Can Arch

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v.55 n.02
architectural investigations
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contents
JaMes dow
toM arban
Maki and associates

12 integral house
9 news
Acton Ostry Architects Inc. complete first
designed by shiM-sutcliffe architects, this Most unusual hoMe for a Most
privileged client functions as Much as a public concert hall as it does a private
phase of the Sauder School of Business
residence. teXt John bentley Mays renewal and expansion at the University of
British Columbia; 2010 AIBC Architectural
Awards call for submissions.
20 royal conservatory of Music 33 calendar
telus centre for perforMance High Performance: Evolution and Innovation
and learning in Canadian Design at the Charles H. Scott

Gallery, Emily Carr University of Art +
a harMonious new addition to and renovation of this cultural institution by Design in Vancouver; PLAY Conference at
kuwabara payne Mckenna bluMberg architects was alMost 20 years in the
Making. teXt elsa laM
the Dalhousie University School of Archi-
tecture in Halifax.
27 delegation of the isMaili 34 Backpage

Leslie Jen describes Olivier Bourgeois’s
iMaMat Trop de Bleu, a highly evocative but tempor-
his highness the aga khan coMMissions a proJect of cultural iMportance in the ary installation in Quebec’s Îles-de-la-
nation’s capital, resulting in a superbly crafted building by fuMihiko Maki and Madeleine.
MoriyaMa & teshiMa architects. teXt ian chodikoff
olivier bourgeois/serge boudreau
patkau architects inc. and kearns Mancini architects inc.
february 2010, v.55 n.02
integral house by shiM-sutcliffe

cover
The NaTioNal Review of DesigN aND PRacTice/ architects. photo by JaMes dow.
The JouRNal of RecoRD of The Raic
02/10 canadian architect 5

viewpoint
PaI/stIP
editor
Ian ChodIkoff, OAA, MRAIC
associate editor
LesLIe Jen, MRAIC
editorial advisors
John MCMInn, AADIpl.
MarCo PoLo, OAA, MRAIC
contributing editors
GavIn affLeCk, OAQ, MRAIC
herbert enns, MAA, MRAIC
above the new Green roof on the PodIuM of toronto CIty haLL wILL be oPen to the Pub- douGLas MaCLeod, nCARb
LIC In the sPrInG. to PurIsts, Its addItIon Marks an aberratIon of ModernIst PrInCIPLes. regional correspondents
to others, Its PresenCe ushers In a new era of eCoLoGICaL awareness In the CIty. halifax ChrIstIne MaCy, OAA regina bernard fLaMan, SAA
montreal davId theodore calgary davId a. down, AAA
Winnipeg herbert enns, MAA vancouver adeLe weder
publisher
Modernism is difficult to define. There are ety as was the plasticity of Revell’s concrete when toM arkeLL 416-510-6806
buildings that are quintessentially “Modern” the building first opened in 1965. associate publisher
GreG PaLIouras 416-510-6808
with respect to their materiality, massing, and Reinforcing the ineffability of Modernism circulation Manager
ornamentation (or lack thereof), but as for defin while respecting the importance of architectural beata oLeChnowICz 416-442-5600 ext. 3543
custoMer service
ing the philosophy of Modernism, considerable history and the evolution of our cities, Maki MaLkIt Chana 416-442-5600 ext. 3539
debate is sure to ensue. states: “The development of modernism is not production

JessICa Jubb
When observing the renovations to Toronto City dependent on a unilateral elimination of the past. graphic design
sue wILLIaMson
Hall and its concomitant Nathan Phillips Square, In this, it resembles waves on the sea. Different vice president of canadian publishing
judging the correct approach to altering the ori waves collide and interfere with one another. aLex PaPanou
president of business inforMation group
ginal architectural intentions contained within Some waves disappear and others become even bruCe CreIGhton
one of the city’s most cherished Modernist build larger than before.” Here, Maki notes that even head office
12 ConCorde PLaCe, suIte 800,
ings and its public spaces becomes difficult. the most strident of Modernists can neither de toronto, on M3C 4J2
telephone 416-510-6845
Therefore, it is not surprising that some of Toron stroy the past for their own purposes, nor hypo facsimile 416-510-5140
e-mail edItors@CanadIanarChIteCt.CoM
to’s most esteemed Modernists are uneasy with critically hold onto their ideals as sacrosanct. For Web site www.CanadIanarChIteCt.CoM
the precinct’s $40oddmillion renovation, better and for worse, change will happen. Canadian architect is published monthly by business Information Group,
a division of bIG Magazines LP, a leading Canadian information company
especially the design of the 3,400squaremetre Deserving a separate discussion but worthy of with interests in daily and community newspapers and business-to-business
information services.
green roof on the podium level of Toronto City mention is the recently launched book on the the editors have made every reasonable effort to provide accurate and
authoritative information, but they assume no liability for the accuracy or com-
Hall, an area that was always meant to be public brash and unbelievably prolific architect Peter pleteness of the text, or its fitness for any particular purpose.
space. It is doubtful that any Modernist would Dickinson. Simply titled Peter Dickinson, this subscription rates Canada: $52.95 plus applicable taxes for one year;
$83.95 plus applicable taxes for two years (Gst – #809751274rt0001).
object to the herbs, grasses, flowers and sedums extraordinary and lavishly illustrated 300page Price per single copy: $6.95. students (prepaid with student Id, includes
taxes): $32.50 for one year. usa: $101.95 us for one year. all other
being planted on the podium’s roof, as adding a volume was written by John MartinsManteiga. foreign: $120.00 us per year.
us office of publication: 2424 niagara falls blvd, niagara falls, ny 14304-
21stcentury green roof to a mid20thcentury UKborn Dickinson arrived in Toronto at the age 5709. Periodicals Postage Paid at niagara falls, ny. usPs #009-192.
us postmaster: send address changes to Canadian architect, Po box 1118,
Modernist icon is what we might call progress in of 24 and by the time of his premature death a few niagara falls, ny 14304.
our continued efforts to further ecological aware days before his 36th birthday, he had irrevocably return undeliverable Canadian addresses to: Circulation dept., Canadian
architect, 12 Concorde Place, suite 800, toronto, on Canada M3C 4J2.
ness in the city. However, what has sparked some altered the course of Modernism in Canada. The Postmaster: please forward forms 29b and 67b to 12 Concorde Place, suite
800, toronto, on Canada M3C 4J2. Printed in Canada. all rights reserved.
debate is the introduction of three Kentucky coffee chainsmoking, harddrinking Dickinson de the contents of this publication may not be reproduced either in part or in full
without the consent of the copyright owner.
trees on the green roof. Native to southwestern veloped his own brand of Modernism through the from time to time we make our subscription list available to select companies
Ontario, these trees grow to a height of around 20 designs of hotels, office buildings, and residential and organizations whose product or service may interest you. If you do not
wish your contact information to be made available, please contact us via
metres, and there are some who feel that the trees towers. When looking at the photos taken of him one of the following methods:
telephone 1-800-668-2374
compromise the clarity and expressiveness of Fin and of his architecture, one sees a world very dif facsimile 416-442-2191
e-mail privacyofficer@businessinformationgroup.ca
nish architect Viljo Revell’s original design. ferent from that in which we live today. Similar to mail Privacy officer, business Information Group, 12 Concorde Place, suite 800,
But does the addition of these trees really con Maki’s comments on Modernism, the legacy of toronto, on Canada M3C 4J2
member of the canadian business press
travene the rules of Modernism? To quote from Dickinson’s work represents a wave upon the member of the audit bureau of circulations
publications mail agreement #40069240
Nurturing Dreams, a collection of essays by archi shore, and one that helps navigate us toward fu issn 0008-2872
tect Fumihiko Maki, “The Mexican poet Octavio ture architectural debate, rather than leave us
Paz once described modernity as an expression stranded on the monuments of Modernism past.
by each individual of how he intends to live his 2010 marks the 100th anniversary of Revell’s
own ‘present.’ If that is so, then there are a thou birth, and MartinsManteiga’s book celebrates
sand modernisms for every thousand persons, the life of Dickinson while mourning his untimely
and in this century, modernism will no doubt passing. We might look at the lives of Dickinson
continue to be the mode by which we express the and Revell as two of the thousands of mid20th
present in which we live.” If we accept Maki’s century architects who inspire us to appreciate the
comments, then perhaps we can accept the addi vastness of Modernism while providing a founda We acknoWledge the financial support of the
government of canada through the publications
tion of trees on top of Revell’s icon—the trees tion for future architectural directions. assistance program toWards our mailing costs.
pap registration no. 11093
could be as poignant a statement in today’s soci Ian ChodIkoff ichodikoff@canadianarchitect.coM
6 canadian architect 02/10

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paTkau archiTecTs inc. and kearns Mancini archiTecTs inc.

