

strengthen, Cornell Plantations’ mission:

‘to demonstrate the interrelationship of

human activity and plants.’”

For the jury, it was almost love at fi rst

sight. The Welcome Center is an elegant

and sophisticated exemplar of sustainable

architecture. Located on a prominent site

on the Cornell University campus, the

project is both a living laboratory and

a showcase for current botanical issues.

Even the parking lot and the roof serve to

demonstrate how building and landscape

elements may be incorporated into the

sustainability strategy. According to the

submission brief, “Passive and active sus-

tainable building systems are integrated

to cut energy consumption by 49% from

the base case, exceeding current 2030

Challenge commitments.”

The jury’s discussion focused on three

major accomplishments:

A. AN IMPRESSIVE USE OF SUSTAINABILITY

STRATEGIES: Advisor Lou Ampas con-

fi rmed that it is “fabulous in terms of

sustainability.”

B. ITS INTEGRATON OF BUILDING AND SITE: The

Center is elegantly sited and creates a

welcoming experience by “open[ing]

the doors of the building to the exterior

and to its users.”

C. IMPRESSIVE USE OF BUDGET: The jurors

all agreed that it was an impressive

accomplishment for a small building

with a small budget.

D. THE PRESENTATION: Well written text and

explanatory imagery lead the viewer

through the building, explaining how

contemporary technologies are harnessed

to make the building LEED Platinum.

E. SUPERIOR AESTHETICS: Through the use

of forms and materials, the building is

warm and inviting.

Another important fact to consider is

that the Welcome Center is an example of

Ontario architectural talent being exported

abroad – all the more significant in this

Awards program when you consider that

this is the fi rst year that foreign projects by

Ontario architects have been accepted.

BEST OF SHOWAwarded to the Design Excellence winner that most

successfully addresses all of the judging criteria.

PHOTOS: DON COCHRAN PHOTOGRAPHY


3. FRONT TO BACK INFILLOTTAWA

COLIZZA BRUNI ARCHITECTURE INC.

The challenge was to situate two separate

homes on a single, narrow, downtown

residential lot. The inspired solution was to

split the building laterally, creating separ-

ate three-storey dwellings at the front and

at the back. The building uses passive solar

strategies to maximize daylight penetra-

tion. To satisfy their clients’ needs, “the

use of economical materials and simple

details were essential to developing a

contextual design as well as maintaining

an economical budget.”

The jury commended the cleverness of

the solution and the fact that it off ers an

interesting and promising variation on the

standard infi ll model.

MICHAEL V. AND WANDA PLACHTA AWARDHonouring architectural excellence for projects in Ontario that cost no more than eight million dollars.

PHOTOS: TOM ARBAN PHOTOGRAPHY

PH

OTO

S: P

ETE

R F

RIT

Z

Like the Welcome Center, this project is a

teaching facility. “Dedicated to the teach-

ing of forensic science, Humber College’s

Centre for Justice Leadership enables stu-

dents to learn the art of fi ngerprint dusting

and other investigative techniques,…”

These other techniques also include “Blood

Spatter Inertpretation.” A few years ago,

these details would be mildly unsettling,

but in today’s CSI and Dexter era, they

are enticing. Not only does the scheme

expand the college campus and help to

revitalize a community, it also creates some

streetscape excitement by rejuvenating an

existing unexceptional building.

“The original façade … is shrouded

behind a translucent aluminum screen,” a

device that creates a more appealing street

presence and fi lters the harsh daylight fall-

ing on the indoor vertical garden.

The jury commented on the architects’

skill in taking an unassuming structure and

converting it into something “sculptural”.

One juror said “It’s really fantastic to see

a justice centre – a place where you don’t

really think about a kind of aesthetics of

practice – use forms that inspire awe.”

2. HUMBER COLLEGE CENTRE FOR JUSTICE LEADERSHIP TORONTO

GOW HASTINGS ARCHITECTS INC.

PEOPLE’S CHOICE AWARD


4. LIGHTSPACE 2TORONTO

BAIRD SAMPSON NEUERT

ARCHITECTS INC.

“Located within a gritty downtown neigh-

bourhood, this project combines the

ancient Roman planning strategy of a

central atrium with a … strategy of sub-

traction and addition to transform the top

fl oor of a nineteenth-century warehouse

into an urbane rooftop villa.”

The innovative solution incorporates

hydronic radiant heating, underfloor

piped services for maximum adaptability,

as well as high performance glazing with

manually and mechanically operated

vents. Indoor and outdoor water features

provide cooling, humidifi cation and visual

amenity. A green roof is planned for the

project’s second stage.

