Perspectives
The Journal of the
Ontario Association
of Architects
Volume 12, Number 2
Summer 2004 $5.00
Feature – the OAA Annual Awards
People & Practices – servicing profession and community
Practice – employing innovative techniques
Ontario Places – renewing endangered places
Ontario Association of Architects
OAA Annual Awards
by Gordon Grice OAA, FRAIC, with reports from Honours
and Awards Task Group members Cher yl Giraudy and Carl
Knipfel and contributions by members John Ota, Patrick
Saavedra, David Eckler and Jennifer Conron
10
Introduction
“That’s been kind of a theme today — how do you take
environments that are usually so impoverished and add
something to them?”— juror Ken Greenberg
“It’s interesting that the things that are the most
precocious in some ways are the adaptive reuse
buildings.” — jur y advisor Michael Kirkland
Maybe it’s a sign of the times. If there is a theme to this
year’s award selections, it’s architecture acting to improve
on something that already exists. Both jury panels acting
independently expressed a preference for solutions to real
problems.
The Architectural Excellence jury panel awarded some
of its highest praise to the five adaptive reuse solutions in
the Commercial B and Institutional A categories. In the
Residential categories, nothing excited them until they got to
the intern architect submissions, where, two residential projects with modest programs — an infill project and a minor
renovation — showed the evidence of great
thoughtfulness and practicality they had been looking for.
The Ideas and Presentations (I+P) panel was
impressed by the down-to-earth submissions in several
of the categories, most notably, an “invaluable” map in the
Artifact category, two inspired solutions in the Concept
category and two renovations in the Business categories.
It might also be worth noting that three of the panelists
were trained as planners and one is a veteran politician, so
social responsibility and physical context were bound to be
considered and discussed.
Another interesting sidelight to this year’s selections is
that the subject of the past two issues of Perspectives —
interns and older architects — have made a remarkably
strong showing. In the case of interns especially,
representation in both I+P and Architectural Excellence
(AE) is significant. Of fourteen I+P and AE awards (not
including honourable mention), four went to interns.
The nature of the selection process dictates that the
I N S T I T U T I O N A L C AT E G O RY A – S C H O O L S , C H U R C H E S , H O S P I TA L S , L O N G - T E R M C A R E F A C I L I T I E
ETC. –
UNDER
$10
A R C H I T E C T U R A L E X C E L L E N C E AWA R D S
This program honours the architectural skills of Ontario
architects and recognizes significant projects that affect social,
environmental and community development in all regions of
the province. Eligible projects are located in Ontario, have been
completed within the last five years and enjoy current use.
The Judges (l. to r.):
MILLION
David Macfarlane, author and playwright
Ken Greenberg, urban planner
Jeanne Beker, Host of F-T Fashion Television and Fashion
Television channel.
Kevin Garland, Executive Director of the National Ballet
of Canada
Michael Kirkland (Non-voting architectural advisor),
architect, urban designer, teacher
Cobi Ladner (judging residential projects), Editor, Canadian
House and Home Magazine — absent from photo
Note: Indented passages are excerpted from submission briefs.
AWA R D
James Stewart Centre for Mathematics,
McMaster University, Hamilton
Kuwabara Payne McKenna Blumberg Architects
The primary design challenge was the creation of a
new architecture within an existing historic framework.
The renovation of Hamilton Hall’s historic façade
involved the creation of a new insulated envelope to
preserve the stone cladding and the character of the
original windows, and to update the building’s energy
efficiency. An abstract contemporary interior is
inserted into the framework of the existing concrete
structure.
With lavish photos, this presentation revealed a complex
and sensitive transformation of a 1929 “collegiate gothic”
science building into an “über-modern” facility for the
study of mathematics. Spaces provide an enriching
atmosphere for teaching, studying, socializing and forming
the sorts of profound thoughts that characterize higher
mathematics.
— “I thought it was stunning. It really intrigued me and
made me want to explore it.”
— “The light quality is extraordinary.”
— “an interesting decision on what to change and what to
leave. . . . an interesting juxtaposition of old and new.”
— “Dealt with a prototypical problem at a very high level
. . . with, I felt, an enormous economy of means.”
Perspectives/Summer 2004
ES,
submissions must show evidence of exceptional work, but
that the means of presenting this work must be convincing.
Just as in architectural design, both form and content must
be considered, one complementing the other. Some might
argue that the quality of the submitted work improves
every year — possibly true, but difficult to prove. But to the
casual observer (as we organizers and Honors and Awards
Task Group members may be considered to be) there is no
doubt that the quality of the presentations has advanced
exponentially. Gone are the blackline prints stuck onto
board with masking tape (the poor-but-honest approach)
and the smudged-beyond-recognition 6B pencil sketches
(starving artist approach). In their place are high resolution
images, professional photographs, and well composed
graphics.
We can be thankful to the digital revolution for many
of these improvements, but the real source, I think, lies with
the change in the way the profession views itself. Where
once we thought of ourselves as misunderstood geniuses,
we have now emerged as shapers of opinion. Our work
has always been critically important, but now our means
of communicating our ideas has become important too.
