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03/13 canadian architect 5

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9 news NationalMusicCentrebreaksgroundin

Calgary;submissionsdueforthe2013WesternLivingDesignersoftheYearAwards.

34 insites HelenaGrdadolnikdiscussesimprove-

mentstolearningenvironmentsforyoungchildreninOntario.

40 calendar DesignThinkingandTeachingsymposium

attheUniversityofSaskatchewan;CraigDykersofSnøhettalecturesattheUni-versityofManitoba.

42 Backpage LeslieJenintroducesBrianO’Brian’s

designofabackyardstructureforaVespaenthusiastinToronto.

14 hôtel la Ferme and grande- pointe station

new life is Brought to the striking landscape of rural QueBec through an amBi-tious hotel complex and a sleekly elegantly train station. teXt odile hénault

22 commonwealth community recreation centre and edmonton eskimo Fieldhouse

comBining a professional footBall stadium with community facilities results in a winning formula for the city of edmonton as well as for the design team of maclennan Jaunkalns miller architects in Joint venture with hip architects. teXt alexandra mcintosh

28 Brooklin community centre and liBrary

drawing on the historical agrarian structures of the region, perkins+will can-ada design a sprawling new complex in small-town ontario. teXt paige magarrey

coVer the commonwealth community recreation centre and edmonton eskimo fieldhouse By maclennan Jaunkalns miller architects in Joint ven-ture with hip architects. photograph By tom arBan.

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march 2013, v.58 n.03

contents

The NaTioNal Review of DesigN aND PRacTice/The JouRNal of RecoRD of aRchiTecTuRe caNaDa | Raic

EditorElsa lam, MRAIC

AssociAtE EditorlEsliE JEn, MRAIC

EditoriAl Advisorian Chodikoff, OAA, FRAIC

contributing EditorsannmariE adams, MRAICdouglas maClEod, nCARb, MRAIC

rEgionAl corrEspondEntsHalifax ChristinE maCy, OAA Regina BErnard flaman, SAAMontReal david thEodorE CalgaRy david a. down, AAAWinnipeg hErBErt Enns, MAA VanCouVeR adElE wEdEr

publishErtom arkEll 416-510-6806

AssociAtE publishErgrEg Paliouras 416-510-6808

circulAtion MAnAgErBEata olEChnowiCz 416-442-5600 ext. 3543

custoMEr sErvicEmalkit Chana 416-442-5600 ext. 3539

productionJEssiCa JuBB

grAphic dEsignsuE williamson

vicE prEsidEnt of cAnAdiAn publishingalEx PaPanou

prEsidEnt of businEss inforMAtion groupBruCE CrEighton

hEAd officE80 vallEyBrook drivE, toronto, on m3B 2s9telepHone 416-510-6845faCsiMile 416-510-5140e-mail editors@canadianarchitect.comWeb site www.canadianarchitect.com

Canadian architect is published monthly by Big magazines lP, a div. of glacier Big holdings Company ltd., a leading Cana dian information company with interests in daily and community news papers and business-to-business information services.

the editors have made every reasonable effort to provide accurate and authoritative information, but they assume no liability for the accuracy or com-pleteness of the text, or its fitness for any particular purpose.

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Postmaster: please forward forms 29B and 67B to 80 valleybrook dr, toronto, on Canada m3B 2s9. Printed in Canada. all rights reserved. the contents of this publication may not be re produced either in part or in full without the consent of the copyright owner.

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We aCknoWledge tHe finanCial suppoRt of tHe goVeRnMent of Canada tHRougH tHe Canada peRiodiCal

fund (Cpf) foR ouR publisHing aCtiVities.

Elsa

la

m

Elsa lam ElAM@cAnAdiAnArchitEct.coM

AbovE a viEw of thE alBErta CountrysidE, an idylliC landsCaPE in thE minds of many City-dwElling Canadians.

The Brooklin Community Centre and Library in Southern Ontario models the scale and form of its building volumes on barns. The reference is clearly present, although again, one would be hard-pressed to mistake its light-filled, airy in-teriors for actual farm structures, with their solid doors and tiny windows.

In both cases, the finished buildings are pre-sented as contextual responses to the history of their sites. However, it’s interesting to note that the analogies they embrace are neither absolute nor inevitable. La Ferme, for instance, could just as easily have taken the grand, Château-style Manoir Richelieu—a landmark of early landscape tourism in the region—as its model. A retrofit of a barn that resided on the site until a fire in 2007 would, for its part, likely have pro-duced a heavier, more monolithic hotel.

For Brooklin, the architects at one point pro-posed a more contemporary rendition. While this may have functioned equally well in ac-commodating the program, the local commun-ity rejected the flat-roofed proposal. Had it gone through, a review in a magazine such as this one might have suggested a certain resonance be-tween the complex and modern bungalows in the area.

In buildings embraced by local communities, stylistic choices often reference their historical context and cultural landscape in a sensitive, thoughtful manner. But perhaps most revealing is what these decisions tell us about a commun-ity’s relationship to its past—which history it ac-cepts as its official story, how it interprets this history, and how it chooses to build on it in the present.

Some legitimately see barns as utilitarian sheds and hay as animal bedding. But if a barn can inspire a lovely library, then why not hay ice cream—or for that matter, hay sundaes?

Call it the latest in farm-to-table cooking: hay is emerging as a signature ingredient in some of the world’s cutting-edge kitchens. I recently dined on a whole chicken baked in hay and, on a separate occasion, hay ice cream. Hay-smoked bread, hay-roasted veal chops, and duck cured in burnt-hay ash are also making appearances to much foodie fanfare.

To some, hay reeks too much of barnyard. To my palate, raised in a suburban neighbourhood where visits to the farm were carefree school field trips, the hay-infused dishes I sampled were intriguingly grassy, subtly earthy, and quite delicious.

Rustic forms are increasingly appearing in North American architecture, and a similar dy-namic is arguably at play. In the urban environ-ments where the majority of Canadians reside, farm life is quickly receding into distant mem-ory. Agricultural land is yielding to suburban and recreational developments on the fringes of most major cities, while family farms are being displaced by higher-efficiency agribusiness. In the past 20 years, the numbers of workers dir-ectly involved in crop and animal production in Canada has decreased by approximately 25%.

These economic shifts are mirrored in cultur-al shifts: the sights (and smells) once associated with the hardships of rural life are now widely accepted symbols of blissful escape from city life. The popularity of pioneer frontier-life blogs, country-home décor, and DIY preserving testify to nostalgia for what, through the lens of time, now appears to be simple, wholesome farm life.

Two projects in the current issue explicitly reference rural forms. La Ferme, a newly opened hotel in rural Quebec, uses a farm analogy both to inform its pavilion site strategy, and to brand the resort as a distinctive destination. Its luxe rooms and serene spa are far removed, incident-ally, from farmyard dirt and din.

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news

Projects

national Music centre breaks ground in calgary.The National Music Centre (NMC) recently broke ground on its new 160,000-square-foot building in downtown Calgary’s East Village. Sited oppos-ite the Stampede Grounds in Calgary’s historic East Village, the new NMC, along with the re-stored King Eddy Hotel, will catalyze the future redevelopment of the district. Under the direc-tion of Allied Works Architecture’s principal Brad Cloepfil, the new NMC will resonate with expanded programming including education, performance, entertainment, recording, artist incubation and com mu nity-building collabora-tions—both in Calgary and across the country. The building is a gathering of resonant vessels that hold the many diverse programs, spaces and experiences of the NMC. Nine towers form the body of the building; the vessel walls, clad in terra cotta, rise in subtle curves that merge, part and intertwine, modelled by light, gravity and acoustics. Enter ing from the street, the building is filled with the reverberation of voices and music, drawing visitors up into five floors of per-formance, education and collections spaces. The apertures at each gallery create a threshold of sound, introducing the content and programs of the particular exhibition. The spaces between are filled with silence and ambient light; views between the towers frame the city and landscape beyond. Bridging across the street and back again, the building creates a gateway for the new quarter, uniting the artists’ residences, record-ing studios, the historic hotel and club with the new presentation spaces. The campaign total for the National Music Centre is $150 million: $135 million for the building project and $15 million for related development and programming costs.www.nmc.ca/our-future/

awards

2013 western Living awards. Entries are now being accepted for Western Living magazine’s 2013 Designers of the Year Awards. Architects, designers and other creative types are invited to take part in this program, which celebrates the best new designs in Western Canada. Categories include Architecture, Eco, Fashion, Furniture, Industrial, Interiors, Indus-trial, Landscape, and the Arthur Erickson Memorial Award for an emerging architect or de-signer. This year’s judges include: Tom Kundig of Olson Kundig Architects (Seattle), interior de-signer Robert Ledingham (Vancouver), Jeremy Sturgess of Sturgess Architecture (Calgary), Vivian Manasc of Manasc Isaac Architects

aBoVe A night-time rendering of the nAtionAl music centre in cAlgAry reveAls A cluster of resonAnt vessels contAining A vAriety of diverse progrAms, spAces And experiences.