PrOjects be added to the top of the School’s existing ad- establishing the original sense of a defensive site.
ministrative tower. The Visitor Centre will be the hub connecting vis-
acton Ostry architects inc. complete sauder www1.sauder.ubc.ca itors to the experience and content of the entire
school of Business renewal and expansion site as well as to the surrounding neighbourhoods
at the University of British columbia. teeple architects inc. in joint venture with and the city. The federal government, through the
The Sauder School of Business is located at the Proscenium architecture + interiors inc. to Canada Cultural Spaces Fund, has approved a
geographical centre of the University of British design next phase of Langara college. grant of up to $4 million for the construction of
Columbia campus, to which a new five-level Langara College in Vancouver has selected Teeple the Visitor Centre, and the City has committed
5,430-square-metre expansion designed by Architects Inc. in joint venture with Proscenium $5.3 million. The Fort York Foundation will be
Acton Ostry Architects Inc. was added. The dra- Architecture + Interiors Inc. to design the next launching its fundraising campaign soon; those
matic soaring space of a skylit atrium links the phase in the development of its campus. The wishing to make donations or to receive more in-
addition to the existing building by creating a campus is planning for the addition of a new
focal circulation spine at the heart of the School. creative arts centre and theatre building, a gym-
The new floor-to-ceiling glazed addition houses nasium, a wellness centre and a daycare, com-
a variety of high-tech lecture theatres, breakout pleting a master plan originally conceived in
rooms, classrooms, an undergraduate centre, and 2004 by Teeple Architects Inc. with IBI/HB
student social spaces. The lobed-roof form of the Architects. Three notable buildings have already
upper level Leadership Centre expresses the been completed as part of the master plan, in-
twinned, tiered lecture theatres contained with- cluding the Library and Classroom Building,
in. The refurbished and revitalized main level in- the Langara Student Union, and Academic Build-
corporates new graduate and business career ing C.
centres linked with lounge areas, informal study
spaces, a café and store. To achieve a new and design chosen for the new visitor centre at
bold identity for the Sauder School of Business, Fort York national historic site.
the old impassive concrete building was wrapped A jury has unanimously recommended the con-
acTon osTrY archiTecTs
with a new glazed façade that references the ceptual design submitted by Patkau Architects
rhythm and pattern language associated with the Inc. of Vancouver, with Kearns Mancini Archi-
universal transfer of digital commerce and busi- tects Inc. of Toronto, for the new Visitor Centre at
ness information—the barcode. Images of inter- Fort York National Historic Site. Fort York is the
national stock exchanges, forest scenes, and birthplace of urban Toronto and the site of Cana-
large-scale portraits of local business magnates da’s largest collection of 1812-era military struc-
tOP The winning design for The new
have been embedded on large glass walls through- tures. The Visitor Centre is key to the planned re-
visiTor cenTre aT ToronTo’s forT York
out the building. Phase Two of the $85-million vitalization of the entire 17-hectare (43-acre) site, naTional hisToric siTe. aBOVe acTon
project is scheduled to commence later this year, and is scheduled for completion in 2012 for the osTrY archiTecTs’ renovaTion of and
at which time 20,000 square metres of existing Bicentennial Commemoration of the War of 1812. expansion To The sauder school of Busi-
classrooms will be upgraded and a new 600- In the recommended design, the Visitor Centre ness aT uBc will help reBrand The
school’s idenTiTY.
square-metre conference centre penthouse will forms a new escarpment of weathering steel, re-

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formation should contact fofy@sympatico.ca. The MNBAQ will mount an exhibition in September
final cost of the Visitor Centre is estimated at 2010 of the presentations of all 15 firms selected
$18 million. to participate in Stage 1 of the competition.
http://www.toronto.ca/visitorcentre www.mnba.qc.ca
awards 20th-century architectural heritage.

This international competition invites archi-
TeaM williaMs/Bakker/haden
2010 annual aiBc architectural awards. tecture students from around the world to
The Architectural Institute of British Columbia create image models of examples of significant
invites submissions for the 2010 Annual AIBC architecture created during the 20th century.
Architectural Awards, which celebrate excellence This competition is an opportunity for the archi-
across the following distinct award categories: tects of tomorrow to enrich the web index at
Lieutenant-Governor of British Columbia Award www.archi.fr/UIA with their own expression of a
in Architecture (Medal and Merit); AIBC Innova- building project from the last century, using to-
tion Award; AIBC Special Jury Award; and the day’s design tools. The image models to be de- aBOVeconcepTuallY inspired BY TradiTion-
AIBC Emerging Firm Award. The submission signed for this competition need to be based on al naval colours of Black, gold and
whiTe, The canadian navY MonuMenT
deadline is March 15, 2010 at 12:00 noon. digital photographs created using Autodesk in oTTawa will Be coMpleTed in The
www.aibc.ca/conference2010/awards/index.html ImageModeler and Autodesk Stitcher Unlimited spring of 2011.
software. This software will be made available by
cOmPetitiOns Autodesk to the competitors for use free of Hylozoic Ground, a project by PBAI (Philip Beesley
charge for the duration of the competition. Architect Inc.) in collaboration with the Univer-
canadian navy monument design selected. Competitors should register online through the sity of Waterloo School of Architecture, has been
The National Capital Commission (NCC) and the competition website until March 26, 2010. selected through a national juried competition to
Canadian Navy congratulate Al McWilliams, Joost Submissions may be transmitted online from represent Canada at the 2010 Venice Biennale in
Bakker and Bruce Haden from British Columbia April 5-April 26, 2010. Architecture. The installation in Venice will be
for their design of a new naval monument at www.archi.fr/3D_20th designed by architect Philip Beesley working with
Richmond Landing in the core of Canada’s capi- collaborators Andrew Hunter (independent cura-
tal. The winning entry was selected in a design art alliance austin launches international tor) and Rob Gorbet (engineering director). To-
competition by an internationally renowned jury architecture competition. gether, they bring many years of experience in
in October 2009 and reflects many facets of the Art Alliance Austin recently launched their third innovative architecture, art and design. The Can-
Canadian Navy in its use of the naval black, white annual Temporary Outdoor Gallery Space (TOGS ada Council for the Arts and the Royal Architec-
and gold colours to create a distinctively sculpted 3) ideas competition. Past TOGS competitions tural Institute of Canada are working together to
open space charged with meaning. The monu- were open exclusively to architects and interior provide financial support and assist with project
ment will be unveiled in the spring of 2011, com- designers; this year, TOGS 3 will be open to oversight for Canada’s architectural representa-
pleting a year of naval centennial celebrations. national and international professionals and stu- tion in Venice. This collaboration is part of a
www.navy.forces.gc.ca/centennial dents in the fields of architecture, urban design, larger project to investigate developing support
interior design and landscape architecture. A for the advancement of the presentation and ap-
Finalists selected for the expansion of the grand prize of $1,000 will be awarded to the win- preciation of contemporary Canadian architec-
musée national des beaux-arts du Québec. ning design. A second- and third-place winner tural excellence in Canada and abroad.
The international architecture competition of will be chosen and awarded $500 and $250, re- www.canadacouncil.ca/news/imagegallery
the Musée national des beaux-arts du Québec spectively. All three winners will be announced
(MNBAQ) has entered a new stage with the selec- and exhibited at Art City Austin, the city’s largest shore tilbe irwin & Partners merges with
tion of five finalists from among the 15 architec- and longest-running outdoor art fair, from April Perkins+will.
tural firms who were selected and invited to take 24-25, 2010. Following a feasibility study, the Shore Tilbe Irwin & Partners has announced a
part in Stage 1 of the competition last September. first-place winner will be invited to collaborate strategic merger with the global architecture and
The five finalist teams are: Barkow Leibinger ar- with a professional team to realize a TOGS 3 pro- design practice Perkins+Will. Perkins+Will
chitekten/Imrey Culbert architects, Berlin and totype. The prototype and jury’s selection will be currently operate studios throughout North
New York; Brière, Gilbert et associés/Nieto Sobe- exhibited at Art City Austin and will be available America, Asia, Africa, Europe and the Middle
jano, Montreal; Fichten Soiferman et Associés for exhibitions internationally. The online regis- East. Shore Tilbe Irwin & Partners is the latest
Architectes/Allied Works Architecture, Montreal; tration deadline is March 26, 2010, and the sub- addition to this dynamic federation of design
Groupe ARCOP/David Chipperfield architects, mission deadline is April 5, 2010. Each individu- practices, becoming the second Canadian office
London, England; and OMA, Rem Koolhaas, Rot- al/team (maximum 2 people) must register via and the first in Eastern Canada. The firm’s new
terdam, Holland. The goal of the next stage of the the Art Alliance Austin website, where full com- name is Shore Tilbe Perkins+Will. With the
competition will be to develop the project’s func- petition details are also available. organizational and technical support of the larger
tional solution while meeting the program and www.artallianceaustin.org organization, Shore Tilbe Perkins+Will will con-
the needs and technical constraints of the site. tinue to operate out of its studio in downtown
Development of the concept will also make it what’s new Toronto. Their practice will continue to flourish
possible to demonstrate the sustainable aspect based on the individual relationships that they
of the project. Stage 2 of the competition will Hylozoic Ground selected to represent have forged with their clients, consultants, sup-
begin in late February 2010 with the selection of canada at Venice Biennale in architecture. pliers and builders.
the winning team from the five finalists. The The Canada Council for the Arts announced that www.shoretilbeperkinswill.ca