The jurors applauded the use of the two-

storey volume, the penetration of daylight

and the rooftop landscaping in this invent-

ive repurposing of an urban rooftop. They

expressed the hope that it might encourage

more projects of this type. One juror found

the project intriguing and confessed that it

was one submission that he would really

like to see in person.

PHOTOS: TERENCE TOURANGEAU, TERENCETWTPHOTO.COM

5. WATERLOO REGION MUSEUM KITCHENER

MORIYAMA & TESHIMA ARCHITECTS

IN ASSOCIATION WITH THE WALTER

FEDY PARTNERSHIP

“We do not want that any individuals

should forget the land of their origin or

their ancestors. Let them look to the past,

but let them also look to the future ….”

— SIR WILFRID LAURIER, QUOTED

IN THE SUBMISSION BRIEF

Using narrative as a cohesive design ele-

ment, the architects have refl ected a local

craft tradition by incorporating the Laurier

quotation into a “quilt wall” on the build-

ing’s main façade. The building sits directly

on a historically important crossroads and

fragments of this feature have also been

incorported into the plan. Sustainability

strategies include locally sourced planting

and construction material. Almost all of the

timber comes from responsibly managed

forests, with 50% of it from Ontario.

The jury appreciated the bold and

colourful use of narrative in the building’s

plan and elevation: One juror called it

“architecture telling its own story.”PHOTOS: TOM ARBAN PHOTOGRAPHY


6. LAKEHEAD UNIVERSITY, NEW ACADEMIC BUILDINGORILLIA

MORIYAMA & TESHIMA ARCHITECTS

The fi rst building to be constructed in what

will become Canada’s very fi rst fully LEED

Platinum university campus, this academic

facility is bright and airy. “[O]n 85 acres of

farmland, with no built context to relate

to, the ‘isolated’ building was designed to

foster an interior sense of welcome and

community to attract students, faculty and

staff . “The … design ensures maximum

fl exibility and adaptability for changing

program and curriculum over the years.”

Among many sustainability strategies

are included: a grey water system, a geo-

thermal fi eld, a green roof and regionally

sourced building and planting materials.

The jury commended the fl ow of space

within and through the building, and

the high level of detail both inside and

outside.7. UNIVERSITY OF WATERLOO SCHOOL OF PHARMACY / MCMASTER UNIVERSITY MGD SCHOOL OF MEDICINEKITCHENER

HARIRI PONTARINI ARCHITECTS

ROBBIE/YOUNG + WRIGHT ARCHI

TECTS IN JOINT VENTURE

Situated at some distance from the Waterloo

main campus, the new combined facility

promises to supply a degree of rejuvenation

to a neighbourhood that was formerly a

warehouse district. The complex has been

designed to provide both a superior learning

environment and “a catalyst for its immediate

community.” Interactive interior spaces and

an enclosed courtyard foster student-faculty

collaboration within both faculties.

The School of Pharmacy building presents

an imposing landmark. Glass panels covering

the structure’s exterior surface are decorated

with images of traditional herbs, refl ecting

the the historic traditions of pharmacy.

Of particular appeal to the jury was

the tactile quality of the buildings – the

limestone base and fascia in contrast with

the glass tower, the recycled wood fl oor-

ing and the gentle erosion of the etched

glass panels.

PHOTOS: SHAI GILL

PHOTO LEFT: TOM ARBAN ABOVE: BEN RAHN, AFRAME


9. TELUS HOUSE TORONTO 25 YORK STREETTORONTO

ARCHITECT: ADAMSON ASSOCIATES

ARCHITECTS

COLLABORATING ARCHITECT:

SWEENY STERLING FINLAYSON & CO.

ARCHITECTS INC.

“Twenty-five York Street is a landmark

offi ce tower in downtown Toronto, com-

prising 780,000 square feet of Class AAA

offi ce space in a sleek 30-storey building

envelope.” Using state-of-the-art, forward-

looking technology the building provides

a “healthy high-performance workspace for

over 1,600 employees,” while promoting

energy conservation and environmental

leadership.” Building features include: a

raised-fl oor heating and cooling distribu-

tion network, a rainwater recycling system

and high-performance windows.

The jury found the building to be an

elegant high-rise building that succeeded

in incorporating some siginifi cant sustain-

able strategies.