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I N S T I T U T I O N A L C AT E G O RY A – S C H O O L S , C H U R C H E S , H O S P I TA L S , L O N G - T E R M C A R E F A C I L I T I E S , E T C . –
UNDER
$10
MILLION
AWA R D
Morrison Pavilion at the Gerstein Science
Information Centre, University of Toronto,
Toronto
Diamond and Schmitt Architects Incorporated
Like the previous project, the Morrison
Pavilion also offers an extremely sympathetic
alteration to an existing university science
building. In this case, the solution encompasses
both renovations and the addition of a
five-storey block.
The jury especially appreciated that the
scheme addressed many contextual
issues — not just the critical university
campus environment, but also the historic
Ontario Legislature buildings, directly
across the street.
Photos: Steven Evans
Creating a new front for the eastern
entrance to the campus, the Pavilion
represents the integration of new
architectural and landscape elements
with the existing urban fabric of the
University’s historic campus.
— “It seems to blend in with its enviroment
in a particularly suitable way, without
being dull or disappearing. I like the use
of light very much. I find the design to
be clean and straight-forward — very very
elegant. I like the use of the textures: the
wood against the bare concrete. It fits
into that spot . . . very very well.”
— “It doesn’t subvert the fabric of the
existing building.”
— “The architecture is uplifting, but it’s not
screaming at you.”
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UNDER
$10
MILLION
Photos: Richard Johnson
Perspectives/Summer 2004
I N S T I T U T I O N A L C AT E G O RY A – S C H O O L S , C H U R C H E S , H O S P I TA L S , L O N G - T E R M C A R E F A C I L I T I E S , E T C . –
HONOURABLE MENTION
Yonge Hearts Child Care Centre, Toronto
Robbie Sane Architects Inc.
The photographs in the presentation
indicate tall adjacent apartment buildings
among which this colourful, playful structure
is nestled.
The . . . Childcare Centre educates children
about their relationship to each other and
their environment by allowing them to participate in the act of planting, watering and
nurturing. Plant species that attract birds and
butterflies, a corn patch evocative of the
farm that formerly occupied the site, and composting areas help the children learn about
maintaining and protecting their environment.
The one constant throughout the design
process . . . was to always consider elements
through the experience of the children who
will use the centre. All surface finishes are
tactile, sensual, colourful and safe.
— ”A beautiful little courtyard. . . . It’s really
a labour of love. The sense of the kids in
that space was very compelling.”
I N S T I T U T I O N A L C AT E G O RY B – S C H O O L S , C H U R C H E S , H O S P I TA L S , L O N G - T E R M C A R E F A C I L I T I E S , E T C . –
OV E R
$10
MILLION
AWA R D
Photos: Steven Evans
The degree to which a building responds
to the needs of the cognitively impaired
is unparalleled in buildings of this type.
The clear planning strategy for breaking
down the scale of an immense institution
into meaningful home-like parts,thoughtful
detailing and quality of interior finish make
the Apotex Centre unique.
It is remarkable that a happy word such as
“home” becomes sinister when you
precede it by the phrase “old age”. How
comforting to know that, in some cases at
least, careful thought can produce extremely
sensitive design solutions. In this instance,
the jury regretted the absence of more
informative exterior views, but applauded
the quality of space made evident by the
interior photos. The structural “tree” canopy
in the atrium was especially praised for
artfully creating a more intimate feeling
while adding a false ceiling to the space.
—”I found this [scheme] to be extremely
well crafted, but also very cheerful.”
— “The project has such a warmth and
niceness .…I thought it was very humane.”
—”The idea that this is for people who
can’t get outside and want to feel as
if they’re outside — I think that’s a very
persuasive argument.”
Perspectives/Summer 2004
Apotex Centre, Jewish Home for the
Aged, Baycrest Centre, North York
Diamond and Schmitt Architects
Incorporated, Boigon Petroff Shepherd
Architects Inc , in joint venture.
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I N S T I T U T I O N A L C AT E G O RY B – S C H O O L S , C H U R C H E S , H O S P I TA L S , L O N G - T E R M C A R E F A C I L I T I E S , E T C . –
OV E R
$10
MILLION
AWA R D
Erindale Hall, University of Toronto
at Mississauga, Mississauga
Baird Sampson Neuert Architects Inc.
Again, the text is extremely brief,
but photos and orthographics
provide convincing evidence of a
building that is sympathetic to its
environment and to the students
who use it. Sweeping in an arc
through a wooded campus site,
this four-storey residence
provides a connecting link, student
accommodation, communal areas,
and a unique collection of spaces.
Suites promote sociability and
provide quiet contemplation.
Within the horizontal bar
[circulation spine] units are
arranged to overlook the fiveminute walk with living rooms
grouped together to create large
inset openings with “through
views”. On the west, large corner
windows to living areas form
towers of glass overlooking open
courtyards and the wetland
forest. Bedrooms enhance privacy,
contemplation and work, and
have an engaged relationship with
the site via expansive windows,
daylighting and natural ventilation.
Perspectives/Summer 2004
Photos: Michael Awad
—”The pavilions are very nicely
scaled and then there's the
variety of experiences you get
as you move around the campus.”
—”The promenades are quite
beautiful.”
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R E S I D E N T I A L C AT E G O RY A – S I N G L E F A M I LY R E S I D E N C E
R E S I D E N T I A L C AT E G O RY B – M U LT I - U N I T C O N D O M I N I U M S , A PA RT M E N T B U I L D I N G S
In previous years, the judging day has
started with the residential categories. It
makes for a gentle, smaller-scale beginning.