high notes

a philanthropic client
commissions a house that
functions as both a recital
hall and his own personal
residence.
proJectIntegral House, toronto, ontarIo

architectsHIm-sutclIffe arcHItects
teXt JoHn Bentley mays
photos James Dow, BoB gunDu, eDwarD
Burtynsky
The 10-year evolution of Integral House, the re-

cently completed Toronto home of mathemati-
cian and violinist James Stewart, began with a
brief that could hardly have been shorter or sim-
pler. Stewart wanted curves. He wanted a lot of
glazing, both on the exterior and interior (the lat-
ter to showcase his collection of glass art). And,
more unusually, Stewart wanted a performance
space for an audience of 150, all wrapped up in
what he called an “architecturally significant”
package.
During his long quest for a designer to grow a
house from this brief, Stewart sought out some of
the world’s most prominent architects, including
Frank Gehry (who agreed to provide a scheme),
Rem Koolhaas and Steven Holl, before choosing,
in 2000, the hometown team of Brigitte Shim and
Howard Sutcliffe, principals in Shim-Sutcliffe
Architects. The reply of this pair of talented de-
signers to the brief is a highly figurative 15,000-
square-foot home for a celebrated author of
mathematics textbooks who likes to organize
musical evenings along classical lines—“I wanted
to be an impresario,” Stewart told me—and a
minutely detailed, ambitious building that mates
a recital hall with a private home in a romanti-
cally expressive envelope. The client never con-
sidered going the more usual philanthropic route
and endowing a freestanding concert venue: the
decision to have it in the house “is because I
would have more control over the concerts.”
The full drama of this consummately aesthetic
project is not immediately evident from the
street, nor was it supposed to be. The context of
large, traditional family homes, close by on both
sides of Shim-Sutcliffe’s façade, precluded grand
statements at the level of the shady Rosedale
sidewalk. In the sturdy two-storey composition
of its front, a green etched-glass attic, which
glows like a lantern at night (and contains Stew-
art’s bedroom suite, media room and other ame-
leftDespIte tHe resIDence’s consIDeraBle

BoB gunDu
sIze, tHe front entrance to Integral

House Is InvItIng anD approprIately scaleD.

BoB gunDu
nities), rests lightly on a broad wooden and concrete base that spreads to
the narrow limits of the property. This marked modesty at street level en-
ables the house to slip unobtrusively into the neighbouring fabric, and it
creates a subdued prelude to the more robust architectural ensemble be-
yond.
Integral House shows this more formally energetic side at the rear, as it
boldly moves away from the city and steps down the steep slope of a wooded
ravine to a swimming pool and terrace. Each of the house’s levels is differ-
ent from every other, registering changes in program and in the building’s
relation to the sky and the forest on the slope. The entry level, for example,
is a high overlook, offering clear views into the descending house and its al-
ternating rhythms of grid and organic form. One level down, in the area
designated for Stewart’s musical evenings, the space majestically expands to
double height, up to a clerestory, and outward to frame views of the forest.
Descending still deeper, the visitor discovers Stewart’s ample study in a bay
of glass opening toward the bottom of the ravine.
As Stewart had specified, the geometry of the design is dominated by
curves, which are expressed eloquently in the undulating curtain wall that
encloses the middle levels of the house. The curves are purely artistic. Stew-
art said that although the curvature could be described mathematically, he
did not supply equations to make it. This wall features vertical oak-clad
fins—each one different—canted outward between panes of glass and run-
ning in a clear, undulating sweep along the façade’s curvature. A sharp, de-
cisive meeting of the glass wall and the interior flooring—a light French
limestone—has been avoided. Instead, the floor stops short of the wall in a
low curb, giving the impression that the wall continues downward past the
floor plane in a cascade of wood and glass.
While this complex façade treatment lends Integral House muscular
sculptural presence, formal elegance is only part of its artistic agenda. Its
more important task is to establish ever-changing relationships between
the interior and nature beyond. Standing in one position before the canted
fins in the performance space, the visitor finds the wall almost opaque. Step
sideways, and views open up. The inward billowing of the screen forms
small semi-enclosed harbours of nature, or, bulging outward, it creates in-
terior bays that hover over the landscape. There is no living room as such in
Integral House; intimacy is afforded by small seating areas spun out of the
downward and outward flow of interior space.
The impulse behind the fabrication of the house’s unusual perimeter
wall—to produce endless events, surprises, small and ever-unfolding aes-
thetic episodes of light and view—drives the whole design of the project,
down to such details as the custom-crafted door handles and the precise
enjambments of wood and stone. Digital imaging and automated manufac-
ture—“the computer as an aid to the soul,” Howard Sutcliffe said—saved
years of time in the design process, and empowered a kind of Arts-and-
Crafts refinement in the planning and outfitting of the house.
As one moves up and down, alongside and around the chimney, elevator
shaft and stairwell that comprise the strong vertical roots of the house, the
experience of surrounding nature changes accordingly, from treetop bright-
ness above, to the loamy shadows of the forest floor. Yet walking around
within the building itself, one finds the spatial properties of the architec-
ture also continually changing, as scales vary from monumental to small,
and as one area dissolves into another in the fluid plan. The result is an ar-
chitecture of event, more cinematic than static, with different stories—of
compact urban life, of relaxed country retreats, musical recital halls fondly
remembered—emerging from the structure’s imposing matrix of stone,
glass, concrete and wood.
pHotograpHs taken from tHe lIvIng room look-

left, top to bottom
Ing out towarD tHe ravIne DurIng tHe sprIng, summer, fall anD
wInter seasons Illustrate How cHanges In lIgHt anD colour
affect tHe InterIor spaces.