8. SCANDINAVE LES BAINS VIEUX-MONTRÉAL MONTRÉAL

SAUCIER + PERROTTE ARCHITECTES

“Located in the heart of historic Old

Montreal and facing the vibrant piers of

Old Port, Scandinave Les Bains de Vieux

Montreal is an urban spa whose purpose

is to provide a thermal therapy experience

that engages each of the body’s senses.”

The sensation is heightened by combining

the contrasting elements of warm volcanic

rock and cool, angular glacial forms. The

spa’s contemporary character also intro-

duces a dynamic contrast with the old

architecture of the neighbourhood and the

original warehouse building in which it is

located. Sustainable strategies include hot

tubs that use the energy recovered from the

ventilation and dehumidifying systems and

a water management quality system that

maintains optimal pool water quality.

The sensual appeal of “Les Bains,” evi-

dent in the submission, appealed enor-

mously to the jurors, who used words

such as “spectacular” and “gorgeous” to

describe it.

PHOTOS: MARC CRAMER, WWW.MARCCRAMER.COM

PHOTOS: SHAI GILL PHOTOGRAPHY


10. CANADIAN MUSEUM OF NATUREOTTAWA

PADOLSKY, KUWABARA, GAGNON

JOINT VENTURE ARCHITECTS PKG:

BARRY PADOLSKY ASSOCIATES INC.

ARCHITECTS; KUWABARA PAYNE

MCKENNA BLUMBERG ARCHITECTS;

GAGNON, LETELLIER, CYR, RICARD,

MATHIEU ARCHITECTES

Nearly 100 years after the heavy stone

tower of the Victoria Memorial Museum

Building was removed for safety reasons,

it has been replaced with a sparkling glass

lantern that fi nally “restores the original

proportion of the main entrance.” Since

1989, the building has been the home of

the Canadian Museum of Nature (CMN),

for which the lantern also serves as a

gigantic display case. In addition to the

tower restoration, the project encom-

passed a relocation of the parking “moat”

and a below-grade addition. Sustainable

strategies include the re-use of existing

building materials and the recycling of

14,000 metric tons of excavated soil.

The jury appreciated the preservation of

a heritage landmark by reviving the spirit

of the original through the creation of a

dramatic light-fi lled volume.

11. THE SALVATION ARMY HARBOUR LIGHTTORONTO

DIAMOND AND SCHMITT ARCHITECTS

“The Harbour Light is the fl agship facility

of the Salvation Army in the downtown

core of Toronto. The seven-storey building

houses a community church, transitional

housing, community and family services,

and a residential addictions recovery

program operated in conjunction with

the Ministry of Health Long Term Care.”

To ensure that the not-for-profi t organiza-

tion enjoyed the greatest cost savings, a

high-performance building envelope was

combined with a tempered air system

and heat-recovery strategies, resulting in

a highly energy-effi cient building.

The jury admired the building’s dedi-

cation to achieving an energy-efficient,

budget conscious building that serves as

a true “harbour light” on a busy downtown

intersection.

PHOTOS: TOM ARBAN

PHOTOS: TOM ARBAN


12. HAMILTON FARMERS’ MARKET AND CENTRAL PUBLIC LIBRARYHAMILTON

ROUNTHWAITE DICK & HADLEY

ARCHITECTS INC. IN ASSOCIATION

WITH DAVID PREMI ARCHITECTS INC.

The project’s stated aim was to “use

contemporary design to transform a

tired building in a dilapidated stretch of

downtown Hamilton” by making reno-

vations and an addition to an existing

library and marketplace. The solution

includes a relocated and redesigned

entry, an extended vestibule, a bright

atrium and a new permeable façade at

street level. The energy-effi cient glazed

skin, colour-changing LED lighting and

digital projection systems add to the lively

contemporary feel.

The jury found the project to be open

and inviting – an exciting approach to

rejuvenating existing facilities and restoring

activity to a worn-out section of the city.

13. DEPARTMENT OF PSYCHOSOCIAL ONCOLOGY & PALLIATIVE CAREAL HERTZ CENTRE FOR SUPPORTIVE

AND PALLIATIVE CARE

HAROLD AND SHIRLEY LEDERMAN

PALLIATIVE CARE CENTRE

TORONTO

ARK ARCHITECTS + RESEARCH +

KNOWLEDGE INC.

“The design sought to extend the access-

ibility agenda beyond the typical bound-

aries to create an inviting, approachable

environment,” for patients in the fi nal stages

of cancer treatment, when comfort and

management of pain become the prime

objectives. Under such circumstances, the

architecture assumes a special role: to be

truly soothing and, as much as possible,

uplifting. This solution employs a number

of gentle strategies to “make the hospital

recede,” including the extensive use of

gentle indirect lighting, natural materials,

and soft imagery. The jury admired the

project’s sensitivity of form and detailing,

both inside and out.

