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 Contents
Andrew Doran

Martin Tessler

DA Architects + Planners
17 Vancouver Olympic Village 11 News
Office dA selected for University of Toron-
Sustainability initiatives deployed in the newly constructed Olympic Village in
Vancouver’s Southeast False Creek are critiqued. TEXT Hannah Teicher
to’s John H. Daniels Faculty of Architec-
ture, Landscape and Design expansion;
deadline for nominations and submissions
26 Vancouver Convention for the RAIC Gold Medal and Architectural
Firm Award.
Centre West
A detailed report of the evolutionary process of Vancouver’s new convention 45 Insites
centre. TEXT Frances Bula Graham Livesey introduces the concept of
and key figures in the landscape urbanism
movement.
36 Richmond Olympic Oval
Gracing the banks of the Fraser River, this award-winning project is one of 49 Practice
few purpose-built speed-skating ovals in existence. TEXT Ian Chodikoff In this second installment, the pros and
cons of the P3 process are presented by
Tom Soar

Helena Grdadolnik and David Colussi.

56 Calendar
P arallel Nippon: Contemporary Japanese
Architecture 1996-2006 at the Design
Exchange; Construct Canada 2009 at the
Metro Toronto Convention Centre.

58 Backpage
Adele Weder speaks about multidisciplin-
ary design firm Cause+Affect and their
contributions to the 2010 Winter Olympics
in Vancouver.

NOVEMBER 2009, v.54 n.11

COVERThe highly expressed roof structure

of the Richmond Olympic Oval by
Cannon Design. Photo by Hubert Kang.
The National Review of Design and Practice/
The Journal of Record of the RAIC

11/09 canadian architect 7

 Viewpoint
© VANOC/COVAN
ABOVE Cheerful and welcoming ambassadors Quatchi and Miga, two of the three
official mascots of the 2010 Vancouver Winter Olympics.
In February, Vancouver (along with Whistler,
Richmond and West Vancouver) will host the 21st
Winter Olympics, and the world’s media will
focus on one of North America’s most dynamic
cities. However, considering the staggering
amount of new construction over the past several
years and the many high-profile projects that
have literally paved the way for the 2010 Winter
Olympics, what does Vancouver have to show for
itself in terms of precedent-setting and innova-
tive architecture in the public realm?
Certainly, the 2010 Vancouver Winter Olym-
pics will not be anything like the 2008 Beijing
Summer Olympics, where China showcased its
new iconic architecture to the world with un-
paralleled bravado. In the case of Vancouver,
competition venues like the Richmond Oval and
non-competition venues like the Olympic Village
and the Vancouver Convention Centre West exist
as effective catalysts for urban development to
occur around their respective sites over a period
of time—rather than operating as instant icons of
architecture for the purposes of global media
consumption. However, in the opinion of some
within Vancouver’s design community, the pro-
jects being completed for the Winter Olympics
have largely resulted in architecturally flaccid
entities whose greatest success will be fostering
the development of places like Richmond and
Southeast False Creek. What could have been
done to avoid this perception of lacklustre build-
ings, and did the conservative assembly of
public-private partnerships hinder the expres-
sion of the architecture?
With so much of the Olympics being about
media, and with so much of Vancouver’s new
architecture being about the pragmatics of pro-
viding cost-effective sports facilities, one begins
to wonder how the architectural experience of
8 canadian architect 11/09
these facilities could someday be heightened
through “augmented reality” (AR), a term used to
describe the indirect experience of a physical
real-world environment that has been mediated
with—or augmented by—a computer-generated
virtual reality. AR is already being heavily pro-
moted and developed for certain applications like
broadcast sports. An example would be digitally
placing virtual yellow lines over scrimmage lines,
or digitally colour-enhancing the lane of the fast-
est swimmer to better identify her progress in
the pool. Recently, the software company Yelp
released the first AR iPhone application that en-
ables users to aim their phone’s camera at a res-
taurant, and a review of that restaurant will in-
stantly appear on screen. Other offerings will
soon include the possibility of simply aiming the
phone at a person in the street to access his or
her social networking page. Layar, an Amster-
dam-based software company, has developed an
application that lets people see pictures and in-
formation about World War I battlefields simply
by holding up their phones at certain inter­
sections or empty fields in and around small
towns in northern France. Already, the Royal
Bank of Canada is experimenting with AR to fur-
ther the objectives of energy efficiency, and the
campaign is being promoted throughout the
Olympic torch relay.
As the concept of AR advances, perhaps we’ll
be able to satisfy architectural critics by giving
them a special iPhone application that will allow
them to see the world through a lens that reveals
the dream potential of what a building could have
been without the reality of budget cuts, free of the
detrimental effects of value-engineering to sat­
isfy short-term financial requirements. Let the
Games begin.
Ian Chodikoff ichodikoff@canadianarchitect.com
­­Editor
Ian Chodikoff, OAA, MRAIC
Associate Editor
Leslie Jen, MRAIC
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John McMinn, AADipl.
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Halifax Christine Macy, OAA Regina Bernard Flaman, SAA
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Winnipeg Herbert Enns, MAA vancouver adele weder
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 News