BoB gunDu
BoB gunDu
aboVe a DetaIl of tHe Brass anD wooD
HanDraIl. tHe Deep leDge Is useful for
guests to rest tHeIr Beverages upon Dur-
Ing tHe many events HosteD By tHe
clIent. aboVe right tHe precIsIon of tHe
mIlleD floorIng, wooD sHelvIng anD
oak fIns Is In evIDence tHrougHout tHe
Home. right a vIew of tHe lIvIng room,
upper lIvIng room anD DInIng room.
The marriage of concert room and private

home, however, has its problems. Perhaps inevi-
tably, the project falls into two distinct parts, one
very spacious and the other more intimate, that
are reached by two very different itineraries. As
inspiration for this bifurcated scheme, Stewart
cites Ron Thom’s Massey College at the Universi-
ty of Toronto, where he lived as a graduate stu-
dent, and where small live-in digs and large
common areas are nested comfortably close to
each other under a common roof.
The recital hall below the street-level entrance
eDwarD Burtynsky
of Integral House is approached by a graceful
stair, descending through switchbacks and stag-
es, and is wide enough to accommodate the verti-
cal circulation of large groups of invited guests.
The sense of this part of the house, despite the
presence off the main route of a kitchen and din-
ing area, is public, official and important. The 2
3
human self assumed in this space is social, part 8
of a collectivity—the community of music lovers, 1

open to
below
for example, or a lot of people gathered by some 7
6 5 4
common concern. In the house’s first year, Stew-
art reports, requests to hold fundraisers in the
recital hall have been pouring in.
On the other hand, the master bedroom com-
1 entry 5 kItcHen
plex, which occupies the top level of the house, 2 reflectIng pool 6 pantry
3 7
has about it the atmosphere of a deluxe pent- site plan
4
upper lIvIng room
DInIng room 8
garage
elevator 0
0 10M
10m

BoB gunDu
BoB gunDu
James Dow
James Dow
clocKwise from top left tHe Blue glass-
encloseD prIvate staIr By nova scotIa

glass artIst mImI gellman; ascenDIng
tHe same staIr to James stewart’s prIvate
quarters; It Is only DurIng tHe wInter
montHs wHen tHe rear of tHe House Is
revealeD tHrougH tHe trees; tHe clIent’s
lap pool—tHe glass wall Is completely
retractaBle Into tHe floor Below.
client James stewart

architect team BrIgItte sHIm anD HowarD sutclIffe (prIncIpals),
Betsy wIllIamson (proJect arcHItect), anDrew Hart, DenIse Hara-
Dem, mIke goorevIcH, kyra clarkson, saraH Iwata, elena cHer-
nysHov, tHeo kelaDItIs anD aprIl wong (moDel-makers)
structural Blackwell BowIck engIneerIng (DavID BowIck)
mechanical toews engIneerIng (frank toews)
electrical DynamIc DesIgns anD engIneerIng (tony monopolI)
landscape nak DesIgn group (roBert ng)
contractor eIsner-murray Developments Inc. (steve eIsner anD
steve murray)
code HIne reIcHarD tomlIn Inc. (Dave HIne)
fountain waterarcHItecture Inc. (Dan euser)
area 18,000 ft2
budget wItHHelD
completion fall 2008
4
5
7 6 6
8 1 3
15
16 17 18
2
10 9 14
1 entry 10 guest BatHroom

2 lIvIng room 11 cHange room 11 12 13
3 upper lIvIng room 12 pool
4 master BeDroom 13 terrace
5 Hall 14 roof garDen
6 guest room 15 mecHanIcal room
7 guest suIte 16 storage
8 garage 17 servery
9 stuDy 18 Bar
longitudinal section
00 10M
10m

house apartment or sumptuous eyrie for one in-
dividual, much like what we might expect in a
guest suite for performers installed high in a
concert hall. It is reached from the entry level by
2 3
a straight flight of steps in a dramatic stairwell 1 Hall 4
lined with deep blue glass panels crafted by artist 2 powDer room
3 elevator
Mimi Gellman, which are held to the wall with 4 master BatHroom
9 9 1
5 master BeDroom
5
custom-designed, custom-cast metal brackets. 6 roof terrace
7 meDIa room 10
The stair creates a direct, businesslike route up 8 guest BatHroom 7 6
9 guest room 8
that is unlike the grander pulse of the staircase 10 guest suIte 6
dropping to the recital hall. The result is a divi- leVel 500

sion of space that notably, but not fatally, breaks
0 10M
up the unity of the interior composition.
Another problem with Integral House—for me,
2
I should say, not for the client—is its deliberate
3
situation within the discourse of the “architec-
8
turally significant” house. In every prosperous
time and place, of course, successful people are 1 entry open to
2 reflectIng pool 1 below
occasionally struck with the Xanadu fantasy—the 3 upper lIvIng room
4 DInIng room
longing to go beyond merely providing for them- 5 kItcHen
7
6 pantry
selves comfortable places to live, to contribute 7 garage 4
8 elevator 6
something substantial to the history and culture 5
of architecture. And to be sure, Integral House leVel 400
does embody a formidable amount of advanced

0 10M
research, both formal and technical, on the part
of the architects. There are no half-measures 7
here; every cranny, angle and fixture has been

thought out with rigorous care. 10
But such dreams of building a great and exqui- 1 lIvIng room
2 famIly room 6 1
site dwelling that expresses the best thinking of 3 vestIBule
4 Bar 5 4
the age can be treacherous. The outcome might 5 servery
6 storage 6 3
be Frank Lloyd Wright’s memorable paradigm- 7 mecHanIcal room
8 launDry 7
shifting Fallingwater—but it could easily turn out 9 wasHroom 8
2
7 9
10 elevator
to be something merely grandiose, along the
leVel 300
lines of E.J. Lennox’s Casa Loma, the pseudo-
medieval Edwardian pile that glowers over down- 0 10M
town Toronto from its high perch on the St. Clair
escarpment. Because history has been invoked by
the client, history alone can be the final judge of 1
whether Integral House will be regarded by the 8 2

7
future as a masterpiece of 21st-century architec- 6
tural design, or as merely another piece of evi- 1 gallery

5
2
dence for the excesses of Toronto’s most recent 3
roof garDen
stuDy
Gilded Age. 4
5
guest BeDroom
guest BatHroom
My hunch, however, is that the impact of this 6
7
mecHanIcal room
wasHroom
4 3
deeply interesting, fastidiously researched and 8 elevator
designed building will endure long past the era of leVel 200
its construction—even if it can’t quite decide 0 10M

1
whether it’s a cultural institution or a private resi- 9
dence. In common with its venerable precedents—

Le Corbusier’s Villa Savoye, Mies van der Rohe’s 9 2 3
Tugendhat House, and especially Aalto’s Villa 10
Mairea come to mind—Integral House represents 8

7
an effective experimental think-through of the 1 fountaIn 6
problem of the luxury dwelling in modern times, 2 pool
3 terrace 5
and as well, a remarkable contribution to the ar- 4 exercIse room
5 wasHroom
chitecture of exuberant aesthetic gesture. ca 6 cHange room
4
7 sHower/steam room
8 sauna
9 mecHanIcal room
John Bentley Mays is an architecture critic and writes 10 elevator
regularly for The Globe and Mail. leVel 100
00 10M
10m