PHOTOS: TOM ARBAN

PHOTO ABOVE: ANDREW ROSS LEFT: PETER A. SELLAR


14. BLOOR / GLADSTONE BRANCH LIBRARY TORONTO

ROUNTHWAITE DICK &

HADLEY ARCHITECTS INC. IN

ASSOCIATION WITH SHOALTS &

ZABACK ARCHITECTS LTD. & E.R.A.

ARCHITECTS INC.

This addition and renovation project

establishes an invigorating presence on

a tedious stretch of Toronto’s Bloor Street

15. VANCOUVER 2010 WINTER OLYMPICS ONTARIO PAVILION (ONTARIO HOUSE)VANCOUVER

HARIRI PONTARINI ARCHITECTS

“The Ontario Pavilion for the Vancouver

2010 Winter Olympic Games was designed

as a physical and experiential gateway to

Ontario” (albeit, 2,000 km. west of Ontario’s

border). The pavilion’s main façade presents

a “shimmering surface” that makes reference

to Ontario’s most famous feature, Niagara

Falls. In addition, “the exterior … was richly

animated by a systematic array of continu-

ously up-lit fabric-wrapped panels and

curtains of cable and rope, integrated with

medium-resolution digitized LED array walls

capable of displaying large-scale panoramic

video and messaging.” As both a metaphor

and a display structure (1350 square metres),

the pavilion admirably conveys “the dyna-

mism of Ontario’s history and future.”

The jury commented that, for a tempor-

ary display, this one is particularly spec-

tacular, adding that its popularity among

Olympic visitors is easy to understand.

PHOTO ABOVE: STEVE EVANSRIGHT: TOM ARBAN

West. The design strategy was to comple-

ment, or balance, the existing classically-

inspired heritage building with an adjacent

structure that is crisp and modern. At the

same time, there is a subtle harmony at

work. Employing vertical and horizontal

“alignment”, the architects have duplicated

the fi ve-bay façade division and extended

the major horizontal guidelines from the

old building to the new. A similar strategy

has been employed in dealing with the

interior renovations to the existing building

by maintaining a “clear distinction between

existing and new design elements and

detailing,” throughout. Sustainable strat-

egies include green roofs, an underground

water cistern and controlled daylighting

through energy-efficient glazing and

custom ceramic frit patterns.

The jury admired the project’s urban-

ity and the sensitivity of the forms and

detailing, both inside and out.

PHOTOS: ANDREW DORAN


ELIGIBILITY

Submissions must fi t into one of the three

categories (image, artifi tact & proposals/

concepts) and have been completed since

2006. A maximum of two submissions per

category (total six), from any one practice

or individual will be accepted. Architects,

retired, life and honorary members, OAA

intern architects, students at the four

Ontario Schools of Architecture, Ontario

Syllabus students and OAA practices are

all eligible. Projects of any size will be

considered for awards. Each submission

must be from and by the author(s).

THE PROCESS

The Concepts and Presentations jury has

the task of assessing proposals from archi-

tects and architecturally-trained individuals

that are not strictly architectural proposals

— drawings and photographs; designed

objects; and unbuilt conceptual schemes.

The work is presented on boards which

are examined and discussed by the jury,

category by category.

This year’s jury remarked on the fact that, even more than the other two Awards

programs, the Concepts and Presentations selection process relies to a high degree

on the visual appeal of the entries. Seductive images have the greatest impact – but

can produce the highest degree of disappointment - if, on closer attention, they fail

to sustain the initial attraction. The message is: fi rst get your audience’s attention;

then develop your message to become more interesting and persuasive on closer

examination. Proposals in which the form and message of the presentation were true

to the concept were the most successful.

THE JURY

CHAIR — Kathleen Sharpe, Executive Director, Ontario Cultural Attractions Fund

Richard Johnson, Photographer, Richard Johnson Photography

Karl Stevens, Partner, Stevens Burgess Architects Ltd. & Project Planning Global Inc.

Anna Stranks, Past President ARIDO GTA Chapter, Senior Interior Designer, RCG Inc.

CONCEPTS & PRESENTATIONSAWARDS

L TO R:

KARL STEVENS,

KATHLEEN SHARPE,

ANNA STRANKS,

RICHARD JOHNSON

Recognizing clarity and persuasiveness in the expression of a unique idea and encouraging involvement in the areas of design and presentation peripheral to architecture.