Projects

Office dA selected for University of

Toronto’s John H. Daniels Faculty of Archi-
tecture, Landscape and Design expansion.
The John H. Daniels Faculty of Architecture,
Land­scape and Design at the University of Toron­
to announced that a design team led by Boston-
based architectural firm Office dA has been
chosen to transform its facilities. Led by partners
Monica Ponce de Leon and Nader Tehrani, the
firm has designed award-winning pro­jects around
the world. The Daniels Faculty was renamed in
2008 to recognize the historic gift by alumnus
John Daniels and his wife Myrna, directed at re­
newing its facilities as well as providing financial
support to students. Earlier this year, the Faculty
began a search to select an architectural team to
design a project that would address the acceler­
ated growth of its programs and research endeav­
ours, as well as situate new technologies and
labora­tories. Office dA’s concept was selected
after successfully meeting the criteria for origi­
nality, technical and aesthetic innovation and
sustainability. The pro­ject will integrate high-
performance environmental elements in the
façade with revitalized interior spaces in the
Daniels building. Key features include a new au­
di­torium, a vertical telescoping atrium, upgraded
studio and meeting spaces, a rooftop library and
adjoining green terrace with views of downtown
Toronto. The scheme aspires to meet the highest
possible standards of environmental sustainabili­
ty and performance, and will help advance the TOP Designed by the Boston-based firm of Office dA, the new John H. Daniels Faculty
Faculty’s ambition to become a focal point at of Architecture, Landscape and Design at the University of Toronto will eventually
U of T for research and speculation on better ways see a new external carapace built over its existing structure to make it more energy-
efficient and visually dynamic. ABOVE Coen + Partners landscape architects have
to design and inhabit the built environment. Of­ designed a newly landscaped roof for the school to provide a new vantage point
fice dA has received notable acclaim for its work, from which students can experience the city.
including an award in architecture from the
American Academy of Arts and Letters and nine maintain a new hospital specifically geared to pa­ areas open to the public including a cafeteria,
Progressive Architecture Awards in architecture tients affected by multiple, lifelong illnesses such audi­torium, library, internet café, rooftop garden,
and urban design. Recently, the Cooper Hewitt as advanced diabetes with complications, renal labyrinth terrace and 12,000 square feet of retail
National Design Museum honoured Office dA failure, brain injury, multiple sclerosis, HIV/ space; and environmentally sustainable features
with the prestigious National Design Award in ar­ AIDS, stroke, and other chronic diseases. As part targeting LEED certification. The Bridgepoint
chitecture. Ponce de Leon is dean of the A. Alfred of the Plenary Health Team, Dia­mond and Collaboratory for Research and Innovation will be
Taubman College of Architecture and Urban Plan­ Schmitt Architects in association with HDR Ar­ located in the historic Don Jail. The heritage
ning at the University of Michigan, and Tehrani is chitects has designed a revitalized medical cam­ building will be preserved and restored to house a
professor of architecture at the Massachusetts pus comprised of the new Bridgepoint Hospital vibrant world-class centre for education, research
Institute of Technology. Toronto firm Adamson and the Bridgepoint Collaboratory for Research and innovation, and will be open to the public for
Associates is the architect of record on the project and Innovation to be located in the renovated Don the first time since 1977 with interpretive displays
and Coen + Partners of New York/Minneapolis is Jail. The new Bridgepoint Hospital will be a in the rotunda and some cells and gallows pre­
the landscape architect. 10-storey, 680,000-square-foot facility that will served for historical interest. The new Bridge­
incorporate: increased ambulatory care space for point Hospital and renovated Don Jail are sched­
Diamond and Schmitt Architects to design outpatients and community programming; abun­ uled to open in 2013.
new Bridgepoint Hospital. dant natural light and spectacular views of the
Bridgepoint Health, Canada’s leader in the pre­ city, Riverdale Park and sur­round­­ing communi­ KMBR Architects Planners Inc. to design
vention and management of complex chronic dis­ ties; double the number of patient lounges; more third major project for College of the Rockies.
ease, and Infrastructure Ontario have partnered room for specialized wheel­chairs; bright, open KMBR Architects Planners Inc. has been selected
with Plenary Health to design, build, finance and dining rooms and common areas for visitors; new to design a third major project for the College of