This year, due to circumstance, we were
forced to set aside this longstanding
tradition and look at the impressive and
heavily subscribed Institutional categories
instead. Perhaps partly because of this —
or due perhaps to just another unaccountable
circumstance — the judges were
unimpressed with any of the residential
entries and made no awards in these
two categories. Observer Carl Knipfel
characterized this as “a dramatic shift in the
AND
TOW N H O U S E S
optimism previously shared by the jury.”
— “I have to say I’m shocked by the work
because this is usually a place where
architects shine. . . . I would rather give
awards in the categories that produce
the best work than just give awards in
every category.”
P RO J E C T S
BY
OA A I N T E R N A R C H I T E C T S , S T U D E N T A S S O C I AT E S , R E T I R E D , L I F E
OR
H O N O R A RY M E M B E R S
The judges were much more impressed with the
residences entered in this category than those in
either residential category.
— “These are both precocious little bits.”
— “This is more interesting than any of the
residential work.”
— “At a detailed, nuanced level, they’re
quite nicely done.”
— “These are the best residential submissions”
— “It’s a relief having these intern projects
because it gives us some residential projects.”
AWA R D
As revealed in drawings and photographs, subtle
alterations transform an existing suburban house
into a sleek contemporary environment. The
judges were particularly impressed by the
thoughtfulness of each small gesture and the way
in which small design elements were instrumental
in improving the overall quality of the spaces.
This project is the first of a three-phase master
plan for a 1960s suburban single-family bungalow.
. . . The client’s tastes were modern, requesting
interventions that were complete departures from
[the] existing house, in both materials and
P RO J E C T S
BY
Photos: Da rr y l Hood
Grossman Residence, Ottawa
Darryl J. Hood, intern architect, with CSV
Consultants Inc. Architects
experience, while maintaining ideas of the
original modernist design.
—”This bathroom is so neat.”
— “This little stair off the back is so nicely
constructed.”
— “Houses that are designed by interns
should be able to compete in the
residential category.”
OA A I N T E R N A R C H I T E C T S , S T U D E N T A S S O C I AT E S , R E T I R E D , L I F E
OR
H O N O R A RY M E M B E R S
83A Marlborough Avenue, Toronto
Drew Mandel, intern architect, with Amy
Falkner OAA and David Miller OAA (site
plan approval)
In a space formerly occupied by a single
car garage, an elegant house has been
inserted into the fabric of a downtown
street.
The house is largely determined by
its constraints. The size and nature of
the lot presented challenges in terms
of circulation, size (space saving),
access to natural light, a connection
to the exterior, privacy, construction
coordination, unique structural
requirements, zoning constraints, as
well as aesthetics.
The intent for this undersized lot
was to create a coherent and
dynamic interior landscape of form
and light, connected to its site and
environment.
— “What’s cool about this is that it took
something that was an undevelopable
remnant and . . . produced something
that is extremely idiosyncratic, but
also very prototypical.”
— “This is really refreshing.”
Perspectives/Summer 2004
Photo: Heather Dubbeldam/Saeed Behrouzi, Luminous Productions
Inset photo :Peter A. Sellar / KLIK
AWA R D
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C O M M E R C I A L C AT E G O RY A – O F F I C E B U I L D I N G S , R E TA I L , R E C R E AT I O N
AND
E N T E RTA I N M E N T F A C I L I T I E S –
UNDER
$5 MILLION
AND
E N T E RTA I N M E N T F A C I L I T I E S –
UNDER
$5 MILLION
AWARD
Niagara Credit Union,Virgil
Phillip Beesley Architect Inc . and Baker and Elmes
Architects
Small-town bank branches are rarely the subject of
much architectural excitement. But here is a rare
exception — a bank building that could easily be
confused with a community centre or an arts facility.
Furthermore, the building is not located in the town
centre, but at the edge of town.
— “A homely building type if ever there was one.”
— “I think it's one of the best things we've seen today.”
— “I spent four or five years of my life dealing with
bank branches. This is outstanding. . . . I wish that
some of our other banking institutions had the
courage to do something like this.”
—”I couldn’t believe it was a bank. It seems like a very
groovy place to talk about money.”
— “As a branch bank it’s an achievement. It’s unusual
for anything of that sort to have so much energy
attached to it.”
Large Photo: Philip Beesley
The new banking centre at Virgil stands on a site that
acts as the gateway to Niagara-on-the-Lake. The
context demanded a sensitive response: the project
was asked to conserve the highly conservative
historic character of the area and enhance the fragile
balance of surrounding agricultural lands, while
accommodating the forward-thinking Credit Union
and the town’s wish for strong commerce and new
development.
C O M M E R C I A L C AT E G O RY A – O F F I C E B U I L D I N G S , R E TA I L , R E C R E AT I O N
HONOURABLE MENTION
Dufflet Pastries–Quince Flowers, Toronto
Kohn Shnier Architects
One of Toronto’s most highly regarded pastry chefs
adds a flower shop and opens a new location. The
result is a “refreshing” interior space.