PHOTOS: KEITH PENNER PHOTOGRAPHY


2. STUDIO 124-125, 48 ABELL STREET (AFTER EVICTION)HONOURABLE MENTION

MICHELLE VAN EYK, INTERN

ARCHITECT

Studio 124-125 is a playful image that

is architectural in many ways. A series of

photographs unravels the many intricacies

of an interior space in the midst of con-

struction, destruction or both. A lovingly

constructed two-dimensional collage,

made from these photographs, fl attens the

image into an impossibly convoluted view

consisting of architectural forms, structural

elements, surface textures and general

detritus. The final assembled image,

despite its intentionally haphazard, two-

dimensional character, possesses great

depth. The eye is led away from the van-

ishing points on the left and the right and

straight into the central vanishing point

that lies beyond the countertop, beyond

the half-concealed, half-painted door and

into a world of unknown geometry.

IMAGE

1. TRANSIMAGEAWARD

REZA ALIABADI rzlbd

This one was a little tricky. The submis-

sion had been entered in the Artifact

category, but, except for the presentation

board itself, there was no indication that

an artifact actually existed. In the text,

the author refers to it as an “image”, but

an image doesn’t normally include text.

The jury was enthralled by the piece and

appreciated it as a work of visual/textual

poetry, for which the Awards program

currently has no category. The decision

was made to assess it as an image (with

supporting text), in which category, it was

deemed worthy of an award.

KARL STEVENS: This is an incredibly strong

statement regarding what Canada is. It tells

a full story. It’s full of literary allusions. It

introduces Canada, especially to someone

who’s never been to this country.

RICHARD JOHNSON: It is an intentional

description of something very vast, yet

very specifi c. It’s also very mysterious.

RICHARD JOHNSON: What I like about it is

that it’s about potential. It’s a beginning

point. And I like the way it uses black.

KATHLEEN SHARPE: It’s very clear, showing

the potential, the space and a new project

as a beginning point.

…AN IMPOSSIBLY CONVOLUTED VIEW CONSISTING OF ARCHITECTURAL FORMS, STRUCTURAL ELEMENTS, SURFACE TEXTURES AND GENERAL DETRITUS.

THE JURY WAS ENTHRALLED BY THE PIECE AND APPRECIATED IT AS A WORK OF VISUAL/TEXTUAL POETRY, …

PHOTOS OF ALL CONCEPTS

AND PRESENTATIONS

SUBMISSIONS:

JOHN HOWARTH”


ART IFACT

3. ECHOAWARD

CHAN YIUBUN, INTERN ARCHITECT

Even in the photographic representation,

it’s easy to appreciate the sensory appeal

of this artifact – vision: a sense of subtle

movement as the wind catches each

fl ute; touch: the brittle texture of polished

bamboo; sound: the hollow chatter of the

fl utes tapping one another. According to

the description, there are 138 fl utes, each

with a separate pitch, representing the

twelve-tone Western musical scale, as well

as “dozens of other notes that are used in

the music of other cultures.”

RICHARD JOHNSON: “I like the scale. It’s a

beautiful installation. Sound is difficult

to represent.”

KATHLEEN SHARPE: “I love the idea. You can

use each individual piece.”

138 FLUTES, EACH WITH A SEPARATE PITCH, REPRESENTING THE TWELVETONE WESTERN MUSICAL SCALE, …

“EXPLORES THE RELATIONSHIP AND DIALOGUE BETWEEN CLIENT AND ARCHITECT TO ILLUSTRATE THE PROCESS AND EXCHANGE OF IDEAS…”

4. PULL.PUSH.SLIDE.PIVOT.LIFT.TILT.TURNHONOURABLE MENTION

DUBBELDAM DESIGN ARCHITECTS

Architecture, interior design, interactive

installation and furniture – this artifact

is all four. As a work of architecture, it

“explores the relationship and dialogue

between client and architect to illustrate

the process and exchange of ideas that

inform built form.” As interior design, it

off ers “sliding, swiveling and pivotal planes

that can be altered to defi ne areas with

diff ering spatial qualities.” As an interactive

installation, it is “a play of moving walls,

textured and smooth surfaces, materials

that alter acoustics, … and moveable

felt cubes.” In addition, “felt-covered foam

cubes can be stacked, climbed on or used

for rest.”

KARL STEVENS: I think it’s an architect’s

idea. This embodies what an architect

does! It has the push and the pull. We

arrange things until they fi t. I think the

idea is strong.

ANNA STRANKS: It’s a good starting point as

an architectural project. It’s a great idea

that relates to how we build homes.