THE BEST WAY TO PREDICT THE FUTURE
IS TO INVENT IT.
NOBLE ® ARCHITECTURAL SERIES

MODERN + VERSATILE + DURABLE + LEED COMPLIANT
OVER SIXTY YEARS OF EXPERTISE

IN CONCRETE PRODUCTS FOR MASONRY.
permaconpro.ca
1968 Social environmental
WHO SHAPES THE FUTURE
movements take hold.
OF GREEN DESIGN?
You do.
1978 Earth Day brings What was once a quiet evolution has
awareness to Earth’s
need for continual care. become a revolutionary force. Your desire
for sustainable design has helped redefine
the meaning of green. Since we began
making nora® rubber flooring over
50 years ago, we’ve evolved with you.
1988 1,000 communities Your concern for the environment continues

in America initiate
curbside recycling. to create new standards for designing
in harmony with nature. It is why we
continually explore ways to blend the
best of technology with greener thinking.
1998 EPA launches voluntary It starts with you.

programs for energy,
water, indoor air You and your challenges.
quality, waste and You and your world.
smart growth.
You and nora.
2008 U.S. Green

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member organizations
grow to 15,000. www.nora.com/us/green17

instrumental composition
a masterfully executed addition to and Fully opened last fall, the Telus Centre for Performance and Learning
renovation of an important national buzzes with activity. International performers grace Koerner Hall,
cultural facility sings with success. music students of all ages fill the studios, and the smartly dressed
mingle at receptions in lobbies overlooking the city.
The new addition, with its world-class performance venues, aca-
proJect Royal ConseRvatoRy of MusiC telus CentRe foR
demic studios, and vibrant public spaces, has been almost 20 years in
PeRfoRManCe and leaRning, toRonto, ontaRio
architect KuwabaRa Payne MCKenna bluMbeRg aRChiteCts
the making. In 1991, the Royal Conservatory of Music commissioned
text elsa laM plans for a major extension to its century-old Romanesque Revival
photos eduaRd huebeR, toM aRban headquarters on Bloor Street, in the heart of downtown Toronto.
toM aRban
Led by designer Marianne McKenna, Kuwabara Payne McKenna

Blumberg’s original scheme proposed a central courtyard flanked by

eduard hueber
a 550-seat concert hall on one side and an academic wing on the other The undulaTing ribbon-like virTual ceiling of koerner
opposite
(see CA, December 1991). When funding was finally secured in 2003, it hall enhances The sound qualiTy of an inTimaTe concerT
came with a mandate to double the capacity of the concert space. Strategies space. aBove siTuaTed adjacenT To The daniel libeskind-designed
for building on the tight urban site changed radically. “Maintaining and de- royal onTario museum, The resTored and updaTed royal
fending the vision, riding the waves of construction challenges, detours in conservaTory of music brings civic grace To a secTion of
ToronTo’s busy bloor sTreeT.
financing, and client requests over [the following] six-year period,” says
McKenna, was “no small feat.” an important path linking Bloor Street to the University of Toronto’s St.
In the resulting plan, developed by McKenna with project architect Bob George Campus, the new facility dissolves into an airy glass curtain wall and
Sims, the 1,135-seat Koerner Hall dominates in area. It’s wrapped by a ser- offers a second entrance to students approaching the building from the
ies of new light-filled lobbies that look east to the Royal Ontario Museum much-loved landscaped promenade.
and south over the treed canopy of the University of Toronto’s Philoso- The Royal Conservatory’s hybrid mandate supports both musical per-
pher’s Walk. On the west side, a five-storey wing houses practice and in- formance and instruction. Therefore, the design strives to create physical
structional studios, and a box office opens onto Bloor Street. connections between those spheres. The key site where this occurs is a
Despite its size—more than double the footprint of the 1881 historic edi- four-storey atrium at the former basement grade, connecting the main en-
fice (originally called McMaster Hall, now called Ihnatowycz Hall)—the re- trances and spanning between old and new structures.
cent addition is a surprisingly discreet presence in the city. The bulk of its Open to the public, the skylit pedestrian court does triple duty as circula-
mass is tucked out of view, and its carefully calibrated heights defer to the tion core, study space, and gallery for the Koerner family’s collection of an-
heritage structure, whose turrets are still visible from down the block. tique instruments. On the ground floor, an independent café presents a
Complementing the adjacent red-brick façade and dark-grey roof of the convivial spot for music students to compare class notes and concert-goers
original building, a Spanish-slate-clad volume hovers over the transparent to pause over an espresso. In the distance, glass partitions face into the
glass box office entrance on Bloor Street. The understated presence gives studio block, affording glimpses of students heading to their lessons.
the facility a quietly contemporary public face. Facing Philosopher’s Walk, Above, walkways lead from the box office to the concert hall and bridge into

Tom arban
Ihnatowycz Hall. A series of small balconies ex-

tend from the historic stairwell, acting as mini-
stages overlooking the atrium space/circulation
spine during gala events. Remaining respectful,
all new connections were built out from window
openings in the heritage building, and even the
skylight spacing matches the quirky rhythm of
the century-old structural bays. The concert
hall’s slightly canted position in plan opens up
the atrium, inviting light to pour in from Phil-
osopher’s Walk to create an inviting court for the
broader community.
The gap between Koerner Hall and Ihnatowycz
Hall serves a key technical function: providing
the acoustic decoupling necessary to create a top-
calibre performance venue. In terms of construc-
tion, Koerner Hall is effectively a separate build-
ing. The N1 acoustic-rated structure floats on
thick rubber pads that isolate it from the rum-
bling subway which operates almost directly
below the site, and from noisy chillers for the
hockey arena next door. It’s also protected from
teaching and practice studios that could interfere
with performances.
Inside Koerner Hall, sound design is tightly
integrated into every detail. The project budget
was tight, recalls McKenna, but the client refused
to cut corners on acoustics. “They said: ‘If you
need it for acoustic reasons, you have to do it.’ ”
So, she reasoned, “we made everything acoustic.”
Working in tight collaboration with Bob Essert
of Sound Space Design and theatre consultant
Anne Minors, McKenna and Sims developed a
scheme that merges architecture and acoustics
into every aspect of the concert hall, from its
overall configuration to the treatment of each
Tom arban
surface. For instance, softly undulating plaster

sidewalls stemmed from a need to provide tex-
tured, shaped surfaces for acoustic reasons. Sims
crafted the first prototypes at home, casting plas-
ter on stretched fabric to create pillow-like
forms. To create the finished walls, burlap-lined
silicone moulds were used, giving the sidewalls a
warm, variegated look. “The panels needed to be
extremely hard and dense for acoustics, but we
wanted to give them the appearance of lightness
and softness,” says Sims. Double-layered oak
balcony fronts arose from a similar process:
they’re slightly curved and finely scraped to dis-
perse both light and sound waves, giving both the
panels and the balcony fronts a warm glow.
A soaring canopy above Koerner Hall repre-
sents the most stunning fruit of this collaborative
process. The veil of twisting oak “strings” as-
cends from the stage, forming a backdrop for the
defined by a glass roof, an ele-

top left
ganTly proporTioned aTrium disTinguish-

es The original building from The new
koerner hall. left a view from The sTage
inside koerner hall.