Photos: Steven Evans
A small retail outlet selling both pastries and flowers
is located along a busy retail strip of shops in [Toronto’s]
north end. Counters, walls and ceilings overlap to
compose a layered view that carries the eye through
the store to the back wall, which is transformed into
a transparent glass cooler filled with fresh cut flowers.
16
— “I thought it was head-and-shoulders above
everything else there, but the photographs to me
feel very cold and uninviting.”
— “It almost feels like a little gallery and for retail
environments now, that’s what we’re really seeing,
where you have an incredibly well edited selection,
so that it’s very easy to go in and see the stuff and
it’s not too much to wade through or search for.”
— “It’s incredibly inviting. It’s a very small space, but it’s
a wonderful use of the space. It just looks so clean
and uncluttered, but you’ve got some fanciful
merchandise. This is the hot colour this spring too
– although it was designed last year – but it’s a
brave colour, especially if you’re selling food. . . .
I just think it’s got a great fresh feel and it doesn’t
look like anything you’ve seen before, but it’s still
really simple.”
C O M M E R C I A L C AT E G O RY B – O F F I C E B U I L D I N G S , R E TA I L , R E C R E AT I O N
AND
E N T E RTA I N M E N T F A C I L I T I E S –
OV E R
$5 MILLION
AWA R D
BMW Toronto, Toronto
Quadrangle Architects Limited
An existing building, on a unique site
is reduced to its concrete frame and
refinished as a sales and service facility
that doubles as a billboard and elevated
showroom.
E N T E RTA I N M E N T F A C I L I T I E S –
OV E R
$5 MILLION
AWA R D
The Carlu at College Park, Toronto
WZMH Architects and E.R.A. Architects Inc .
After serving Torontonians for more than forty
years, the Art Moderne seventh floor of the
Eatons College Street store was abandoned
in 1977 and left to deteriorate. In 2001, an
ambitious resurrection was begun, resulting
in the triumphant return of this much-loved
space. To accomplish this,
design development consisted of two
intertwined strategies. One involved the
restoration of all architectural features,
finishes and lighting; and the other dealt
with the integration of new technologies
and uses into the existing spaces. . . . The
main public areas were restored as faithfully
as possible, whereas the original kitchen was
converted into a new multi-purpose space,
a smaller kitchen, offices and washrooms.
Exhaustive research was undertaken on
other [Jacques] Carlu work, archival
documentation and anecdotal recollections.
Missing or newly required elements such as
grilles, light fixtures and bars were designed
to complement the original design features.
— “It’s a stunningly beautiful restoration.”
— “A precocious adaptive reuse”
Perspectives/Summer 2004
AND
Inset photo: Studio Source Photography
C O M M E R C I A L C AT E G O RY B – O F F I C E B U I L D I N G S , R E TA I L , R E C R E AT I O N
Photo: Envision
— “I thought that this was the
quintessential billboard. . . . It’s
spectacular and it certainly does the
job for its client. . . . I thought it was
really beautiful.”
— “[The three selections in this category]
are all amazing examples of adaptive
reuse.”
Photos: Robert Burley
To take advantage of the site’s unique
highway exposure, the building is entirely
glazed on three sides and has two
oversized freight hoists to bring the
automobiles up for display on five of the
six floors. Substantial portions of the
existing floors were removed to create
double-height spaces within which to
display the new models. The new vehicle
delivery area, where clients are intro
duced to their new purchase was
located on the fifth floor to take
advantage of the panoramic view
of the downtown core.
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C O M M E R C I A L C AT E G O RY B – O F F I C E B U I L D I N G S , R E TA I L , R E C R E AT I O N
AWA R D
North Toronto Station, Toronto
Goldsmith Borgal & Company
Ltd. Architects
— “We all like it. Next.”
Photo: Steven Evans
A detailed restoration program
was guided by extensive
research, condition analysis,
heritage principles and user
requirements to achieve the
highest standards possible for
the base building.
[The] new work extended, in
a modern vocabulary, the detail
and spirit of the original station
in an expressive but simplified
composition of metal, glass
and stone. . . . The goal was
to create a significant
architectural work with a
strong urban presence on
Yonge Street of a quality
befitting its historic landmark
status.
Inset photo :David Whittaker
Better known as the Summerhill
liquor store, this neo-classical
railroad station had also fallen into
disrepair, serving as a combination
liquor and beer store and attracting
a clientele largely immune to its
faded architectural charms. With
a complete restoration and
expansion, beer and wines are still
sold but, we trust, to a much more
appreciative clientèle.
Perspectives/Summer 2004
old-fashioned service
cutting-edge graphics
18
tibbles bird & co.
www.tibblesbird.com
[email protected]
AND
E N T E RTA I N M E N T F A C I L I T I E S –
OV E R
$5 MILLION
IDEAS
AND
P R E S E N TAT I O N S AWA R D S
This program recognizes clarity and appropriateness in
the expression of an architectural idea, and promotes
the exploration of other areas of design. Entry is open
to all Ontario architects, intern architects, students at the
province’s three architectural schools and syllabus students.
The Judges (l. to r.):
The I+P Awards have come a long way since their
inception. Originally intended to fill in the odd years
between the biennial Design Awards, the I+P gained full
parity in 1999 when both Awards of Excellence and Ideas
and Presentations were combined into an annual event.
In the early years, digital presentation was still a novelty
and “marketing” was not a word for polite company.