(Edmonton), and Thomas Mueller, President & CEO of the Canada Green Building Council. The entry deadline is April 1, 2013.http://westernlivingmagazine.com/HD/Designers-of-the-Year-Entry-info-2013.html

raic college of Fellows centennial Fund for intern/intern architect.The College of Fellows Centennial Fund for In-terns or Intern Architects was created with dona-tions received from members of the College of Fellows and members of the Royal Architectural Institute of Canada to support a deserving intern or intern architect or group of interns/intern architects wishing to promote the value and image of the profession. The Fund will be award-ed to individuals who have shown leadership and who have made significant contributions to the profession at an early stage of their architectural career. Any RAIC member who is an intern or in-tern architect registered with a provincial/terri-torial association at the time of the submission deadline is eligible. A team of RAIC members who are all interns can submit a collective candi-dacy and proposal. The award shall be given to: an intern/intern architect whose personal work has demonstrated excellence in design or in the practice of architecture and who has made sig-nificant contributions to the quality of architec-ture; or an intern/intern architect whose work related to architecture has demonstrated excel-lence in research or education. A cheque in the amount of $5,000 for the RAIC Intern/Intern Architect Fund Award will be presented at the Festival of Architecture in Halifax this June. The deadline for submission is April 30, 2013.www.raic.org/raic/raic_foundation/awards-intern_e.htm

call for nominations for the 2014 Lee Kuan Yew world city Prize.The Lee Kuan Yew World City Prize is a biennial international award that honours outstanding achievements and contributions to the creation of liveable, vibrant and sustainable urban com-munities around the world. The prize seeks to recognize cities and their key leaders and or-ganizations for displaying foresight, good gov-ernance and innovation in tackling the many urban challenges faced, to bring about social, economic and environmental benefits in a hol-istic way to their communities. To facilitate the sharing of best practices in urban solutions that are easily replicable across cities, the prize will place an emphasis on practical and cost-effect-ive solutions and ideas for the benefit of cities around the world. Through this prize, Singapore hopes to promote exemplary thought leadership and exchange of ideas among cities, so as to spur further innovation in the area of sustain-able urban development. The Lee Kuan Yew World City Prize Laureate will be presented with an award certificate, a gold medallion and a cash prize of $300,000 (SGD). The closing date for Stage A nominations is March 29, 2013. Previ-ous winners include the city of New York (2012) and Bilbao City Hall (2010).www.leekuanyewworldcityprize.com.sg

coMPetitions

LeMaY and eXP win high-profile competition in algeria.Montreal-based LEMAY and Canadian consulting firm EXP recently won a high-profile inter-national competition launched by l’Agence de gestion et de régulation foncière urbaine de la

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10 canadian architect 03/13

Wilaya de Constantine en Algérie. The $2.4-billion project focuses on the future city of El-Minya, a multifunctional and autonomous urban agglomer-ation on a 47-hectare plateau directly in front of the heritage city of Con-stantine, the third-most important city in Algeria and the country’s cultural capital, located some 431 kilometres east of Algiers. The city will house more than 20,000 residents, as well as various offices, shops, recreation centres and schools for a growing population of workers, visitors and tourists. Ex-tending over an area of 1.2 million square metres, the overall development plan also includes the architecture and construction of public spaces, traffic networks, and 6,500 to 7,500 housing units. The iconic silhouette of the new city of El-Minya is inspired by the sinuous lines of Arabic calligraphy and by the walls of medieval cities. A model city in its ecological planning, El-Minya is based on leading best practices in sustainable development, especially in terms of reducing dependency on cars, and promoting the integration of large, open and independent green spaces that promote biodiversity.

what’s new

Major art installation by artist and architect Philip Beesley unveiled.Simons, the renowned family-owned fashion retailer from Quebec City, unveiled a permanent in-store art installation called Simons Aurora at its new West Edmonton Mall location last month. Designed by Canadian artist and architect Philip Beesley, Simons Aurora is a canopy of crystalline col-umns that uses sensory mechanisms to respond to human movement, creating a gently swelling and rippling ocean of light. Inspired by the aurora borealis, Simons Aurora is composed of laser-cut acrylic, mylar and custom glassware. Suspended from the ceiling of the store’s north atrium, the in-stallation is 68 feet long, 26 feet wide, and has more than 40 electronically active columns of varying lengths. Consistent with Beesley’s Hylozoic Ground installation at the 2010 Venice Biennale in Architecture, this piece employs a new generation of electronics that allows a highly complex, intelligent digital fabric to create responsive chain reactions of light. The installation process took eight members of Philip Beesley’s studio and a large team of local artists, designers and students 17 days to complete.

tXtilecity project reveals toronto’s urban landscape history.Produced by the Textile Museum of Canada, TXTilecity is a highly engaging interactive project that brings Toronto to life in stories and memories that show the significant part textiles have played in defining the urban land-scape—offering a unique lens into the rich history and cultural diversity of this dynamic, multi-faceted city. Navigate Toronto with TXTilecity—an interactive map that builds community knowledge by drawing together experiences and stories to show the significance of textiles in shaping the city’s social, cultural, economic and architectural terrain. Through the website as well as the mobile app, encounter key locations and discover the role of textiles in shaping the urban land scape—from early garment manu-facturing and the performing arts to the rise of the fashion industry and contemporary design. Explore some of Toronto’s foundational stories, meet some of the city’s greatest characters, and experience its diverse history in sites brought to life through audio and video documentary accounts. TXTilecity activates intangible culture in the form of layered stories associ-ated with the city’s textile history, offering unique encounters with histor-ical moments and collective memories that are essential to Toronto’s past, and definitive to its future. www.txtilecity.ca

erratuM

Architect Mark Shapiro was mistakenly identified as George Shapiro in the last paragraph on page 26 of the article entitled “More Than Meets the PHI” in the February 2013 issue of Canadian Architect.

winter/spring 2013

editor: Sylvie Powell

Masthead photo: language TechnologieS

ReSeaRch cenTRe aT univeRSiTy of Quebec

in ouTaouaiS | MenkèS ShooneR DagenaiS

leTouRneux aRchiTecTS / foRTin coRRiveau

Salvail aRchiTecTuRe + DeSign | PhoTo:

Michel bRunelle

Plan to be in Nova Scotia this June

This year the RAIC Annual Festival is being held in partnership with the Nova Scotia Association of Architects in Halifax June 5-8, 2013 at the Marriott Halifax Harbourfront. As well as offering a full complement of Continuing Education courses, social activities and tours, during the Festival two of the most important architects in the profession today will be honoured – Ed Feiner, Hon. FRAIC, and Eduardo Souto de Moura, Hon. FRAIC.

Membership has its benefits

RAIC had a momentous year in 2012 with a successful Festival, important advocacy work, and seeing the word keep spreading that Architecture Matters. This success is all because of its members and it’s time to renew commitments to a strong national professional institute.

If you are a member – we ask that you take a moment to support the profession by logging into your account in the member services portal and renewing your membership for 2013. You can pay online with a credit card, or if you haven’t yet received it in the mail, use the renewal form to request an invoice to pay by cheque. It’s quick and easy!

We know your time, especially volunteer time, is limited and precious and appreciate all the support we get from members. Join RAIC on a committee – or send comments and ideas, we are happy to have input from the members.

American Architect Ed Feiner, Hon. FRAIC, is among the leading experts in the US Public Buildings Design and Planning, and recipient of the AIA Thomas Jefferson Award for public architecture and the United States Government Distinguished Service Award. He currently

serves as director of the Perkins+Will Design Leadership Forum. Mr. Feiner will be the keynote speaker for the Plenary Session June 6 at 8:30 a.m.

Prestigious Pritzker Prize recipient for 2011, Eduardo Souto de Moura, Hon. FRAIC, a Portuguese Architect, has completed over sixty spectacular and innovative buildings, leaving his mark in Portugal and throughout Europe. He will speak during the College of Fellows

Convocation being held at Pier 21 June 6 beginning 7 p.m.

A complete schedule of Events and Continuing Education courses, and flight and accommodation discounts is available at festival.raic.org.

Not a member?

Join us – enjoy savings and the benefits of membership while supporting the Profession. Become part of Canada’s National Community of Architects.

It is through the strength of membership and the commitment of those in the profession that RAIC is able to tell Canadians, and indeed the world that in Canada – Architecture Matters.

To join, please contact Membership Coordinator Angie Sauvé at asauve@raic.org or 613-241-3600 ext 219.