Tom arban
eduard hueber
chorus at the first balcony, then rising to hover The glass-enclosed lobby space ouTside of koerner hall enlivens The
aBove, left to right
over the audience. Conceived early in the design universiTy of ToronTo’s philosopher’s walk; The mulTi-level lobby space exudes boTh a
by McKenna, the veil creates a virtual ceiling sense of grandeur and inTimacy wiTh an appropriaTe scale and level of deTail.
floating within the larger volume of the hall.
Seven metres above this, the true ceiling provides the space. Seats are arrayed on all sides, includ- comes off the stage and hits them; they haven’t
the necessary height to optimize acoustics. The ing behind the stage—a move typical of classical been hit like that before.” The intimacy of the
ribbon-like forms allow low- and mid-frequency theatre layouts, including Toronto’s Roy Thom- space and the sound force listeners to be actively
sound waves to pass unobstructed through to the son Hall. On the upper balconies, single and engaged with the performance; conversely, musi-
higher ceiling, while scattering the highest fre- double rows of seats pack in additional views. cians welcome the chance to forge connections
quency harmonics throughout the concert hall. “There’s lots of front rows in this room,” says with an attentive audience through eye contact.
The canopy conceals such technical devices as Minors, noting how direct sightlines of the stage A similar merging of acoustics and architecture
a sound-reflecting ceiling suspended over the make audiences feel more involved with the per- informs Conservatory Hall, a secondary perform-
stage area (which helps musicians to hear each formance. Curved lines—from balcony fronts to ance and instructional space with flexible seating
other), lighting, and rigging systems. During side aisles—also contribute to a feeling of enclos- capacity for 150 patrons. Perched over the box of-
acoustic orchestral performances, the room ure that wouldn’t be present with a more recti- fice, the room offers a spectacular panorama
maintains a clean appearance, while devices such linear concert hall configuration. down busy Bloor Street, while being completely
as a central speaker cluster and a speech re- Links between the audience and performers insulated from the roar of traffic. The room looks
inforcement speaker can be lowered into view are additionally encouraged at more subtle levels. deceptively simple, but as Sims explains, “it’s
when needed for amplified performances. The slightly “fishtailed” parterre layout, along more complicated in its structure than Koerner
Together with the hall’s base acoustics, the myr- with a raked floor that becomes imperceptibly Hall.” To protect against external vibrations, the
iad setups housed above the canopy allow the lo- steeper at the top, contribute to visual cues that team constructed Conservatory Hall as a box
cation to accommodate a wide range of sounds shorten the apparent distance between audience within a box, with a heavy outer shell to isolate
and performances. The opening season cele- and stage. This sensation is echoed in the acous- against exterior sound, and with a light, rever-
brates those possibilities by hosting events ran- tics of the space, which Essert describes as a berant inner layer to shape the sound within.
ging from Royal Conservatory Orchestra concerts “fast” sound. “The performer doesn’t wait for the Inside the space, technical issues were solved
to appearances by legendary sitarist Ravi Shankar sound, it comes back so quickly it becomes part with relatively economical means. Soundproof
and former Barenaked Ladies frontman Steven of their performance,” he explains. For specta- windows are formed by pairing two standard
Page. tors, he fashioned a corresponding condition curtain-wall systems around a generous air
As a 1,135-seat venue, Koerner Hall fills a where “the audience is immersed in the sound space; mahogany surrounds give the assembly a
unique niche in Toronto: it’s large enough to host without being drowned in it.” polished finish. A wooden lattice that wraps the
top-level performers, yet small enough to offer The enthusiasm of performers and audiences upper half of the room conceals inexpensive
the intimacy of a private venue. This effect is alike testifies to the successful achievement of acoustic panels and curtain tracks, and playfully
carefully nurtured by a multitude of decisions in these effects. “[Audiences] are saying, ‘this hall incorporates glowing glass blocks. Steel rods
the layout. Starting with a shoebox configuration, sounds so good,’” reports Mervon Mehta, artistic stretched over heavy timber beams support the
the designers chose a mid-sized (rather than full director for the Conservatory. “I think really what ceiling. Recalling taut violin strings, they give a
orchestra) stage and ensconced it firmly within they’re reacting to is the visceral energy that muscular presence to the volume. As with its sib-

1 2
4 6
5
first floor 0 10M
section—north/south
Tom arban
ground floor 0 10M aBovea modesT forecourT in fronT of The Telus cenTre for per-
formance and learning provides an appropriaTe buffer beTween
The new faciliTy and busy Traffic along bloor sTreeT.
ling space, the ceiling suggested by this structure raked floor that holds the room together as a sin- expected close-up of grey slate shingles, a wood-
is deceptively low: a black scrim hides the true gle, clean-lined volume. The acoustics of 43 new framed dormer window, and the red brick cor-
acoustic ceiling, 1.5 metres above. practice studios are precision-engineered so that nice. Even fire hose cabinets have custom covers
Other areas are similarly detailed with a quiet sound doesn’t travel between adjacent rooms, but in either steel or painted wood, blending into ad-
elegance that sets the tone for the larger project. is allowed to leak out into the hallway, filling this jacent walls.
The 1996-renovated Mazzoleni Hall, the facility’s interstitial space with faint melodies. A section of The project’s most successful spaces—includ-
third performance space, boasts a wooden screen heritage roof thrusts into a fourth-floor elevator ing the multi-layered atrium and compact
that echoes textures in the newer spaces, and a vestibule in the new studio wing, giving an un- Koerner Hall—emerged from the challenges
elevation

1 koerner hall
2 library client royal conservaTory of music
3 lobby architect team marianne mckenna (parTner), roberT sims
9 4 vip room (associaTe in charge), dave smyThe (projecT archiTecT), meika
5 sTudio mccunn (projecT archiTecT), carolyn lee, frances lago, john
6 philosopher’s walk mesTiTo, gary yen, dan benson, krisTa clark, bill colaco,
7 back of house george friedman, erik jensen, david jesson, robin ramcharan,
5
8 classroom riTa kiriakis, lexi kolT-wagner, scoTT pomeroy, mark simpson, deb-
9 mechanical orah wang, chris wegner, norm li, clare radford, nick lim
5 acoustician sound space design wiTh aercousTics engineer-
ing lTd
theatre consultant anne minors performance consulTanTs
5 1 4 structural halcrow yolles
mechanical merber corporaTion consulTing engineers
electrical crossey engineering
5 landscape janeT rosenberg & associaTes
interiors kpmb archiTecTs
contractor pcl consTrucTors canada
8 3 costing curran mccabe ravindran ross
audiovisual engineering harmonics
architectural lighting marTin conboy lighTing design
heritage goldsmiTh borgal & company limiTed archiTecTs
2 5 area 190,000 fT2
7
Budget $110 m
6 completion sepTember 2009
5
5
section—east/west
posed by a tight site. Such was also the case with a events during the day such as a recent Sotheby’s lobbies, acoustically magnificent concert halls,
VIP room, located within the third-floor theatre board meeting. and expanded teaching studios currently wel-
lobby when no space could be found elsewhere By encompassing a wide span of programmatic come as many as 10,000 people each week. “It’s
on the floorplates. The room—like the lobby floor possibilities within generous open spaces, the just an extraordinary building. And it’s some-
it sits on—is suspended from the roof structure, Telus Centre has transformed the Conservatory thing that will last for another 100 years.” ca
allowing for floor-to-ceiling glass walls with an from a stuffy, no-image institution in a 19th-
uninterrupted view of the Toronto skyline (ap- century shell to a leading and visible 21st-century Elsa Lam is a PhD candidate in the Architectural
propriate to its support system, the room is dedi- hub for the arts. “It’s completely elevated our History and Theory program at Columbia University.
cated to a Dr. Hun Shiu Hung). An exclusive profile not only in Canada, but in the world,” af- She currently holds a Junior Fellowship at Dumbar-
venue for private dinners and mid-performance firms Conservatory president Dr. Peter Simon, ton Oaks in Washington DC, where she is pursuing
receptions at night, it’s often rented for special who estimates that the light-filled atrium and research on the Canadian Pacific Railway’s role in
shaping Western Canadian landscapes at the turn of
the 20th century.
a sTudenT pracTices his crafT in one of The music sTudios; The
clocKwise from Below left
new faciliTy, as seen from The enTrance To philosopher’s walk; a deTail of The wood-
en fins inside koerner hall; The spanish slaTe cladding of The new addiTion conTrasTs
againsT The original red brick; inside mazzoleni hall.
Tom arban
eduard hueber
eduard hueber
eduard hueber
Tom arban

crystal clear
Fumihiko maki’s First
building in canada is a
deceivingly complex
cultural building oF a
quality rarely seen in
this country.
proJectDelegationoFtHeiSMailiiMaMat,
ottawa,ontario
architectsMaKianDaSSoCiateSinCollaBora-
tionwitHMoriYaMa&teSHiMaarCHiteCtS
textianCHoDiKoFF
photostoMarBan,unleSSotHerwiSenoteD
It is a rare occurrence when the complex engi-