As a result, the quality of the ideas tended frequently to
outstrip the quality of the presentations. This year, both
the variety and level of presentations set a new standard
of excellence. In several categories, the judges had great
difficulty in narrowing the field.
IMAGE
There was a broad range of material in this category,
covering the spectrum of digital, analog, descriptive and
abstract imagery. The jury began by separating the entries
into the various categories: photos, renderings (interior
and exterior), and miscellaneous “interpretive” images. It
was difficult to make a final selection, but one entry stood
above all the others in the uniqueness and clarity of its vision.
AWA R D
Massey Harris Park, Toronto
Brown and Storey Architects
This year’s winning image, in common with last year’s, is
a collage, combining several independent elements in a
cohesive graphic composition. In this case, the architects
have selected a series of computer renderings of a single
structure and its context, organized so that the viewer's
eye travels around and into the frame, coming finally to
rest on the stark standing eye-level view and the dark
distance beyond. Ghost figures in the foreground help to
establish a magical quality to the image, in keeping with
the simple bareness of the structure.
— “Strong graphic images and layers. . . more than
simplistic division of space.”
— “Shows sophistication in the presentation and uses
multiple views to advantage.”
— “Makes project look romantic. . . renders winter nicely
— “It captures our sense of geography.”
— “We have lived with the ability to do computer
renderings for some time, and so now we should
be able to push the medium further. This does that.”
Perspectives/Summer 2004
Linda Friendly, Production manager for the exhibition
“Diana, a Celebration”, previously president and
CEO of the Design Exchange.
Jeremy Kramer, design consultant
Marco Polo (architectural advisor, voting): assistant
professor in Ryerson University’s Department of
Architectural Science
Kyle Rae, city councillor
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A RT I F A C T
AWA R D
TSA Guide Map
Flavio Trevisan, intern architect
(graphic design), in collaboration with
the TSA guide map committee
The original map, which has been in
circulation for a short time, is a work of
graphic genius. The presentation panel from
which the judges had to evaluate the object
was also very well conceived. It was clear
and well organized and with a structure
similar to the map itself, a copy of which
was inserted into a slot on the panel.
The jury was unanimous in its decision
to recognize the TSA map with an award.
Linda and Kyle termed it “invaluable”.
— “Fantastic initiative!”
— “Shows Toronto as a modern city.”
— “I use it. It's practical and beautifully
designed.”
— “It’s long been needed. Simple is better,
but the cover doesn’t reflect the
excitement that’s inside. . . . This is an
essential resource for the city and it is
commendable that the TSA put dollars
and effort into this.”
— “We grow up in a culture where we do
not expect to praise our own, we are
not great at celebrating our heritage, and
we do not credit our designers, so this
does it. . . . We should show [the TSA]
recognition for making the effort to do this.”
A RT I F A C T
HONOURABLE MENTION
G12 (Grinder No. 12)
Jason Smirnis, intern architect
Perspectives/Summer 2004
The body of the grinder has been turned from Bocote
(cordia geraschanthus), an abundant Argentinean
hardwood. This wood was chosen for its highly figured
grain, which contrasts [with] a mirror-polished stainless
steel handle.
G12 has been crafted from two materials that are
both highly refined, but are intended to complement
each other in their inherent differences [sic].
20
The irony is that the jury really didn't like the presentation.
In fact, they found it a little too enigmatic.Yet, their decision
to award an honourable mention was based solely on this
(inadequate?) presentation. The question arises: is this an
example of a good idea surviving a bad presentation, or
does the presentation actually succeed in its intent by
weaving a mystery around its subject — a variation of an
extremely common object — and raising questions that it
declines to answer?
— “The presentation gets absolutely zero — poor photos,
poorly presented”
— “I like it. It works.”
CONCEPT
In this category as well, the number and
excellence of submissions made the final
selection difficult. The judges were divided
between Marco and Jeremy on the one hand
favouring urban context and a strong concept
(the “Idea” component of the title), and Linda
and Kyle on the other hand, looking for clear
and striking imagery (the “Presentation”
component). Not surprisingly, and faithful to
the intent of the awards, the winning entries
showed an excellence in both realms.
AWA R D
Public Construction/The New Don Estuary,
Toronto
Brown and Storey Architects with MacViro
Consultants Inc .
The jury:
“Projects that address real issues are
sometimes forgotten in favour of projects
chosen for an unexpected nature. These
projects are all about real issues in our city.”
As in the Design Awards adjudication, the I+P jury was more
deeply impressed with projects that dealt with the constraints of
existing problems. The Don Estuary in the east end of Toronto has
been the subject of countless studies and proposals (of which, this
submission is one), but substantial remediation has never been
undertaken. This proposal recommends that the estuary be allowed
to exist on its own terms, by making human intervention as
unobtrusive and as beneficial to natural processes as possible, and
allowing human beings to enjoy the site in this natural state.
This Public Reconstruction re-conceives the mouth of the Don
as a public landscape in the form of an estuary. . . . an inside
constructed and continually allowing the natural, informal and
chaotic forces of water along a pathway in which naturalization,
functional inhabitation, diversity and divergence can take place. . . .
a landscape that recognizes the value of flatness, of large horizondriven spaces, open spaces and position landmarks that make the
distances between them interesting.
— “The Don River project is an organic proposal with an excellent
presentation.”