Photo: Communications Nova Scotia / Courtesy of Destination Halifax

hiver/printemps 2013

rédactrice en chef: Sylvie Powell

photo en cartouche de titre : Centre de reCherChe en teChnologieS langagièreS de l’UniverSité dU qUébeC en oUtaoUaiS | MenkèS Shooner dagenaiS letoUrneUx arChiteCteS / Fortin CorriveaU Salvail arChiteCtUre + deSign | Photo : MiChel brUnelle

Prévoyez un séjour en Nouvelle-Écosse en juin

Le festival de l’IRAC se tient cette année en partenariat avec la Nova Scotia Association of Architects et se déroulera du 5 au 8 juin au Marriott Halifax Harbourfront, à Halifax. En plus d’offrir de nombreuses activités de formation continue, d’activités sociales et de visites, l’événement donnera l’occasion d’entendre deux des plus importants architectes contemporains qui seront par ailleurs intronisés à titre de fellows honoraires – Ed Feiner, Hon. FRAIC, et Eduardo Souto de Moura, Hon. FRAIC.

Les avantages d’être membre de l’IRAC

L’année 2012 a été riche en événements pour l’IRAC. Le Festival a remporté un grand succès, nous avons poursuivi nos efforts de défense et promotion de la profession et nous constatons que notre message selon lequel l’architecture a son importance se répand de plus en plus. Cette réussite, nous la devons à nos membres et nous avons besoin de leur appui continu.

Si vous êtes membre, nous vous invitons à prendre quelques instants pour appuyer la profession en ouvrant une session dans votre compte sur le Portail de services aux membres et en renouvelant votre adhésion pour 2013. Vous pouvez payer en ligne avec une carte de crédit ou utiliser le formulaire de renouvellement pour demander une facture et payer par chèque. C’est rapide et facile!

Nous sommes bien conscients que votre temps est rare et précieux, surtout le temps consacré au bénévolat, et nous apprécions pleinement tout l’appui que nous obtenons des membres. Nous vous invitons à faire partie des comités de l’IRAC ou à nous transmettre vos suggestions et commentaires. Nous les accueillons toujours avec grand plaisir.

Ed Feiner, Hon. FRAIC, est un architecte américain qui figure parmi les principaux spécialistes de la conception et de la construction des édifices publics aux États-Unis. Il a occupé le poste d’architecte le plus élevé dans la fonction publique des États-Unis. il est le récipiendaire du prix Thomas Jefferson pour l’architecture publique de l’AIA. Il a de plus reçu le prix

du gouvernement des États-Unis pour services exceptionnels. Ed Feiner est actuellement le directeur du Forum sur le leadership en conception chez Perkins+Will. Il sera le conférencier d’honneur de la séance plénière, le 6 juin à 8 h 30.

Eduardo Souto de Moura, Hon. FRAIC, récipiendaire du prestigieux prix Pritzker en 2011, est un architecte portugais qui a réalisé plus de soixante bâtiments spectaculaires et innovateurs. Il a laissé sa marque au Portugal et à la grandeur de l’Europe. Il prononcera une allocution dans le cadre de la

cérémonie d’intronisation du Collège des fellows qui aura lieu au Quai 21, le 6 juin à compter de 19 h.

Vous trouverez sur le site Web du festival, à festival.raic.org, le programme complet des activités et des cours de formation continue et toute l’information utile sur les tarifs réduits pour le transport aérien et l’hébergement.

Vous n’êtes pas membre?

Joignez-vous à nous et profitez des rabais et des avantages de l’adhésion tout en appuyant la profession. Faites partie de la communauté nationale des architectes du Canada.

C’est par la force de notre effectif et l’engagement des membres de la profession que nous pouvons dire à tous les Canadiens et même au monde entier qu’au Canada, l’architecture a son importance.

Pour adhérer à l’IRAC, veuillez communiquer avec la coordonnatrice à l’adhésion, Angie Sauvé, à asauve@raic.org ou au 613-241-3600, poste 219.

Photo : Communications Nova Scotia / Avec l’autorisation de Destination Halifax

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rural chic

an ambitious recreational development centres on a farm-themed hotel complex, tied to ski hill le massif by a scenic train route.

proJect Hôtel la Ferme, Baie-Saint-Paul, QueBec and Grande-Pointe Station, Petite-rivière-Saint-FrançoiS, QueBecarchitects lemaymicHaud arcHitecture deSiGn in Joint venture witH St-GelaiS montminy + aSSociéS arcHitecteS and coarcHitecture (Hôtel la Ferme); St-GelaiS montminy + aSSociéS arcHitecteS (Grande-Pointe Station)text odile Hénaultphotos andré-olivier lyra unleSS otHerwiSe noted

The recent completion of La Ferme, a hotel complex in rural Quebec, in-vites comparison with the Fogo Island Inn, currently under construction in Newfoundland. Envisioned as bold architectural statements, they are personality-driven projects, involving Daniel Gauthier in the former case and Zita Cobb in the latter. Both Gauthier and Cobb had a modest start in life, made substantial earnings in business, retired early and returned to reinvest in their adopted hometowns. For Cirque du Soleil co-founder Gauthier, home meant Baie-St-Paul, a small regional centre an hour from Quebec City, where the Cirque was born in the early 1980s.

Spectacular landscapes—rugged and isolated on the Atlantic Coast, tamer on the St. Lawrence River—are what Cobb and Gauthier banked on as they devoted time and money to their respective projects. The two widely travelled, well-informed individuals each combined contemporary architecture with traditional craftsmanship, in bids to bring new life to a relatively remote community and boost its economy.

The year after Gauthier returned to Baie-St-Paul in 2001, he acquired local ski resort Le Massif, then deep in debt and in dire need of funding. It became obvious that the resort’s survival hinged on new hospitality facili-ties specifically linked to outdoor recreation. The project started to take shape as Gauthier identified a property 20 kilometres away, which would lend itself to the construction of a major resort hotel. Gauthier’s vision also

included re-establishing a scenic train route that formerly brought passen-gers from Quebec City to the Charlevoix area. In Gauthier’s scheme, the train, departing from the Quebec City area and terminating near Le Manoir Richelieu in Pointe-au-Pic, would include two new stations, one at the foot of Le Massif, and one at the new resort hotel, in Baie-St-Paul.

From the 1850s well into the 20th century, steamships and later trains transported socialites and celebrities to the area’s pristine and dramatic landscapes. Here, architects such as Edward Maxwell, John S. Archibald, Charles McKim and Frederick Todd developed a rich built heritage of cot-tages, summer villas, gardens and hotels. Perhaps the best-known build-ing from that era is Le Manoir Richelieu, now a Fairmont property. It first opened its doors in 1899, then again in 1929 after a major fire, and was long the destination of choice for the upper-class elites who chose to spend their summers in the region.

For Gauthier’s 21st-century attempt at reigniting local tourism, a first overall concept was drafted in 2005 by Schème consultants, a group of professionals that established a solid working relationship with the Cirque du Soleil when landscaping their headquarters in Montreal. Unusual in scope for a resort facility, their idealistic concept reflected Gauthier’s regionally scaled, multifaceted dream for the 120-square- kilometre territory that included mountains, valleys, villages and a town,

above inSPired By Barn doorS, overSized SlidinG red Steel GateS Form a Grand entrance to Hôtel la Ferme’S Porte-cocHère and main courtyard. opposite, top and middle clad witH locally Har-veSted tamarack BoardS, tHe riverSide Grande-Pointe railway Station ProvideS direct acceSS to le maSSiF de cHarlevoix moun-tain From tHe new touriSt train, Seen in tHeSe tHree imaGeS. opposite bottom an early ScHematic SHowS tHe activitieS Planned around le maSSiF de cHarlevoix (leFt), linked By a touriSt train and HikinG routeS to Hôtel la Ferme (riGHt).

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all bordering the St. Lawrence River. The prime Baie-St-Paul land, where the resort proper would be located, had been owned for decades by the Petites Franciscaines de Marie nuns, and featured a magnificent H-shaped wood barn from the 1940s. Purchased in 2006, the former farm—and particularly its barn—would be at the heart of the project.

A Quebec-wide search began for architects capable of transforming this barn into a major resort hotel. No clear design direction had been taken when, one night in late June 2007, the barn went up in smoke. So did part of Gauthier’s dream. Months of limbo followed while he and his partners grappled with what to do next.

With the historical building still on every-one’s mind but its constraints removed, archi-tects came and went. Projects were drawn and redrawn—too often oversized, over budget and oblivious to Gauthier’s original vision. Finally, project consultant François Courville, formerly of Schème, and Marie-Chantal Croft from Quebec City’s Coarchitecture, joined forces in an ultimate attempt. After an intense 15-day charrette, they came up with a scheme that re-kind led everyone’s enthusiasm.

Courville and Croft returned to the basics—the mountain setting, the proximity of the river, the area’s farming tradition, the century-old domestic architecture, and the indelible pres-ence of a religious order that had played a major role in local history. Through careful considera-tion of this context, they arrived at a fundamen-

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tal conclusion: the 145-room hotel could not possibly be a monolithic building, which would dwarf its surroundings and block many of the views. What they proposed instead was to build several pavilions that would respect and mimic the scale of the surroundings.