neering strategies and design details comprising
a building merge into a sublime architectural ex-
perience. Such is the case with the Delegation of
the Ismaili Imamat building in Ottawa. Designed
by Fumihiko Maki, the building is the veteran
Japanese architect’s first commission in Canada.
Working with Moriyama & Teshima Architects—
the architects of record—Maki and his team have
achieved an extraordinary level of resolution and
refinement throughout the building. No detail
was overlooked or overdesigned. Equally remark-
able is the commitment of His Highness the Aga
Khan, an enlightened client who understands
how architecture can become a significant testa-
ment to his efforts in global pluralism, cultural
heritage, and social and economic development—
efforts that focus on both the Islamic world and
the Ismaili diaspora.
The building’s program is relatively simple.
What is decidedly complex is the precision con-
tained within the architecture. Every joint, cor-
ner and seam is perfectly aligned—wall panels,
reveals, mullions and ventilation grilles were de-
signed with extremely low tolerances. From the
lowly floor drains in the parking garage to the
concealed hinge detail on the exterior emergency
exit doors, the building’s architectural language
is tightly edited. When discussing the construc-
tion process with Maki and Associates Design
Director Gary Kamemoto and with architects above aDetailviewoFtHeSanD-CaSteDaluMinuMlattiCeworKinSiDetHeatriuM.
from the Toronto and Ottawa offices of Moriyama
& Teshima Architects, it became clear that the When the Aga Khan was looking for a site, he site lies four metres below street level and is dif-
coordination of all aspects of the building had to wanted his building to be on a section of Sussex ficult to access, given that it is marooned to the
be diligently and diplomatically resolved with the Drive that is part of Confederation Boulevard, a north by a busy highway and off-ramps of the
contractor and numerous tradespeople. Each had 7.5-kilometre ceremonial route containing some MacDonald-Cartier Bridge and King Edward
his or her own working culture that needed to be of Canada’s most important institutions which, Avenue. Moreover, the building was restricted
meshed with the culture of design in Maki’s according to the NCC, helps “people to discover to an 11-metre height with specific setbacks on
Tokyo office. important aspects of Canada’s government, cul- either side.
The site of the Delegation building was origi- ture, heritage, landscape and relations with Because of the height restrictions, Maki and
nally owned by the National Capital Commission other nations of the world.” The site eventually his team adopted a horizontal approach to the
(NCC), a Crown corporation entrusted with the chosen was a tight one-hectare leftover parcel of building’s massing and sought to frame views of
management of federal lands and buildings. land adjacent to the Saudi Arabian embassy. The several significant elements nearby, such as the
02/10canadian architect 27

Ottawa River to the west, and both Old City Hall and the Gatineau Hills to tHequalitYoFligHtintHeatriuMiSMoDulateDBYwoven
top
the north. glaSS-FiBreMeSH,aluMinuMSCreenSanDwinDowSalongtHe
From the outset of the project’s announcement in 2002, His Highness the gallerY. above, leFt to righttHeFrontelevationFaCingSuSSexDrive;
Aga Khan stipulated that the building must contain a material palette that tHetwoSeparatewingSoFtHeBuilDingareClearlYviSiBle
would range from clear to translucent—an architectural language that would wHenvieweDFroManearBYreSiDentialtower.
serve to describe his organization’s work in the public realm. Moreover, the
architecture had to capture the Islamic spirit, but not in a slavish manner. building serve in a quasi-diplomatic capacity for the Aga Khan, but it allows
The Delegation building is intended to represent the Aga Khan’s institu- the public to learn from and engage in the AKDN’s activities, which are
tional network comprising a range of non-denominational, philanthropic broadly divided into three areas: economic development, social develop-
and development agencies that constitute the Aga Khan Development ment, and culture.
Network (AKDN). Open to the public every Saturday, not only does the While the symbolic entrance to the building is on Sussex Drive, the main
28canadian architect02/10
entrance is off Boteler Street. Two rectangular-
shaped wings encase an exterior and interior
courtyard. The exterior courtyard was designed
around the concept of the chahar-bagh, a tradi-
tional Islamic garden. The interior courtyard or
atrium space is contained beneath a structural
steel and glazed roof that the Aga Khan mandated
to serve as the metaphorical equivalent of a rock
crystal “because of its translucency, its multiple
planes, and the fascination with its colours.”
Wrapping the two courtyards with administrative,
educational and residential program serves to
create an inner sanctuary protected from the out-
side world. To lift the Delegation building to a
level that is more in line with Sussex Drive, its
brilliantly white base sits atop a large granite
plinth.
When His Highness the Aga Khan opened the
building in December 2008, he stated that his
intention for the building was “to share, within a
western setting, the best of Islamic life and heri-
tage.” Similar to the Ismaili Centre (designed by
Charles Correa) and the Aga Khan Museum (also
designed by Fumihiko Maki) to be built in To-
ronto, the Delegation building is supposed to re-
flect the Aga Khan’s conviction that “buildings
can do more than simply house people and pro-
grams. They can also reflect our deepest values,
as great architecture captures esoteric thought in
physical form.”
To achieve the immaculately white exterior of
the building, Maki’s office selected 26-mm thick
panels of white Neopariés—a versatile material
comprised of crystallized glass beads that, when
compressed into slabs, resembles marble. Unlike
its stone counterpart, Neopariés has the ability to
maintain its colour and appearance over time—an
important quality given the building’s proximity
to the heavily salted wintry roads adjacent to the
site. Furthermore, the extremely smooth glass-
based panels don’t absorb water and are highly
reflective. When visiting the building late last
summer, the sunlight reflecting off the building’s
exterior panels was blinding at close range.
Nevertheless, the building contains significant topSuSpenDeDwovenglaSS-FiBreSCreenSareinStalleDonaDiagonalaxiSrelativeto
amounts of natural material: blue lapis lazuli tHeglaSSrooFaBovetoCreateaDYnaMiCarraYoFSHaDowSontHeMapleFloor.
from Namibia graces the outside terrace, Croa- abovetHeexterioranDinteriorCourtYarDSCoMpriSetwoinnerSanCtuarieSwitHintHe
tian limestone is used throughout the exterior aDMiniStrativeanDeDuCationalwingSoFtHeDelegationBuilDing.

courtyard, and volcanic basaltina can be found
upon entry. Much of the material used for the glass-fibre fabric pulled tight and suspended be- float in position. Eliminating the clumsiness of
panelling, flooring, millwork and furniture is a neath the roof on a diagonal axis, thereby provid- an aluminum frame system, the glass skin is
light-coloured maple. An interesting feature ing an asymmetrical composition for the atrium. completely integrated with the steel structure.
contained within the atrium’s maple floor is the The roof spans 25 metres and had to be strong The panels are constructed using three layers of
incorporation of the number 49, symbolizing the enough to support over 40 tonnes of glass, plus low-iron glass and include a ceramic frit to filter
Aga Khan himself, who is the 49th Ismaili Imam. the heavy wind and snow loads typical of a city sunlight. Even though the architects were given a
Although the building is 11 metres in height, like Ottawa. The structural solution achieved a lot of time to design and build the project, the
there was one variance required, and that was for grid of thin-profile solid steel bars braced with only glazing manufacturers capable of fabricating
the rock crystal-inspired glass roof which reach- tension rods and assembled with friction bolts. the glass roof—Gartner Steel and Glass GmbH of
es an apex of 17 metres. Engineered largely by The entire glass roof is suspended by a ring beam Germany—initially required over two years to
John Kooymans of the firm Halcrow Yolles, the running the entire perimeter of the interior build the 657 components. Since the roof needed
complex roof structure is comprised of a woven courtyard, resulting in a structure that appears to to be assembled in less than a year, Kamemoto