6. IOD THUNDER BAY HONOURABLE MENTION

BROOK MCILROY

As part of an initiative to rejuvenate the

Thunder Bay waterfront, The IOD (Iron Ore

Dock) proposal imagines the transforma-

tion of a monumental 500-metre-long

structure overlooking the waters of Lake

Superior into a recreational amenity.

“The project is an imaginative inquiry

into the themes of transformation and

inhabitation that propels us beyond

static notions of re-purposing, toward

reconciliation between industrial legacy

and environmental urbanism.”

KATHLEEN SHARPE: This project really works

as an installation art piece. Its potential is

limitless, but it really needs to take “the

next step.”

ANNA STRANKS: The potential of this project

is what makes it beautiful, and it does work

extremely well as an art piece.

RICHARD JOHNSON: Its specifi c relationship

to a specific place works to its advan-

tage, but it needs another step towards

architecture.

CONCEPT

5. EMBEDDED BOUNDARIESAWARD

LIANA BRESLER, STUDENT

This submission describes a proposal for

an urgently needed wastewater facility

in a valley that forms the boundary land

between Israel and Jordan. At the same

time, the thesis proposes “new infrastruc-

ture as a vehicle to explore the ability of

architecture to embody multiple narra-

tives.” Included in the scheme are paths,

walkways and lookouts, a performance

space and a swimming pool.

ANNA STRANKS: What compels me is the

story. The concept embraces the two cul-

tures. It merges two diff erent conditions.

It’s about humanity! It’s spiritual!

KARL STEVENS: …and it develops the

existing landscape.

KATHLEEN SHARPE: This fusion of water/

humanity/physical situation is poetic and

powerful.

THIS FUSION OF WATER/HUMANITY/PHYSICAL SITUATION IS POETIC AND POWERFUL.

THE POTENTIAL OF THIS PROJECT IS WHAT MAKES IT BEAUTIFUL, AND IT DOES WORK EXTREMELY WELL AS AN ART PIECE.


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From the nomination citation, submitted by

George Farrow:

“Randy is a passionate and committed advo-

cate of the value of the architectural profession:

that architects can and must be preeminent

leaders in society by fostering and participating

in the discourse on the environment, the success

of our cities and the importance of diversity

in contemporary culture. His career-long ser-

vice to provincial, national and international

professional organizations continues to make

a tangible diff erence through his exceptional

leadership within the practice of architecture

and our communities.”

Randy’s contributions to the profession

are many and varied. A sampling from his

nomination citation includes the following

achievements:

He was elected to the Council of the Architects

Association of New Brunswick (1973), Council

of the OAA and subsequently to OAA Vice

Presidency, Senior Vice Presidency and, in

2001, Presidency. Since 2003, Randy has been

a Director of the RAIC, acting as Vice President,

Treasurer, First Vice President and, in 2009-

10, President. He has organized and chaired

several international professional conferences,

including seminars in design-build and justice

architecture. Randy’s contributions to AIA

International include serving as chairman of the

Design-Build PIA, co-editor of and contributor to

Ranjit (Randy) Dhar

ORDER OF DA VINCIRecognizing architects who have demonstrated exceptional leadership in the profession, in education, and/or in the community.

ELIGIBILITY: The nominee must be an Ontario

architect (including retired members).

AWARD: Medal presented to one recipient

per year.

The Architects Guide to Design-Build Services

and Vice Chairman of the AIA Academy of

Architecture for Justice. His involvement in

these activities earned him an honorary AIA

Fellowship in 2008. In 2002, Randy founded and

subsequently chaired the Canadian Design-Build

Institute. From 2002 to 2004, he served as a

Director of the Board of Canadian Construction

Association – only the second architect to hold

this position. Randy contributed to the found-

ing of the Government and Industry Relations

Group, which brought together three Ontario

engineering associations (PEO, CEO and OSPE),

the Ontario General Contractors Association and

the Ontario Realty Corporation.

The citation for Randy’s nomination to AIA

Honorary Fellowship states:

“Dhar’s architectural legacy goes beyond

Canadian borders into the US and

farther abroad. His career-long dedi-

cation in leading professional asso-

ciations, improving project delivery

and promoting coordination within

the building industry outlines his

contributions to the profession.”

It was the judges’ unanimous

opinion that the da Vinci Award

constituted an appropriate recogni-

tion of Randy Dhar’s intense and

enduring advocacy on behalf of the

profession, in Ontario and beyond.

JURY, L TO R: AMIRREZA SADEGHI, DIANA OSBORNE, MEG GRAHAM, SHEENA SHARP.