CONCEPT
AWA R D
Tiny Towers — Filling in the Slots
Theo Kelaiditis, intern architect
The schism between the idea faction and the presentation
faction was most strongly evident in discussion of this
submission. Kyle stressed the importance of the political
arena in “selling” concepts such as this. He felt that where
the imagery is not strong and sufficiently convincing, a gulf
develops between the intent of the idea expressed (the
professional realm) and the reception of that idea
(the public realm).
Toronto’s fringe consists of low-density residential
neighbourhoods that individually and collectively play
an important role in Toronto’s identity. Clearly it is
important to maintain the character and quality of
life within these neighbourhoods. But what about the
countless blocks that consist of very poor housing
stock — blocks that have yet to establish a high quality
of neighbourhood life or any clear identity of their
own? What if these areas were looked at as new
opportunities within the city to increase density? Little
could be done to change the infrastructure and lot
division, but what if the building envelope itself were
re-examined?
— “This project addresses how things can happen coherently
across the city [as well as] issues of intensification and
what is actually happening in the city.”
— “I would love to see this happen in the city, but there is no will,
due to political decisions.”
— “This project is an inspiration to get things going after ‘Main
Streets’ died.”
21
CONCEPT
HONOURABLE MENTION
Concert Hall Competition, Stavanger, Norway
Giannone Associates Architects Inc. & Pilchner Schoustal
International Inc.
Here too, the distinction between idea and presentation
became a point of discussion. The presentation was
seductive. The program, as reflected by the plan, was well
represented in the lush tactility of the built form. It
reminded the judges of the body of a musical instrument
(the instrument "case" of the title) — a perfectly
appropriate form for a concert hall. But the jury wondered
(as frequently happens in evaluating entries in this
category) whether the challenge was as great or the
solution as realistic as for some of the other entries —
Ideas VERSUS presentation as opposed to ideas AND
presentation.
Just as a music case is molded to the particular nuances
of its instrument, Instrument Case is form-ed by the
concept of two instruments coming together: an
orchestral music hall and a multi-purpose performance
hall. The space that buckles between the two
“instruments”, or auditoria that shape Instrument Case,
is articulated as a seven-storey “crevice” in which the
most charged social experience is allowed to unfold.
This proposal was initially submitted for an open
international design competition.
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WEB SITE
Generally, the jury found the bulk of the entries
“very disappointing; architects should have amazing
Web sites.” Too frequently, sites presented
“navigation problems and insufficient sources of
interest to hold the viewer. ” The jury also felt that
there would be some advantage to allowing the jurors
to examine the entries on their own computers
beforehand and then compare notes on jury day.
HONOURABLE MENTION
<taylorhazel.com>
Taylor | Hazell Architects Ltd. and Sarah Ferguson,
Radiocapte
The jury found this site to be simple and clear, with
great photos and a pleasing, professional, easy-tonavigate design. It also possessed a novel and
interesting “image strip”.
Taylor|Hazell Architect’s contemporary design
approach towards their extensive restoration and
renovation work inspired the site's design. The
dynamic site structure reflects the studio’s working
nature and approach to design problems of all types.
The visual approach to the portfolio (project thumb
nails) was intended to catch the attention of the
casual surfer while organizing the site in such a way
that it is pleasing and easy to navigate.
— “easy navigation but with a few minor problems.”
— “holds interest and engages at times.”
WEB SITE
HONOURABLE MENTION
<bortolotto.com>
Bortolotto Design Architect
In addition to its simplicity and clarity, this site also
contained a client log-in that distinguished it from
all other entries.
— “Nice interface. . . intuitive and interesting.”
— “Client log-in is key to the success of this site –
available as a real working tool for the firm.”
Perspectives/Summer 2004
[I]t is our goal to attract and allow prospective clients
to discover who we are and what we do. It provides an
online forum in which to highlight the quality and
calibre of our work.
As the online face of our design firm, it is also
important to us that the design reflect an aesthetic
that we carry on into our practice. That aesthetic is
clean-lined, contemporary and clear in its intentions. . . .
Simplicity, clarity and ease of navigation are as
important as the content of the site.
23
Terrace photo: Applied Photography LTD.
People and Practices
ORDER
OF DA
VINCI 2004
This award recognizes annually the
architect who has demonstrated
exceptional leadership in the profession
or in education, or has been of
exemplary service to the profession
and the community.
AWA R D
Gene Kinoshita
Moffat Kinoshita Architects Inc .
Perspectives/Summer 2004
The following is taken from the letter of
citation for Gene Kinoshita, nominated
by Bruce Kuwabara, seconded by Randy
Dhar and submitted by Cathy Capes
24
During the development of Gene
Kinoshita’s thesis at the University of
British Columbia, he was asked “Why
do you young architects always want
to use a beautiful site and create
something ugly on it? Why don't you
pick an ugly site and create something
beautiful?”This comment has stayed
with Gene through his career.
Two other experiences have further
focused his current thinking on the
role of the architect in building our
communities.The first was a year spent
in Europe and the Middle East on the
Pilkington Travelling Scholarship.The
evidence of the influence of his travels
is seen in the Massey Award-winning
Ottawa Train Station completed while
Gene was working at John B. Parkin.