The project was dubbed La Ferme, alluding to the agricultural development of Baie-St-Paul from the beginning of the 18th century. Seen against monolithic grand hotels such as Manoir Richelieu, the thematic choice and pavilion strategy suggested a close link between the hotel and its French-Canadian rural environment.

The resort centered on a three-storey U-shaped building that would include a small train station, public market and multipurpose hall along with the hotel reception, lobby, restau-rant and 38 rooms. Each of four additional pavil-ions, oriented to optimize views and natural light, would offer a distinct type of accommoda-tion. Croft and Courville set out clear guidelines in terms of narrative and materials. Wood was favoured for symbolic reasons, but also as a strat-egy to employ local workers and make use of Quebec wood products. The one exception was the main building, where a steel structure was specified to comply with fire regulations.

With a new concept clearly articulated, Daniel Gauthier confirmed the involvement of two firms from Quebec City, LemayMichaud archi-tecture design and St-Gelais Montminy + Asso-ciés Architectes (STGM). Well known for their boutique hotels, and particularly for the Hôtel-Musée Premières Nations in Wendake, Quebec, the LemayMichaud team was mainly respon-sible for the Baie-St-Paul project’s interiors. Their design mandate included first and fore-most the hotel’s rooms, but also its lobby, lounge, restaurant and spa.

STGM, on the other hand, was commissioned to plan the multipurpose hall and market (both open to the community at large) as well as to supervise the construction of all exteriors. They built the unassuming train station attached to the main building, the second of two new sta-tions envisaged in the overall scheme. STGM had previously designed the graceful train stop at the foot of Le Massif, completed the year be-fore. Simple and straightforward, the small but elegant Grande-Pointe Station hugs the moun-tainside. Its exposed wood-slat walls provide basic shelter without hiding the striking views of the river. The vocabulary used here is differ-ent from La Ferme’s, and is more in keeping with mountain shelters typically found in Quebec’s wilderness regions.

In La Ferme, the main building faces the town of Baie-St-Paul. Through a giant porte- cochère, equipped with sliding red steel barn doors, one catches a glimpse of the surrounding mountains, creating a dramatic backdrop for

the exterior court and the nearby pavilions. The station and hotel each have separate entrances under this grand portal.

A multipurpose hall that hosts concerts and community events occupies nearly a quarter of the main building’s ground floor. Both hall and hotel share the same lobby, overlooking the ex-terior court and featuring numerous objects made by Quebec and Charlevoix designers. Of particular interest are the distinctive tubular light fixtures by talented Montreal-based Antoine Laverdière. Overall, there was a con-certed effort to buy local, which meant commis-sioning quite a number of artisans to craft tables, beds, bookshelves, chairs and marvel-lous contemporary weavings.

The four thematic pavilions lie beyond La

Ferme’s main three-storey structure, in full sight of the neighbour’s grazing cows. Varying in size and height, they bear slightly contrived names associated with farm outbuildings: 39-room Le Clos (The Farm Yard), 7-suite Le Moulin (The Mill), 49-room La Bergerie (The Sheep Pen) and 12-room La Basse-cour (The Chicken Coop). Le Spa du Verger (Orchard Spa), partially below grade, links La Bergerie and La Basse-cour.

One of the strongest aspects of this project is this breaking down of program, which if amal-gamated under a single roof would have resulted in a massive volume. This type of planning re-calls traditional siting strategies based not just on fire routes and zoning regulations, but also on prioritizing views, protection from the wind, topography and natural light.

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While making agricultural allusions, the buildings here are contem-porary: volumes are straightforward and avoid the nostalgic imagery that so often dominates in country resorts. In terms of colour, most of the fa-çades are left in a natural wood shade, although each of the pavilions per-haps unnecessarily features balconies, soffits and other details in anthra-cite, yellow, aqua or burgundy. Vertical slate signals the presence of the train station and the multipurpose hall on the hotel’s main façade. Gal-vanized steel, seen mostly along the side and back of the multipurpose

clockWise from top left reStaurant leS laBourS, Situated on a mezzanine level in tHe main BuildinG; a room in le cloS FeatureS ruStic wallS; 12 GueSt roomS comPriSe la BaSSe-cour and include Barn-inSPired doorS; tHe Sauna in le SPa du verGer; tHe Hotel loBBy and lounGe. opposite, left to riGht in tHe water-tHemed la BerGerie, Bed PlatFormS Fold uPwardS to Form Partial waSHroom wallS; tHe receP-tion area includeS SculPtural liGHt FixtureS By a QueBec deSiGner.

hall and on secondary exit staircases and on railings, completes the ma-terial palette.

Room layouts were carefully researched so that each pavilion would have its own distinctive room type—or types, as double-height rooms on upper floors were designed differently. Le Clos is perhaps the most evoca-tive, with all interiors strongly reminiscent of barn architecture. Meticu-lously designed interior walls give the impression of being casual assem-blages of studs and planks. This strategy in turn informed the wall motifs

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hÔtel la fermeclient GrouPe le maSSiF/SoGePcarchitect team lemaymicHaud—kevin mccandleSS, katrine Beaudry, roméo coté, annie-claude GilBert, marie-cHriStine BaillarGeon, cyntHia roy, tony demerS, PHiliPPe GaGnon, réal leSSard, FrançoiS Gaudreault, marc leBlond, marie-andré-morin, audrey cHaBot. StGm—micHel GinGraS, StéPHan lanGevin, Guylaine laFortune, maxime arcand, raymond BoucHer, catHy GaGné, alexandre Guérin. coarcHitecture—marie-cHantal croFt, marie-ève cantin.structural emS inGénieriemechanical/electrical Génécor exPertS-conSeilS civil Génio exPertS-conSeilSlandscape FrançoiS courvilleinteriors lemaymicHaud arcHitecture deSiGncontractor l’intendanttheatre Guy St-amourS (ProductionS arteFact)acoustics claude vanier (audioFax)area 14,430 m2 budGet $52 mcompletion decemBer 2012

Grande-pointe stationclient GrouPe le maSSiFarchitect team micHel GinGraS, StéPHan lanGevin, Guylaine laFortune, valérie GodBout, marcel St-louiS, FrançoiS cHaBot, raymond BoucHerstructural BPr tetratecHmechanical/electrical Snc-lavalincontractor Qualité conStructionproJect manaGement l’intendantGondola doPPelmayrarea 630 m2 budGet $1 mcompletion may 2012

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used throughout the complex, a constant reminder of the original farm. Also of particular interest are the rooms developed for La Bergerie.

Here, LemayMichaud decided to distance themselves from the theme’s constraints, and converted the word Bergerie into Berge, meaning shore. This allowed them to create a totally different type of room where they quite successfully explored placing beds on raft-like structures, which fold up semi-vertically to form walls separating the sleeping areas from the open bathrooms. Noteworthy as well are the four-bed dorms, probably the best in the country, placed above the hotel train station—a type of ac-commodation Gauthier had insisted on.

Overall, the parti adopted for Baie-St-Paul differs greatly from what is underway on Fogo Island—although it is still difficult, at this stage, to vis-ualize Todd Saunders’s finished 29-room hotel in Newfoundland with its art gallery, restaurant, spa and cinema. The Fogo Island Inn will no doubt be more sculptural in form than La Ferme, where partners, context, and tighter budgets strongly impacted the project.

In the end, both resorts, if they are successful, may demonstrate that contemporary architecture provides an often forgotten added value, ap-preciated not just by initiates but also by members of the public at large. One hopes that the passion and ambitious vision that drove La Ferme and the Fogo Island Inn will serve as inspirational examples for private pa-trons and mainstream developers alike. ca

Odile Hénault has worked as an architect, critic, editor, curator, school director, teacher and professional advisor. She presently lives on the south shore of the St. Lawrence River near Quebec City.

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commonwealth conversion

combining a pro football stadium with community facilities, edmonton’s latest recreation centre is a welcome addition to an inner-city neighbourhood.

project Commonwealth Community ReCReation CentRe and edmonton eskimo Fieldhouse, edmonton, albeRtaarchitects maClennan Jaunkalns milleR aRChiteCts in Joint ventuRe with hiP aRChiteCts text alexandRa mCintoshphotos tom aRban

Large-scale professional sports facilities often make for daunting surround-ings. While animated during events, in the off-season their banal con-struction materials, superhuman scale, suburban location and automobile- centric access result in hulking structures, afloat in a sea of asphalt.

Edmonton’s Commonwealth Stadium, built for the 1978 Commonwealth Games, is one of the largest outdoor sports venues in Canada, and until re-cently, one such lonely giant. Located north of the downtown core and bor-dered by vacant grounds, light industry and post-WWII bungalows, the site was largely inaccessible, due as much to a lack of means as to one of desire.