THE JURY

Adjudicating the Order of da Vinci, the G.

Randy Roberts Award and the Lifetime Design

Achievement Award:

CHAIR — Amirreza Sadeghi, Architect, Habib

Architects Inc.

Sheena Sharp, OAA President, Principal, Coolearth

Architecture Inc.

Meg Graham, Principal, Superkül Inc. Architect

Diana Osborne, Architect, Osborne Architect


David has practiced architecture in London,

Ontario since his graduation in 1984. As princi-

pal of Murphy and Murphy Architect in London,

David has been active in the London Society of

Architects and a number of municipal commit-

tees and associations.

From the nomination letter prepared by

Richard Hammond:

“One of his most important contributions

to the profession has been as president of

the London Society of Architects, a position

which he held from 2002 until recently. During

this time, he has maintained communications

between the OAA and local members, encour-

aged interaction with the municipality and

has been an advocate for the profession in the

local construction community. He has brought

to these activities his unique manner, which is

David R. Murphy

G. RANDY ROBERTS SERVICE AWARD Recognizing an OAA member for extraordinary service to the membership, for ‘behind-the-scenes’ dedication and action, for employing the skills and the energy to get things done.

This annual award is named after the late

2005 OAA President, G. Randy Roberts and is

in memory of his dedication to the member-

ship and the profession.

ELIGIBILITY: The nominee and seconder must

be OAA members (architect, intern, retired,

life, honorary, student).

CONSIDERATIONS: Responsiveness to and

communication with OAA members on

behalf of the OAA; grassroots involvement

with members; care, compassion, integrity,

enthusiasm and a sense of humour.

AWARD: Plaque awarded to one member

per year.

both compassionate and considerate, in the

interest of fostering cooperation and consensus

among those involved, without seeking personal

recognition.

“David contributed his skills to the Committee

of Adjustment for nine years, for the fi nal four

of which, he acted as chair. This commitment

involved bi-weekly public meetings as well as

review of applications and extensive consulta-

tion with municipal planning staff .

“David actively served on the Board of the

London District Construction Association for

seven years, during which time he was involved

in a number of initiatives fostering better com-

munications among various sectors, including

local building officials, consultants, general

contractors and trades.

“Although he would be hesitant to say so,

in addition to maintaining an active practice

and raising a family, David has continued to

make these contributions to our profession and

community while experiencing signifi cant health

challenges, leading to the need for a liver trans-

plant last year. Throughout, he has maintained

his optimistic spirit and good humour.

“We feel strongly that David exemplifi es the

qualities of professionalism, dedication and

service that would make him a worthy recipient

of this award.”

The jury agreed. The London society is high

on the list of active societies, and David has been

a very active participant. Combined with his

other activities they felt that he exemplifi es the

spirit that the award was intended to honour.PHOTO: KEITH PENNER PHOTOGRAPHY


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Byron Treves Byron has been an integral part of the success of our Professional

Liability Insurance Program begun in 1986 as the OM Indemnity

Plan and since transformed into ProDemnity Insurance, a suc-

cessful non-profi t Insurance Corporation, licensed in Ontario to

provide professional liability insurance to Ontario Architects for

projects anywhere in Canada and wholly owned by the Ontario

Association of Architects.

During my years on OAA Council, including my two years as

OAA President, I have had numerous occasions to work with Bryon

in our dealings with OAA Council and the numerous exterior

bodies such as the Ontario Realty Corporation, Infrastructure

Ontario, as well as having numerous dealings regarding practice

related issues.

I have always admired the professionalism that Byron brings to

his profession – the insurance industry – as well as his commit-

ment to applying it in the best interests of his customers – the

architectural fi rms of the Ontario Association of Architects. Without

a doubt, Byron deserves recognition by our membership for all

his eff orts to serve our profession.

— Excerpted from the citation, prepared by

David Craddock OAA

Rollo MyersEven though Rollo never fi nished his professional training, he

shares the natural talents, interests, and life experiences of an

architect. This Honorary Membership recognizes a lifetime of

contributions to the profession of architecture and to the con-

servation of Ontario’s cultural assets.

Mr. Myers began his career working in the offi ces of Arthur

Erickson, and later the Thom Partnership, often speaking fondly

of those years.

Following his invention of an ingenious machine for model-

ling complex landforms, Mr. Myers founded his highly successful

company Topographics to build architectural models. After retir-

ing from this business in 1991, Mr. Myers turned his consider-

able energies to founding Citizens for the Old Town. That role

expanded to what has become his most signifi cant contribution to

Ontario’s heritage, the arguments for restoring dignity to the site

of Ontario’s fi rst parliament at Parliament and Front Streets.