10 10 10 10 10
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30canadian architect02/10
ay
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visited the glazing manufacturer to convince them of the design concept

and to facilitate their intrinsic involvement with the project, all the while
helping them to develop a streamlined approach to expedite the construc-
tion process.
Beneath the glass roof, Islamic-inspired lattice screens constructed of
lightweight sand-casted aluminum add another dimension to the visual
clarity and translucency contained in the design brief. They are meant to
evoke carved marble and wood screens found in traditional Islamic archi-
tecture. Custom Aluminum Foundry, a company that normally makes cast-
ings for machine parts, fabricated the 180 panels that comprise these lattice
screens.
It took seven to eight years to complete the Delegation building. Ka-
memoto, who has spent his 25 years as an architect working solely at Maki
and Associates, led the project and flew to Ottawa nearly 40 times to see the
building through to its completion. Members of Moriyama & Teshima’s de-
sign team were on site almost every day, with Norman Jennings managing
the coordination process within the office, Po Ma working through the de-
tails, and Louis Lortie coordinating the overall project’s construction.
Maki’s design for the Delegation of the Ismaili Imamat demonstrates an topDeSCriBeDaSa“roCKCrYStal,”tHreelaYerSoFlow-ironglaSS
astute interpretation of the client’s requirement for a building that symbol- SetatopaStruCturalSteelFraMeConStitutetHeBuilDing’SMoSt
DYnaMiCarCHiteCturalFeature. aboveworKerSMovetoinStall
izes the activities of the Aga Khan and the AKDN. We can only hope that oneoFtHe657glaSSunitSuSeDFortHeatriuM’SrooF.
such dedication to architecture continues to exist in more clients, and that
the efforts of the architects, engineers, and trades involved in this project
continue to inspire more buildings of similar quality. ca
clientiMara(SuSSexDrive)liMiteD
architect teamMaKianDaSSoCiateS:FuMiHiKoMaKi,garYKaMeMoto,KotaKawaSaKi,tatSutoMo
HaSegawa,iSaoiKeDa,MaKotootaKe.MoriYaMa&teSHiMaarCHiteCtS:teDteSHiMa,DiarMuiDnaSH,
norManJenningS,poMa,louiSlortie,eMManuellevanrutten,aManDagilBert,ronenBauer,JoHn
BlaKeY,SHawngeDDeS,roYgill,JoniinouYe,aJonMoriYaMa,FarHaDraHBarY,HanYriZKalla,SuSana
SaiZ,eliaSSaouD,CHriSYen.
planning teamMoriYaMa&teSHiMaplannerS(DrewwenSleY,taraMCCartHY,eriCKlaver)
structuralHalCrowYolleS
mechanicaltHeMitCHellpartnerSHip
electricalMulveY&Banani
landscapeMoriYaMa&teSHiMaplannerS
interiorsMaKianDaSSoCiateSinCollaBorationwitHMoriYaMa&teSHiMaarCHiteCtS
contractorpClConStruCtorSCanaDainC.
lightingSuZannepowaDiuKDeSigninC.
acousticalaerCouStiCSengineeringltD.
Food serviceDeSign.net
codeleBerruBeS
costingCurranMCCaBeravinDranroSSinC.
architectural speciFicationsDgSConSultingServiCeS
planninglloYDpHillipS&aSSoCiateSltD.
traFFic and civilDelCanCorporation
microclimate, Wind and snoWrowanwilliaMSDaviSanDirwininC.(rwDi)
environmental and geotechnicalgolDeraSSoCiateSltD.
audio/visualengineeringHarMoniCS
area8,916M2
budgetwitHHelD
completionDeCeMBer2008
atrium north-south section 0 10m
10M

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BackPage
troP de Bleu
A young Quebec Architect mAkes A temporAry but definitive
mArk on the striking lAndscApe of the Îles-de-lA-mAdeleine.
teXt leslie Jen

PhotoS olivier bourgeois And serge boudreAu
In existence for only two brief months from Au- sual artist Annie Landry and photographer Serge aBoVe Trop de Bleu’s team members revel
gust to October of 2009, Trop de Bleu was a highly Boudreau. A great deal of consultation was also in the breathtaking island landscape.
evocative installation that paid homage to the undertaken with local fishermen, whose fibre- BottoM, leFt to right inspirational quotes
landscape and community of Îles-de-la-Made- glass boat-building techniques were employed in such as this one by nietzsche form an
leine in Quebec’s Gulf of St. Lawrence. Inspired the fabrication of the structures. This young ar- integral part of the work; five horizon-
tally oriented structures line the path;
by the poetry of the landscape, architect Olivier chitect is especially proud of Trop de Bleu, as it the surface texture of Trop de Bleu
Bourgeois created five separate structures re- marks the very first project that he independently reveals the incorporation of local
flecting the seemingly endless horizon and the led from concept through to construction. fibreglass boat-building techniques.
water surrounding this archipelago. And apart Part of the inspiration for this work was Bour-
from the obvious self-referencing of the installa- geois’s postgraduate experience in Scandinavia. precipitated by a raging autumn storm. With
tion’s colour, the title Trop de Bleu refers to the Upon graduation from Université Laval’s archi- winds gusting up to 120 kilometres per hour, the
vast expanse of the intensely blue water that sur- tecture program in 2006, a prize from the Ordre largest of the five structures came crashing down.
rounds the islands. des Architectes du Québec enabled him to spend The design team took this as a cue to dismantle
Stretching alongside a bicycle and pedestrian two months working and researching in Sweden, the remainder of Trop de Bleu, returning the land-
path along the water’s edge, the horizontal angu- after which he spent six months at the office of scape to its original condition; a metaphor for the
lar forms were constructed of recycled wood ex-pat Canadian architect Todd Saunders (see fleeting quality of life. ca
studs sheathed in fibreglass and painted cerulean CA, February 2006) in Bergen, Norway. From this
blue. Large photographic images were applied to experience, Bourgeois learned invaluable lessons Olivier Bourgeois is currently working for architect Éric
the surfaces, as were brief bits of inspirational about the power of landscape in the design pro- Pelletier, but is actively engaged in a number of inde
text. While Bourgeois can take credit for the orig- cess in a Nordic context, lessons which he has pendent projects. House 2G—also located on the Îles
inating concept, the finished work was the result deployed in his native country. delaMadeleine—is nearing completion, and two
of a highly collaborative process that included vi- The end of this project’s short, sweet life was other residences are under construction in Quebec City.

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27 delegation of the isMaili 34 Backpage

patkau architects inc. and kearns Mancini architects inc.

february 2010, v.55 n.02

integral house by shiM-sutcliffe

02/10 canadian architect 5

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12 canadian architect 02/10

proJectIntegral House, toronto, ontarIo

photos James Dow, BoB gunDu, eDwarD

The 10-year evolution of Integral House, the re-

leftDespIte tHe resIDence’s consIDeraBle

sIze, tHe front entrance to Integral

02/10 canadian architect 13

pHotograpHs taken from tHe lIvIng room look-

14 canadian architect 02/10

The marriage of concert room and private

of a collectivity—the community of music lovers, 1

02/10 canadian architect 15

clocKwise from top left tHe Blue glass-

encloseD prIvate staIr By nova scotIa

client James stewart

1 entry 10 guest BatHroom

16 canadian architect 02/10

dropping to the recital hall. The result is a divi- leVel 500

of architecture. And to be sure, Integral House leVel 400

does embody a formidable amount of advanced

here; every cranny, angle and fixture has been

whether Integral House will be regarded by the 8 2

tural design, or as merely another piece of evi- 1 gallery

deeply interesting, fastidiously researched and 8 elevator

its construction—even if it can’t quite decide 0 10M

dence. In common with its venerable precedents—

Mairea come to mind—Integral House represents 8

regularly for The Globe and Mail. leVel 100

02/10 canadian architect 17

02/10canadian architect 27

tian limestone is used throughout the exterior aDMiniStrativeanDeDuCationalwingSoFtHeDelegationBuilDing.

02/10canadian architect 29

second Floor 0 25M

ground Floor 0 25m

02/10canadian architect 31

City __________________ Province/State Postal/Zip Code

Telephone ( ) _ Fax ( ) __