The recently opened Commonwealth Community Recreation Centre (CCRC) results from a partnership between the City of Edmonton and the Edmonton Eskimo Football Club. Designed by MacLennan Jaunkalns Miller Architects (MJMA) of Toronto and HIP Architects of Edmonton, the project builds on and expands the 1978 facilities, combining stadium activities, football operations, and a fitness and community centre. Along

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above From the main entrance plaza, a cross-section oF the centre’s activities is put on display, Framed by angular canopy and Façade elements. in place oF standard horizontal Flashing at the rooFline, a custom detail allows the standing-seam siding to run up and over the top oF the parapet, maintaining con-tinuity oF its vertical lines. oPPosite bottom a view oF the stadium.

with several other large-scale infrastructure projects (see CA, January 2013), the CCRC participates in a citywide plan to revitalize neighbour-hoods through civic-minded facilities and good design.

The new four-storey construction adjoins the south end of the stadium and projects outwards in a triangulated plan. Three main masses— gymnasium, aquatics area and field house—define the structure and frame a central lobby. Built into the canted geometry of the site, the facil-ity meets the underbelly of the stadium, filling in awkward angles and underused spaces.

A playful façade clad with standing-seam metal siding begins at ground level and angles upwards to form a canopy above the main entrance. Undercut with pale-stained Prodema panels and supported by slender columns, the canopy dips down to grade and rises to frame the aquatics area, projecting like a ship’s prow toward the street. Generous ceramic-fritted glazing offers partial views into the pool, lobby and upper floor fit-ness area, where patrons on treadmills run their interminable race. To the west, the frontage zigzags around the indoor field house, dipping below grade for delivery and service areas. From all sides, the angular geometry and bold gestures of the roofline mimic the skyward thrust of the stadium seating, jutting into the air like the extended arm of a foot-ball player following through on a pass.

Inside, sunshine streams in through ground-floor windows, clerestory glazing and baffled skylights. The generous use of reflective and trans-parent surfaces results in a striking interplay of light and shadow, with

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views through and beyond the building. Light reflected by the water of the pools mingles with shadows from the patterned glass, multiplying and bouncing off the polished concrete floor, white walls and ceramic tiling.

From the central lobby, the three distinct masses of the building are discernible. Deep window wells overlook the gymnasium one storey below, while on another side, an enclosed poolside lounge is furnished with lozenge-shaped seats and tables. Lining the glass wall that separates the field house from the lobby, poured concrete benches evoke Le Corbu-sier’s integrated chaise longue at Villa Savoye. Across the green expanse of artificial turf, further glazing allows for views of the adjacent grounds and stadium outbuildings. Within the field house, a series of enormous industrial fans combined with windows that open directly onto the prac-tice field provide natural ventilation and air circulation. This connection of interior and exterior expands the sense of space around the indoor field, resulting in an open-span structure that seemingly hovers above the ground plane.

The architects’ ample use of glazing throughout the ground floor of the CCRC was initially resisted by the clients out of fears it would become an easy target for vandalism—but also because they felt there was nothing worth looking at outside. The bordering communities of McCauley, Park-dale and Alberta Avenue—ethnically diverse areas with median household incomes that fall significantly below the city average—saw little urban de-velopment over much of the 20th century. According to city architect Carol Bélanger, however, the CCRC has seen a reduction in vandalism. An in-creased sense of security is achieved through these “eyes on the street”

along with well-lit entrance courts and exterior pathways. In addition, openings at the upper storeys create lines of sight onto the park and frame glimpses of the stadium at unusual angles. These vantages offer new, in-triguing perspectives—both literal and figurative—on the surrounding area, framing the once disregarded as a place worthy of attention.

Access to the fitness area and running track on the upper floor is gained by a central stairway wrapped in laminate panels, machine-milled with patterns of circular holes. This material recurs on the upper storey as a railing alongside the fitness area, overlooking the lobby. Exercise bikes and weight machines are aligned along the glass frontage of the building, with views of the pools and street rather than the usual wall-mounted gym televisions. Around a corner, a punchy orange running track wraps above the rectangle of the field house. A series of cardio ma-chines on a platform adjacent the track act like a VIP box, offering privil-eged views of the field, park and stadium.

With its curlicue waterslide, spurting fountains and heated whirlpool, the light-filled aquatics area is a delight for children as well as adults in-clined to messing about in water. The lap pool has a tendency to be usurped by non-lap swimmers, but this is perhaps more an issue of edu-cation than of architecture. Each pool has a gently sloping access ramp for patrons with reduced mobility, particularly appreciated by this writer with a knee injury and sore back.

Balancing transparency and obscurity is a theme throughout the build-ing, apparent in the dot patterning on interior and exterior glazing. The frit pattern in the fitness area, for example, increases in density as the

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opposite top a dynamiC dot PatteRn gRaCes the main staiR and Railing suRRounding the seCond-FlooR Fitness aRea. above wood lami-nate Panels add waRmth to the aquatiCs aRea, Consisting oF seveRal sePaRate Pools. opposite bottom, left to right the noRth Façade oFFeRs glimPses into the Fieldhouse and views oF CaRdio maChines above; the Fieldhouse oFFeRs an oPen, sPaCious atmosPheRe FoR PRaCtiCe duRing winteR months; FRom the lobby, windows oPen onto a gymnasium assoCiated with a small athletiCs CentRe that PReviously adJoined the stadium; a Running tRaCk suRRounds the uPPeR level oF the Fieldhouse.

weight machines become heavier, creating a visual parallel to the requi-site muscular exertions. Exercise classes are glimpsed through partially screened glazing, providing a sense of privacy for those who consider themselves unfit, uncoordinated or arrhythmic. Accounting for comfort and privacy was intentional, according to MJMA principals Viktors Jaunkalns and Ted Watson. They explain that the visibility of multiple ac-tivities, from Zumba to community art classes, “creates a sense of the overlay of activities at the Centre, serving to both condense and boost the use of the space.” The architecture itself encourages participation.

Beyond the publicly accessible spaces of the CCRC, the Edmonton Eskimo Football Club’s administration and athletics areas directly con-nect with the stadium. In marked contrast to the light-filled airiness and transparency of the community centre, the football team stipulated an aesthetic somewhere between golf and gentlemen’s club. Liberal use of the team’s green and gold colours was clearly a non-negotiable.

The original, mostly subterranean, sports complex adjoining the sta-dium was torn out and replaced with offices and meeting rooms on two levels. Floor-to-ceiling windows and a balcony overlook the playing field, where on this visit, a disproportionately small tractor was engaged in the Sisyphean task of clearing snow from the field. One floor below the of-

fices, a sequence of meeting rooms opens onto a large deck which projects over the field. Used for coaching sessions, the rooms are convertible into event spaces that may be rented by community groups but seem more suited for corporate schmoozing—upscale gameside tailgating, as it were.

The Eskimos’ locker and equipment rooms as well as areas for physio-therapy and medical treatment are located at the playing-field level, two floors below grade. No metal closets or pungent odour here: the locker room is an elliptical space with carpeted floors, wood panelling, and curved walls lined with throne-like seating for players. The not quite football-shaped area contributes to the team’s sense of unity prior to playing, not to mention the impossibility of avoiding eye contact after a particularly bad play.

For training, the players share the community centre’s gymnasium, fit-ness centre, field house and outdoor Clarke Field, all of which are access-ible through interior stairwells. One of the principal advantages of the club’s reconfigured spaces, according to Eskimos staff, is their proximity to the fitness areas and the stadium field. The locker room gives almost directly onto the field, so players can emerge through the new glass front-age into the stadium in proper ceremonial fashion.

As a partnership, the CCRC’s program is uniquely polarized: aiming to

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enhance and offer services to underprivileged neighbourhoods while meeting a professional sports team’s administration and athletic needs. Since the CCRC opened last spring, use of the facility has continued to climb exponentially. As one front-desk attendant remarked, there has been a steady influx of people, “and not just New Year’s-resolution types.” The CCRC’s managers have responded in kind, in one instance converting a multi purpose room into a drop-off day-care centre. On an average Saturday, the lobby is teeming with parents pushing strollers, twentysomethings in workout gear, kids bouncing basketballs, and—apparently inevitable in new

buildings—a fashion shoot. Muscles freshly exhausted, two 6-foot-tall line-backers with a combined weight of at least 500 pounds amble past the weight machines in that slow, stiff-limbed gait that is the province of the overly fit. Meanwhile, an elderly gentleman stretches on a mat and teen-agers do full-out time-trial sprints around the running track.

The CCRC’s mixing of pools and play, of pro-sports athletes and low-in-come families, of public good and private enterprise, seems positive and sustainable. The considered effort in creating views between and beyond differently programmed spaces provides legibility to the building and its

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combined functions. Visual and physical connections to the surrounding neighbourhood, including new formalized pedestrian and parking areas, also help to identify the site as a destination. The building is a democra-tized, permeable and participatory space where the community can see and recognize itself, or perhaps envision what it would like to become.