The train stations he travelled through
on his way through Europe inspired
the structural expression of this
elegant building.The second was his
time at Yale obtaining his Master of
Architecture, completed in 1962.
In 1966 Gene founded Moffat
Moffat & Kinoshita — with Donald
Moffat, Architect and the late
O. G. Moffat, Engineer — which later
became Moffat Kinoshita Architects Inc.
(MKAI). Over the past 38 years, Moffat
Kinoshita Architects has earned a
reputation across Canada as a solid,
sensitive design firm with a broad
portfolio of work. Gene’s role as
Design Partner has lead to the
recognition of MKA with over 55
international, national and regional
awards for innovation and excellence
in design. During his time practicing
architecture, his passion and
commitment are reflected in the
following statement that summarizes
his responsibility to his fellow citizens:
“Our aim as architects is to contribute
towards human achievement in our
interactions between society and the
environment we create. Although an
architect can create ideas that guide
the construction of spatial boundaries,
it takes many disciplines to do the
same in a more complex and larger
environment. We believe that
combining the diverse insights of
architects, engineers, sociologists,
economists, behavioral scientists and
others, the creation of architectural
ideas that meet human and humane
needs will be achieved.”
Gene brought this sensitivity to all his
projects, including his major works such
as the Royal Ontario Museum, an
institution with which he has been
closely involved as both architect and
volunteer. Beginning in 1970 as the
Architects to the ROM, Moffat
Kinoshita has continued to enjoy a
productive collaboration with this
Client that has facilitated the
completion of many complex projects.
These include the Major Renovations
and Expansion (MKAI as Design
Architects in Joint Venture 1981-1984),
awarded the 1986 Governor General’s
Award for Architecture and an OAA
Design Excellence Award, as well as
the Theatre Renovations, Restaurant
Renovation and Planetarium Plaza
Upgrade, completed in 1994.
Gene’s personal commitment to
the Royal Ontario Museum includes
involvement as a volunteer member
of the ROM as well as serving on the
Donor Recognition Committee, the
Fine Art Advisory Committee and
the Public School Recognition
Committee.
During the growth of Moffat
Kinoshita, Gene developed his
volunteerism in both the academic
and arts communities. He served as a
lecturer and critic at several universities
and held many positions in arts
organizations.
Of particular note is his long-term
involvement with the Royal Canadian
Academy of Arts, the senior visual arts
organization in Canada, encompassing
twenty-one disciplines of visual arts. In
1973 Gene was appointed
Academician (R.C.A.) of the Royal
Canadian Academy of Arts. From 1979
to 1981 he served as a Council
Member and Vice President followed
by Presidency from 1984 to1988. One
of his major achievements with the
R.C.A. was the founding of R.C.A.’s
Academy House (1987-1992) at
8 Adelaide Street in Toronto, ending a
107-year search for a home for the
Academy within the Ontario Heritage
Centre. Gene's other numerous
voluntary activities include: President,
Arts Foundation of Greater Toronto,
1993-1995, Director,Visual Arts
Ontario, 1990-1994 and President,
Board of Directors,York Montessori
Schools, 1970-1973.
As shown, Gene’s life and work
embodies a deep commitment to his
profession and community. It is his
generosity of spirit and integrity that is
key to his success in both arenas. As
noted in his statement, the true goal of
each of our endeavours, regardless of
the task, is to contribute to a humane
environment that supports and
encourages the best from us all.
It is for this reason we submit this
document in support of awarding the
Order of da Vinci to Gene Kinoshita,
founding partner of Moffat Kinoshita
Architects.
Practice
I N N O VAT I V E P R A C T I C E AWA R D
This award recognizes architectural practices
that use innovative techniques to enhance
quality, effectiveness and professionalism.
AWA R D
Breathe Architects
Here is an area where one might
expect our profession to shine.
Innovation is, after all, a concept that
architects explore constantly in all
aspects of practice: design, materials,
detailing, construction, etc. But when it
comes to the operation of the practice
itself, evidence of innovation is
sometimes a little harder to find.
From a small number of entries in this
category, one firm was judged to satisfy
the admission requirements to a high
degree: Breathe Architects.
For the judges, this category also
presents unique demands. Where
visual presentation carries much of the
weight in the design categories, in
business category submissions rely
heavily on the written word. As a
result, the judges are required to do a
substantial amount of reading, followed
by discussion – a kind of quick reading
comprehension test for the judges.
The subject of this submission is the
transformation of Martin Liefhebber
Architect Inc. into Breathe Architects —
An innovative transformative model,
inspiring clients to become
promoters of developing a
sustainable built environment.
This transformation occurs at many
levels, from the scale of projects
undertaken —
The practice’s transformation . . .
enables us to respond to larger
scale building programmes. We see
the relative smallness of the
residential work completed thus far to
be an essential part of this process.
— to the architect–client relationship —
Our practice is a think tank that
allows our clients and ourselves to
decompress and question what we
have deemed an acceptable and
comfortable “way of life”.
— to the promotion of sustainable
materials and techniques —
We see, as a logical extension, the need
to promote more environmental
sensitive living on a larger scale.
In recommending Martin Liefhebber
+ Associates for this award, the jury
found that not only was the written
text convincing, but the visuals were
also plentiful and appropriately
selected, making the presentation that
much more convincing.