He has been an ardent advocate for the fi rst parliament site

since 1997, leading to the discovery of archaeological remains

of the fi rst parliament buildings. Mr. Myers has enlisted the sup-

port of many prominent Canadians in this cause, never daunted

by the complexity of honouring a site owned by two levels of

government, as well as private parties.

He was also a very active member of the Task Force to Bring

Back the Don, The Cabbagetown Preservation Association

and numerous other community boards. As Manager of the

Architectural Conservancy of Ontario, Mr. Myers argues for the

preservation of the work of all Ontario architects.

Among Mr. Myers honours are the Jane Jacobs Prize, the Arts

and Letters Club Award and Medal, the City of Toronto Medal of

Service, and The Province of Ontario Volunteer Service Award.

— Excerpted from the citation, prepared by

Cathy Nasmith OAA

H ONORARY MEMBERS This year, two new Honorary Members have been nominated to join the OAA roster.

H O N O R A R Y M E M B E R S


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NEW LIFETIME DESIGN ACHIEVEMENT AWARDRecognizing and honouring a career-long commitment to the promotion and achievement of architectural design excellence and celebrating the outstanding contribution of architects whose body of work refl ects a lasting legacy of excellence and innovation.

Eberhard H. (Eb) Zeidler

The name Eberhard Zeidler has been synonymous with Canadian architecture and

Ontario architecture in particular, over the past half-century. As one of a handful of

Ontario architects who have designed and built important buildings all over the world,

Eb Zeidler has been instrumental in exporting Ontario expertise and architectural ideals

far and wide. As Partner-in-Charge of Design for Zeidler Partnership/Architects, Eb has

overseen the growth of the Toronto headquarters and the founding of offi ces in London,

Berlin, China, West Palm Beach, Calgary, Edmonton, Vancouver and Victoria.

The variety of project types undertaken by the offi ce speaks to the versatility of

Eb’s creative genius. His work has been built and acclaimed in cities as dispersed as

Mexico City and Jakarta. In addition to the hundreds of articles written about him in

professional periodicals and texts, he has published two books: Healing the Hospital

and Multi-use Architecture in the Urban Context.

Eb’s international professional affi liations include membership in: AIA (honorary), OAQ,

Royal Canadian Academy of Arts, RIBA, RAIC, RAIC College of Fellows, and OAA.

From the nomination letter prepared by Alan Munn:

“Eb has been practising architecture in Ontario and around the world since he

arrived in Canada in 1952. Educated at the Bauhaus, he brought modern architecture

to Peterborough. In the mid-60s, the practice moved to Toronto to undertake larger

projects, such as McMaster University Health Sciences Centre, Ontario Place and Eaton

Centre, among others. The mid-80s saw such projects as The Walter C. Mackenzie

Health Science Centre in Edmonton and Canada Place in Vancouver. Later projects

include the Hospital for Sick Children, Princess Margaret Hospital, The Direct Energy

Centre and Trump Tower.

“The practice has grown to 12 offi ces around the world. While Eb has now retired

from active practice, his infl uence guides the next generation.

“Eb has been recognized with over 140 awards, including the RAIC Gold Medal, and

the Order of Canada.”

In a recent citation for a Lifetime Leadership Award, granted by the International

Academy for Design & Health, Eb was described as “a visionary individual who has

demonstrated an ongoing, lifelong commitment to enhancing the health, well-being

and quality of people’s lives through [his] dedication to healthcare design.” The citation

adds, “the award recognizes Zeidler’s inspirational career, which has infl uenced many

of today’s architects who are shaping the next generation of hospitals.” Given the

breadth of Eb’s contribution, his vision and inspiration extend to virtually every area

of architectural design. As the fi rst recipient of the OAA Lifetime Design Achievement

Award, Eb is an ideal choice.

ELIGIBILITY: Eligible nominees are Ontario

architects who have demonstrated

excellence, innovation and leadership in

architectural design, during a career of

at least 15 years.

CONSIDERATIONS: Nominees are judged by

the originality, vision, breadth, and last-

ing impact of the body of their profes-

sional design work.

EVALUATION: Fifteen years or more of

architectural design experience.

PREVIOUS HONOURS, AWARDS

& PUBLICATIONS:

Fostering design excellence

Distinctive and innovative buildings

International recognition & acclaim

AWARD: Plaque awarded to one winner

per year.

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