The heroic Modernism of the 1978 stadium was the product of an era vastly different in terms of social and economic optimism. The new Com-monwealth Community Recreation Centre aspires to its namesake, balan-cing the needs of its diverse user communities, and creating a space for common wealth. ca

Alexandra McIntosh writes on architecture, design and visual arts. She is based in Banff, Alberta.

client City oF edmonton and the edmonton eskimo Football Clubarchitect team mJma—ted watson, viktoRs Jaunkalns, aaRon letki, andRew FilaRski, John maClennan, lukasz kos, tRoy wRight, kyung sung hoR, Jason wah, Cohen Chen, bi-ying mao, James andRaChuk, siRi uRsin. hiP aRChiteCts—stewaRt inglis, CRaig hendeRsen, eRwin RausCheR, gaReth leaCh, Jim dobey, bRent ConneR, ChRistian PaRoyan, bob muRRay.structural Read Jones ChRistoFFeRsen engineeRingmechanical/electrical hemisPheRe engineeRinglandscape/civil isl engineeRinginteriors mJma/hiPcontractor ClaRk buildeRscode david hine engineeRing inC. specifications digiCon inFoRmation inC.sustainability Cobalt engineeRingcommissioning Cdml geotechnical eba enginneeRingenvelope building sCienCe engineeRing ltd.elevator leRCh batessurvey navland geomatiCs inC.wind Rwdirendering CiCadaarea 220,000 Ft2 budget $96 m completion sPRing 2012

Raising the Roof

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employing a veRnaculaR aesthetic, a handsome community centRe bRings togetheR Residents at the thReshold of a golden hoRseshoe town.

pRoject Brooklin Community Centre and liBrary, Brooklin, ontarioaRchitect Perkins+Will Canadatext Paige magarreyphotos James Brittain

Its bustling energy is evident before even entering. Standing in the entry-way to the Brooklin Library and Community Centre, the entire sprawling complex comes into view. Children running through the library, elderly ladies learning to salsa in the seniors’ centre, an aerobics class underway in the gym. For a moment it feels like the epicentre of the small town at the northern edge of Whitby, and in many ways it is: bringing together longstanding citizens with newcomers to the surrounding suburbs and linking together groups that previously gathered at opposite ends of the village. “None of these spaces were together before,” says Perkins+Will’s Andrew Frontini, who headed up the project. “When you bring it all together you have a real energy.”

Brooklin represents an ever more common type of Ontario small town: a historic village of independent shops and small bungalows whose edges are seeping outward as surrounding farmland and forests are replaced with residential developments and big-box stores. Existing community buildings were fast becoming inadequate: a 19th-century brick commun-ity hall, an old mill-turned-multipurpose space, and a 185-square-metre library spread seniors, youths and new parents to different facilities across the community and separated newly arrived residents from the vil-lage core.

Enter Perkins+Will. The Canadian chapter, formed in 2011 as an amal-gamation of Vermeulen Hind Architects, Shore Tilbe Perkins+Will and Busby Perkins+Will, brought a diverse range of experience in the realm of community facilities, including the serene sunlight-filled Angus Glen Community Centre and Library, and the dramatic stone-clad Whitby Public Library and Civic Square. For Brooklin, the firm was selected from a 2005 competition to design a new community centre replacing an exist-ing library and attached fire hall. The site featured decades-old greenery and backed onto Kinsmen Park and Lynde Creek. Their winning entry fo-cused on the “bald spots” that would be created when the existing build-ings and playground were torn down; the design proposed a series of linked structures that wove through the site, leaving as much of the sur-

opposite an elegant roof system Creates a sPaCious liBrary interior, reminisCent of loCal mills and heavy-timBer Barns. top, left to Right a Pergola leads visitors to the main entranCe from the Parking area; a neW Courtyard is framed By the three Buildings. below the Com-Plex ComPrises an interConneCted Community Centre at left, liBrary at right, and gymnasium, hidden in this vieW.

30 canadian aRchitect 03/13

rounding nature intact as possible. “Our ap-proach was to really work with this long narrow site,” says Frontini. “We thought these three spots could be our building blocks.”

By the time they began to fine-tune the con-cept—the project remained in limbo until 2008 due to the possibility of a post office being added—the team all but redesigned it while keeping with the basic linked pavilion idea, which allowed the 3,716-square-metre complex to be broken into smaller parcels that would be easier to fill with light and maintain. They pre-sented a series of modern flat-roofed buildings,

but it didn’t resonate with the community. “We’d been struggling with an architectural language,” says Frontini. An understandable challenge, considering the vernacular context—a mix of ’70s bungalows, century-old farm-houses, developer-built homes and old-fash-ioned storefronts. They wanted to find a design that jived with its surroundings while also re-sponding to the nearby hardwood forest and the village’s historic roots. After surveying the area, Frontini and his team discovered the commun-ity was home to several simple Victorian-era structures, large-spanned with sloped shed

roofs and gables, including the 1876 Brooklin Township Hall (now a community centre), the 1848 Brooklin Flour Mill, and the now-demol-ished Brooklin Saw Mill. “We said, let’s work with that form,” says Frontini. “It was purely a matter of abstracting this idea of agrarian architecture.” Several other early 20th-century timber barns just outside of Brooklin’s core in-spired the project’s large scale.

The team developed an idea of three linked barns that each held a specific purpose: the li-brary in one, the gymnasium in another, and the remaining community services—seniors’

below, clockwise fRom top left a ComPuter area overlooks the Community Centre atrium; a sliding Panel reveals a youth room With Pool taBle; the generously daylit gymnasium; young sPeCtators Peer into the gym from a Corridor adJaCent to the PresChool room.

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centre, computer lab, youth space and multi-purpose rooms—in the third. The wings would weave around the narrow site, making the most of the forest and creek views and allowing for ample daylighting. With that, something clicked. Not just with the community, but with-in the firm as well. Frontini had already been connecting modern rural aesthetics and the natural environment with projects like the Fathom Five National Park Visitor Centre in Tobermory, completed in 2007. “We were ex-ploring the relationship between these indoor/outdoor spaces and buildings framing court-yards that captured existing vegetation,” he says. “There were a lot of elements in that pro-ject that I wanted to take a second crack at.”

At the same time, the concept for Brooklin was very much a departure from previous work by the firm; Frontini sought to evoke a barn-like aesthetic in the simplest terms possible, merging warm materials and an easily relatable shape to modern lines and streamlined vol-umes. “This was the first time that we had ap-plied a simple shed roof to a structure of this scale,” he says. “We were very concerned about adapting this archetypal form to a modern idiom, in terms of structure, materiality and detailing.” On the exterior, a heavy Wiarton limestone base is balanced by panels from Spanish manufacturer Prodema and ample glazing that reaches all the way to the top of the A-line frame. Wood louvres on the upper windows—installed between the two layers of glazing to minimalize maintenance—are barely visible at night, but by day control glare and solar gain without limiting the entry of natural light from lower windows.

Situated along the western edge of the site, the community pavilion is set back slightly from the sidewalk behind existing trees and stone benches. Inside the lobby, views of the entire complex can be seen. “We created this common perspective from which you can view the activ-ities on both floors, and walk in the door and get a sense of everything that’s going on,” says Frontini. The lobby also offers an overview of the simple yet warm interior palette. Spruce, pine and fir ceilings, pale oak millwork, a butcher block-style reception desk and oak ven-eered wall panels merge seamlessly throughout the space, particularly when accented by natural surroundings from virtually every sightline. Despite all the different types of wood in the in-terior, Frontini sought to keep a simple, unclut-tered aesthetic. “We’re trying to create a clean modern language,” he says.

On the first floor, the wing includes a seniors’ centre designed to facilitate everything from dance classes to euchre tournaments, as well as change rooms, administrative facilities and a multipurpose room that can be rented out for

1 youth room 2 ComPuter room 3 Craft room 4 meeting room

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community events. Smaller multipurpose rooms on the second floor ac-commodate art classes and meetings, adjacent to a youth centre complete with pool table and video game consoles. The barn vernacular is particu-larly felt in a hayloft-style panel that opens the youth room up to the floor below. A computer lab with floor-to-ceiling glazing overlooks the quiet street below and offers a peek of Brooklin’s downtown core to the east.

Alongside the community pavilion, the library—the most public ele-ment of the building—juts out toward the street. The project’s truss sys-tem takes centre stage: though present in all three pavilions, the library affords the most dramatic, uninterrupted view of the streamlined yet highly complex steel cable system. This is especially apparent because its entrance features a lower ceiling that opens up dynamically to the full double height. Panels running along the upper level of the space offer acoustic protection for readers while mimicking the sliding panels in the entrance area. A large seating area with a stone-clad fireplace anchors the southern edge. The fireplace chimney, jutting out above the three wings, acts like a beacon for the complex and is viewable from downtown.

At the back of the site, the double-height gymnasium veers off the rear of the community pavilion at a 90-degree angle. While the wing was sited to preserve some of the older trees on the site, it also created an inset courtyard between the library and the gym, bringing more light into all three pavilions and allowing for additional views. The gym’s easternmost wall is completely windowless to avoid light pollution to neighbouring houses. But the glazing on the other walls affords some of the most beautiful views of the whole complex, with the forest to the north and the courtyard to the south. A security shutter isolates the gym and multi-purpose room, allowing night-time events such as dances to take place without powering the rest of the building.