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AWA R D
Diamond and Schmitt Architects
Incorporated
Juror Linda Friendly described this
submission as a “complete business
plan” and added, “Every firm should
have one.” In fact, the Call for Entries
suggests that the submission should be
project types, and by involving staff in
all areas of the practice. A team-based
approach allows for “an entire unit [to
follow] a project through from project
conception to project completion,
ensuring continuity and coordination.”
Furthermore, various strategic alliances
permit the firm to undertake significant
projects abroad, without the necessity
of maintaining multiple offices.
The Call for Entries also states that
the contents of the submission will
remain confidential, and so they should.
But one only has to look at the work
that the office produces (or study it
carefully), or to work as a collaborator
on one of their projects to realize that
they are doing something very right.
Large photo: Tim Griffith
This award recognizes architectural
practices that demonstrate
entrepreneurial creativity and excellence,
with specific examples of success.
in the form of a “Business Plan, written
since January, 1999”.
But this is not just any business plan.
It is clear, well written and convincing.
The layout is logical, intelligently
structured and illustrated with
photographs and renderings of the
firm’s award-winning work.
Conspicuously absent are minddestroying charts, diagrams and fluffy
stock photographs.The document
looks like the product of a very good
architectural office, not a management
consultant or an accountant.
The firm finds its strength by
maintaining diversity — “both sectorally
and geographically” — as a defense
against downturns in specific locales or
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Perspectives/Summer 2004
ENTREPRENEURIAL
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Ontario Places continued
The Distillery District, Toronto
E.R.A. Architects Inc .
The development of the Distillery District was based on
using the historic but badly neglected industrial buildings
as the focus and draw to create a pedestrian-friendly
arts and culture precinct. The potential ambience of the
buildings mixed perfectly with the cultural ambitions of
the client and the architects.
Most Torontonians can remember not too long ago when
the Distillery District wasn't a district at all. It was simply
a bunch of great old buildings on the Gooderham and
Worts site, off-limits to everyone except movie crews.
Prior to the city’s purchase of the site, the historic
buildings had been seen as a liability – the only value in
the site was the potential for new construction. . . . The
purchasers of the property who had previous experience
with heritage buildings knew that, handled properly, old
buildings can be good business. They had a vision of what
they wanted and knew how it would work.
The success of the project owes a great deal to the
architects’ experience with heritage projects and with this
site in particular. In some ways it was a perfect match.
The . . . architect of record for the site is a firm devoted
to cultural projects with an established niche practice in
heritage conservation. The development of the site
with these clients was a perfect match but it wasn’t
incidental. The architects had laid almost five years of
ground work on the site, working with the former
owners. When they finally decided to sell, the former
owners selected the architects to assist and advise on
the sale transaction. It was the architect who selected
their client.
If you visit the site now, you will find one of Toronto’s
finest historical districts slowly coming back to life, after
a dormancy of many decades. It is too early to gauge the
ultimate success of the development but summer
weekend crowds have been impressive. Here is how
Cityscape's David Jackson describes the architects’
contribution:
Cityscape and their architects have worked closely
together as a team in carrying out [the] process of
transition. Our architects were instrumental in
implementing our goals and working within the
tremendous complexities associated with the
restoration and redevelopment of one of Canada’s
most important historic sites. They guided our
negotiations with the public, the city and other
regulatory authorities to ensure that our goals could be
achieved efficiently and in accordance with our critical
time frames.
Their work has been instrumental in our creation of
this new cultural district.
Perspectives/Summer 2004
AWA R D
29
Two Ontario Places Win
Ontario Places
GOOD DESIGN
IS
G O O D B U S I N E S S AWA R D S
Both of the Good Design is Good Business Awards this year go
to projects — true Ontario Places — that were well known
and much loved to begin with. But both were in need of a
renewal so that business needs could be met. Without some
design intervention, the continued public enjoyment of these
facilities would be endangered.
Unless otherwise noted, indented paragraphs are taken from
submission briefs.
AWA R D
Avon Theatre Renewal, Stratford
Marklevitz, Architect/Davidson-Langley Incorporated
Architects in joint venture
In order to correct operational and patron comfort
problems [one can only speculate], the Festival required
a complete renewal of the theatre. . . . Unlike its 1960s
renovation, the built form was to be fit into the historic
downtown core, re-establishing the theatre as a major
generator of economic activity for the Festival and the city.
30
The problem was complex. The design solution required
not only that the theatre function at the highest level,
incorporating contemporary technical standards but that
it be accomplished within the shell of an existing theatre
originally built in 1902. While maintaining a sense of
tradition and respecting the streetscape, the theatre had
to create a sense of occasion, or “wow factor”.
The sense of theatricality was instrumental to the design
approach. Entrance and exit for patrons were seen as
key elements to a first impression. . . . It is only when
patrons enter the lobby that they sense that they have
passed through a stage-set-like front.
The strategy seems to have worked.
The reopening of the Avon Theatre continues to have
a tremendously positive impact on the artistic and
financial success of the Festival season. . . . In the 2003
season, during a difficult patron environment due to
SARS, the Avon Theatre continued to outperform its
previous season's attendance.
Economic activity in Stratford has been generated by
the completion of this project evidenced by increased
commercial activity including the opening of new
restaurants and shops in the vicinity.
Ontario Places continues on page 29