While the community centre’s agrarian references, warm materials and gorgeous views—not to mention its deep roots in local history and sur-rounding landscape—are all key to the project, it’s perhaps what they stand for that’s even more important: a building constructed to be used. “You want to bring the best design that you can to the situation,” says Frontini. “But it’s got to be design that can take being occupied. It can’t be too precious or too delicate in its expression. The buildings have robust components that should be able to stand up to anything.” That’s a good thing, considering the volume of people the building is designed to serve. The area’s current population of 30,000 represents two subcultures, the locals from the downtown core as well as the ever-growing number of newcomers that populate the periphery. For Frontini, projects such as this have the power to bring these groups together. “A building like this gives them the opportunity to develop a new culture,” he says. “It provides a common space for village residents and for the people in the outlying suburb. It is sited in the village but at a threshold where old fabric gives way to new, so it acts as a gateway to the community.” ca

Paige Magarrey is a Toronto-based architecture and design writer.

1 Curtain Wall With integrated Wood grille

2 steel struCture3 standing-seam metal roof4 ConCealed gutter

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above Wood louvres emBedded BetWeen glass Panes Control solar gain and lend a fine texture to the Curtain Wall.

5 steel outrigger system6 Wood deCk soffit7 aluminum fasCia8 Wood veneer Bulkhead

client toWn of WhitBy, WhitBy PuBliC liBraryaRchitect team andreW frontini, aimee drmiC, d’arCy arthurs, linda neumayer, liz livingston, sarah elliot, gavin guthrie, dimitri simosstRuctuRal BlaCkWell BoWiCk PartnershiPmechanical smith + andersenelectRical mulvey + Banani international inC.civil mmm grouPlandscape fleisher ridout PartnershiPinteRioRs Perkins+Will Canada inC.contRactoR aquiCon ConstruCtionaRea 48,000 ft2 budget $12 mcompletion January 2012

SOPREMA_PubSoprabase-CanadianArchitect.pdf 1 12-10-11 10:05

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inSiteS

Building BlockSOntariO’s current full-day kindergarten additiOns and renOvatiOns allOw architects tO gO beyOnd the design brief in cOntributing tO learning envirOn-ments fOr children.

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One of the most important recent opportunities for several architecture firms in Ontario has been a series of education renovations. While individually modest, collectively, these repre-sent a significant expenditure in community-level architecture. The Province of Ontario has allocated $1.4 billion in capital funding in the last two years to support the creation of new full-day kindergarten classrooms in close to 3,400 schools, with further investments planned to fully implement the program by 2014 to serve 250,000 kindergarteners. More than a billion dollars represents a huge investment in school buildings, although the figure is put into perspective as a long-term investment within the province’s $21-billion annual education budget.

Both the recent Drummond Report and the Progressive Conservative party’s policy paper on education call for delaying the remaining roll-out of the full-day kindergarten program in an effort to balance the provincial budget. There is a serious need to shrink the deficit—ratings agency Moody’s changed its assessment of Ontario’s economic outlook from stable to negative in 2011—but cuts to kindergarten fund-ing, and its building program that is moderniz-

ing early education spaces, would be a signifi-cant loss for the children in early education that would be felt for many years to come.

Independent studies have supported what architects instinctively know: that well-de-signed learning spaces have a powerful positive effect on education. An assessment by Price-waterhouseCoopers for the UK’s Department of Education and Skills in 2000 found a favourable relationship between capital investment in schools, student performance and staff morale.1 A Georgetown University study showed that after controlling for variables such as economic status, pupils’ standardized achievement scores rose significantly in relation to the quality of a school’s physical environment.2

For small to mid-sized firms specializing in education, additions and renovations to support the full-day kindergarten program may repre-sent a significant portion of current work. At Workshop Architecture, we are presently de-signing new kindergarten classrooms for four schools in Grand Erie District School Board to open in September. Our colleagues at Bortolotto Design Architect are working with the Toronto District School Board (TDSB) on 15 projects rolling out this year and in 2014.

Although modest in scale, these projects represent occasions to deliver the necessary re-quirements while also addressing other issues and re-energizing the entire school. Bortolotto’s recent designs demonstrate a smart, user- focused design attitude in action. “We look at every full-day kindergarten project as an

opportunity to introduce added value, smart design solutions that go above and beyond client expectations,” says firm principal Tania Bortolotto.

As part of a larger project to expand Oakridge Junior Public School, Bortolotto transformed three existing classrooms into kindergarten spaces with a three-metre-wide addition to make space for students’ individual storage cubbies. The minimal intervention tripled the amount of natural light entering the east-facing rooms by the use of continuous glazing above the cubbies, and provided direct access to a newly landscaped play area.

At Willow Park Junior Public School where Bortolotto was tasked with adding two kinder-garten classrooms, the firm’s design also in-cluded improvements to the outdoor play area, upgrades to the storage space for the existing kindergarten rooms and a new engaging and welcoming building façade. This last element is important when you think of how anxious four-year-olds—and their parents—can be when starting school for the first time.

Montgomery Sisam Architects, a larger firm with a reputation for considered school designs, also have full-day kindergarten projects in their portfolio. In their three-storey addition to house two kindergartens and four classrooms at Maurice Cody Junior Public School in Toronto, they incorporated a central multipurpose atrium. This new space benefits the entire school community by adding light to what had before been dark double-loaded corridors and

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responding to innovative teaching methods that call for breakout spaces. Tucked into the inside corner of the existing L-shaped school, the addition removed the need for two portables on the site while providing ample room for up-graded playgrounds.

Design lead Robert Davies points to the posi-tive role the Local School Community Design Team played in assuring a successful outcome. “The design process assembled a large group of stakeholders to help steer the front-end design

and development of the work,” he notes. “Prin-cipal, teachers, parents, caretakers, community representatives, trustee, superintendent, TDSB design specialists, planners and consultants met and planned the work to ensure the re-sponse fit the need.”

For a $500,000 addition to the Princess Elizabeth Public School in Brantford by Work-shop Architecture, designer David Colussi pro-posed a solution that added a new learning space while also turning a dead end in the U-shaped

plan into a courtyard. Although outside of the original project scope, the courtyard was brightened through inexpensive pavers, paint and tile, becoming a secure outdoor play area accessible from both new and existing kinder-garten classrooms.

This design solution addressed graffiti issues and removed the need for a fenced-in play area facing the street. The addition also linked two previously unconnected existing hallways into a continuous circulation loop through the kinder-

aBove mOntgOmery sisam architects added new kindergartens and classrOOms tO the maurice cOdy JuniOr Public schOOl, alOng with an atrium that brings fresh light and energy tO the existing building. oPPoSite BottoM, left to right bOrtOlOttO design architect’s dynamic façade fOr willOw Park JuniOr Public schOOl; interiOr Of wOrkshOP architecture’s new kindergarten classrOOm fOr the Princess elizabeth Public schOOl; an exteriOr Play area created frOm a dead-end sPace at the Princess elizabeth Public schOOl.

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garten boot room and reoriented the student arrival sequence, resulting in a new shared re-source and storage area. “The courtyard provides a bonus space that we would not have otherwise had,” school principal Annette Blake remarks. “The entire school benefits from this exciting, bright, cheerful space which sets a positive tone for a wider school revitalization.”

These case studies exemplify how, when given the opportunity—even with a small scope and budget—architects have been able to address existing issues and support new approaches to teaching and learning within our country’s aging school infrastructure. By contrast, full-day kindergarten was recently introduced in British Columbia, but its provincial government decided to award a single contract for custom-built modular units for most of the 156 schools requiring more space. Only 21 schools were thought to need site-specific designs. There may be a lower cost to building multiple modular units. However, beyond furnishing additional classroom spaces, capital investment in custom-designed kindergartens could make a positive impact more broadly in each individual school.

Full-day kindergartens are just the tip of the iceberg for instances where architects are using small projects to add value beyond the brief. The success of the projects executed so far should

serve as a model worthy of emulation by educa-tion ministries across Canada, as well as other agencies involved in commissioning retrofits and additions to serve public needs. ca

Helena Grdadolnik is an Associate Director at Work­shop Architecture Inc.

aBove at Oakridge JuniOr Public schOOl, bOrtOlOttO design architect added new class-rOOms On the secOnd stOrey, at left, as well as a narrOw striP On the grOund flOOr tO create rOOm fOr three kindergarten classrOOms, at far right. the renOvatiOns build On earlier additiOns by teePle architects.

1PricewaterhouseCoopers (2000). Building performance: an empirical assessment of the relationship between schools’ capital investment and pupil performance. Research Report No. 242.2Edwards, M. (1991). Building conditions, parental in­volvement, and student achievement in the DC public school system. Unpublished Master’s thesis, Georgetown University.

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calendar

Thomas Demand: Animations January 18-May 13, 2013 This exhi bi­tion at the DHC/ART Foundation in Montreal features internationally renowned German artist Thomas Demand. www.dhc-art.org

Urban VernacularMarch 1-29, 2013 This exhibition at the AKA Gallery in Saskatoon fea­tures Laura St. Pierre’s ongoing photographic project that imagines a series of cobbled­together dwell­ings located on the fringes of urban spaces. www.akagallery.org

elena filipovic lectureMarch 14, 2013 Elena Filipovic, cur­ator at Wiels Contemporary Art Center in Brussels and co­editor of The Biennial Reader, speaks at 7:30pm at the Prefix Institute of Contemporary Art in Toronto about the relationship between the city and the contemporary art biennial.www.prefix.ca

Bradley cantrell lectureMarch 14, 2013 Landscape architect Bradley Cantrell lectures at 6:00pm at the University of Mani­toba Faculty of Architecture.

Surface Forms March 14-May 4, 2013 This installa­tion by Scott Eunson at MADE in Toronto is an adaptable textural environment that evokes the scal­ing, fractal patterns seen through­out nature.www.madedesign.ca

design thinking and teachingMarch 18, 2013 This is the last in­stallment of the three­part sympo­sium exploring the academic merit of a new school of architecture at the University of Saskatchewan and the interdisciplinary research and teaching opportunities on campus. Beginning at 8:45am in Convocation Hall on the U of S campus, this panel presentation features Katerina Rüedi Ray, Clive Knights and Leslie Van Duzer. www.archusask.ca

Judith leclerc and Jaime coll lectureMarch 18, 2013 Judith Leclerc and Jaime Coll, principals of Coll­ Leclerc Arquitectos in Barcelona, deliver the Gerald Sheff Visiting Professors in Architecture lecture at 6:00pm in the Macdonald­ Harrington Building at McGill University.

eric Miller lectureMarch 18, 2013 Professor Eric Miller of the University of Toronto’s De­partment of Civil Engineering de­livers the Margolese Prize Lecture at 6:30pm at Robson Square in Vancouver.

innovation talks: is Public art really important?March 19, 2013 The Evergreen Brick Works in Toronto hosts a discus­sion on how public art contributes to the cultural, social and econom­ic value of a city, and how it con­nects to and serves the public. The event is moderated by Christopher Hume, joined by panellists Ken Greenberg, Andrew Davies, Janine Marchessault, Michael J. Prokopow and Rebecca Carbin.http://ebw.evergreen.ca/whats-on/ special-events/innovation-talks

rahul Mehrotra lecture March 19, 2013 Rahul Mehrotra of the Harvard Graduate School of Design and RMA Architects in Mumbai delivers the George Baird lecture at 6:30pm at the Daniels Faculty of Architecture, Landscape and Design at the University of Toronto.www.daniels.utoronto.ca

sustainable and healthy new neighbourhoods: the funda-mental Building Blocks of tomorrow’s saskatoonMarch 20, 2013 Renowned global urban planner Larry Beasley deliv­ers a free public lecture at 7:00pm at Saskatoon’s Roxy Theatre on the need to transform the postwar suburban model for a sustainable future.www.facebook.com/events/ 304071079718803/

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rania Ghosn lectureMarch 20, 2013 Rania Ghosn of the University of Michigan at Ann Arbor delivers the Form and Energy Lecture at 6:30pm at the Orpheum Annex in Vancouver.

The Ideal House ProjectMarch 21-April 27, 2013 This exhi bi­tion at the Susan Hobbs Gallery in Toronto features the work of Ian Carr­Harris and Yvonne Lammer­ich, positioning a model of a build­ing as both a noun and a verb, a paradigmatic object to be decon­structed and built again.

Manuelle Gautrand lectureMarch 25, 2013 Manuelle Gautrand, principal of Manuelle Gautrand Architecture in Paris, delivers the Sheila Baillie lecture at 6:00pm in the Macdonald­Harrington Building at McGill University.

innovation talks: Who Pays for regional transportation?March 26, 2013 Taking place at the

Evergreen Brick Works in Toronto, panellists will turn a critical eye to the GTHA’s funding structure, and how it could be improved—by ref­erencing effective governance models from transportation agen­cies around the world.http://ebw.evergreen.ca/whats-on/ special-events/innovation-talks

2nd annual summit on culti-vating and sustaining your creative economyMarch 26-27, 2013 This summit in Toronto provides case studies and sessions presented by leaders around the world to support crea­tive industries, economic develop­ment and job growth. www.creativecitiescanada.com

craig dykers lectureMarch 27, 2013 Architect Craig Dykers of Snøhetta (Oslo and New York) delivers the Jeffrey Cook Mem orial Lecture at 6:00pm at the University of Manitoba Faculty of Architecture.

2013 one of a Kind spring show & saleMarch 27–31, 2013 The fine work of 450 artisans and designers will be on display and for sale at this eagerly anticipated annual event, taking place at the Direct Energy Centre in Toronto. www.oneofakindshow.com

edward dimendberg on diller, scofidio and renfroMarch 28, 2013 As part of the Urban Field Speakers series at the Prefix Institute of Contemporary Art in Toronto, architectural historian and professor Edward Dimendberg speaks at 7:30pm about the work of Diller, Scofidio and Renfro. www.prefix.ca

rethinking Urban equipment March 28, 2013 Erkin Ozay of the Harvard Graduate School of Design delivers a midday talk at 1:00pm at the Daniels Faculty of Architec­ture, Landscape and Design at the University of Toronto.

leon van schaik lectureApril 3, 2013 Leon van Schaik, architecture professor at the RMIT in Melbourne, speaks at 6:00pm at the Faculty of Environmental De­sign at the University of Calgary.http://evds.ucalgary.ca/events

Peter Busby lectureApril 3, 2013 Peter Busby of Perkins+ Will Canada delivers an Honorary Professor Lecture at 6:30pm at the Liu Institute in Vancouver.www.sala.ubc.ca Julie Bargmann lectureApril 8, 2013 Julie Bargmann of DIRT Studio in New York delivers the Corneilia Hahn Oberlander Lecture at 6:30pm at Robson Square in Vancouver.www.sala.ubc.ca

42 canadian architect 03/13

BacKPaGe

Scooter houSe

A chArmingly simple bAckyArd structure in the city is Achieved through An AdmirAble economy of meAns.

teXt leslie Jen Photo briAn o’briAn

A relatively new presence on the Canadian scene, O’Brian Muehleisen Architecture Studio (OMAS) is making a name for itself around the world. With most of its work thus far in the United States, the firm is currently toiling away on projects as far flung as Costa Rica and Ireland. Canada was introduced to the practice in 2011 through the firm’s inclusion in Twenty + Change, a biennial exhibition and publication series focused on the pro-motion of emerging Canadian designers in architecture, landscape archi-tecture and urban design.

With its origins in New York, the firm expanded operations when co-principal Brian O’Brian relocated with his family to Ontario in 2010. While partner Carl Muehleisen continues to run the Manhattan office, O’Brian steers operations north of the border, tucked away on charming Gilead Street in Toronto. Despite the distance and often challenging com-muting schedule, the former classmates and architectural graduates from the New Jersey Institute of Technology work better together than apart, and have no plans to go their separate ways.

In stark contrast to OMAS’s work on high-end residential projects—mostly posh apartment penthouses and luxe carriage houses—the Scooter House is the most elemental of forms. Measuring a mere 7’9” x 10’, this is a

modest backyard shed for a Vespa enthusiast in Toronto’s east end. Hous-ing two handsome scooters and a couple of road bikes, the structure fea-tures a sizeable door that lowers via a manually operated winch to form a functioning platform for all the tinkering that client Joe Park does on his prized collection.

O’Brian basically detailed a kit-of-parts strategy for Park to build on his own. Costs were kept to a minimum with simple wood-frame construc-tion, cedar shingle cladding and an asphalt shingled roof; the entire budget was $3,000 including materials and labour. Instead of glass, in-expensive polycarbonate panels form a band of clerestory windows that permit daylight to enter the work/storage space, eliminating the need for artificial light. The Scooter House is a fitting counterpoint; a dialogue is established as the height and slope of its roof mimics the roof pitch of the main house, and its form creates a complementary termination at the back of the garden.

The humble quality of this tight little structure charms with its honesty and simplicity; and in true man-cave fashion, a taxidermied deer head is mounted on the back wall of the Scooter House, evoking the rusticity of an iconic hunting lodge in the Great White North—so, so apropos for one of OMAS’s first projects in Canada. ca

aBoVe A vespA rests on the scooter house’s lowered door, which does double duty As A work plAtform for the owner to indulge in his hobby.

COLOR TRANSFORMATION

Pub/Issue Canadian Architect_February 2013 Size B: 9.25” x 11.5” T: 9” x 11.25” L: 8” x 10.25”

File Name PPG_Commercial_Ad_Canadian_Architect_r1

Client PPG Industries

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*Colorants added to this base paint may increase VOC levels significantly, depending on color choice.

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