11/09 canadian architect 11

the Rockies in Cranbrook, BC. The $12.7-million Awards Richmond Olympic Oval wins first major
project is a major expansion of the south entrance international award.
of the college’s main building—the Kootenay Deadline for nominations and submissions Fast + Epp Structural Engineers of Vancouver re­
Centre—and is funded by the federal-provincial for the RAIC Gold Medal and Architectural ceived the Award for Sports or Leisure Structures
Knowledge Infrastructure Program that is invest­ Firm Award. for the firm’s work on the Richmond Olympic
ing in postsecondary institutions across BC. This The RAIC Gold Medal is awarded in recognition of Oval Roof. The award was announced at the Insti­
expansion will have a significant impact on the a significant body of work deemed to be a major tution of Structural Engineers 2009 Structural
local community, creating over 80 direct jobs and contribution to Canadian architecture, and having Awards Gala, and marks the first major inter­
helping the College build upon its role as a cul­ lasting influence on the theory and/or the practice national award for the Richmond Olympic Oval.
tural and economic pillar in the region. The ex­ of architecture. Any individual, living or dead, may Based in London, the Institution of Structural
tensive use of wood responds to the community be nominated to receive the Gold Medal. In excep­ Engineers is the world’s largest membership or­
context, local resources and the close cultural tional circumstances, the Gold Medal may be ganization dedicated to the art and science of
ties between the College and the Ktunaxa First awarded to more than one individual architect structural engineering. This annual competition
Nations. The College will see a transformation of where it is clearly demonstrated that the nominees recognizes the work of the world’s most talented
the Kootenay Centre’s lower level to add faculty have individually and collectively met the selection structural designers and their contribution to the
offices and seven classrooms featuring state-of- criteria. Formerly offered as part of the RAIC built environment. Fast + Epp conceived the de­
the-art technology, while the upper level will Awards of Excellence, the Architectural Firm sign idea for the Richmond Olympic Oval Roof by
become an iconic port of entry, reinforcing the Award recognizes an architectural firm or practice capitalizing on the opportunity to use a unique
College’s identity as a high-calibre, degree- that has consistently produced distinguished ar­ blend of materials, including lumber from BC
granting institution. The design is centred chitecture. Those eligible include archi­tectural pine beetle-killed forests. This wood, along with
around a foyer with an interior of grand propor­ firms or architectural practices which are resident other materials, was used to design the structural
tions, while a south-facing façade and expansive in Canada or have their principal office located in elements that integrate and conceal the roof’s
clerestory glazing will allow light penetration Canada, and possess the appropriate Certificate of mechanical systems, providing the Richmond
deep into the building and reveal the expressive Practice or authorization to practice as required by Olympic Oval Roof with the warm, impressive and
structure that unifies the existing and new build­ the provincial licensing authorities, and who have unique structure it is receiving acclaim for today.
ings. In order to meet the project’s fast-tracked been together as an organization or as successor The Richmond Olympic Oval, designed by archi­
schedule, KMBR has implemented its Holistic firm for at least ten years. Nominations and sub­ tectural firm Cannon Design, is a multi-purpose
Project Delivery method (described in CA, June missions for both awards must be received by sports and recreation facility that will serve as the
2009).
VicwestBothadphases of the project are scheduled
03-butterfly:Layout 1 1/21/094:00pm
9:36onAM Friday,
PageDecember
1 11, 2009. Long Track Speed Skating venue for the 2010
for completion in March 2011. www.raic.org Winter Olympic Games. The one-of-a-kind

A metamorphosis of
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12 canadian architect 11/09

6.5-acre roof structure features hollow, triangu­
lar-shaped composite wood steel arches. Span­
ning the arches are “wood wave” panels also de­
signed by Fast + Epp in collaboration with fabri­
cator StructureCraft Builders Inc, and are con­
structed from one million feet of pine beetle-kill
wood boards from the forests of British Columbia.
As one of the largest timber roofs in the world, it
not only represents an economical design solu­
tion, but also striking aesthetic quality and en­
hanced acoustic performance. Fast + Epp also re­
ceived commendation for the Richmond Olympic
Oval Roof by the Institution of Structural Engi­
neers for the David Alsop Sustainability Award for
achievement in structural design, where out­
standing commitment to sustainability and res­
pect for the environment has been demonstrated.
2009 ARIDO Awards honour Ontario’s best
interior designers.
The Association of Registered Interior Designers
of Ontario (ARIDO) has announced the winners
of its annual ARIDO Awards Program, which hon­
ours innovation, creativity and professional
achieve­ment in the province’s interior design in­
dustry. Judges selected 32 designs from 10 cate­
gories; among the winning entries were 11 Awards
of Excellence, 20 Awards of Merit and one Project
of the Year. The winning projects showcase a wide
range of interior design talent, from retail to
residential, corporate to health care, public and
institutional spaces to major restoration projects,
and specialty elements to trade show displays.
They include a museum of biodiversity, a 2010
Olympic Games store, a retail concourse, confer­
ence centre, dentistry office, and restaurant, as
well as private residences, condo sales offices,
corporate offices, and a design show display of
crystals. An integrated graphics program was
honoured, along with a custom-made conference
table system and a fireplace.
www.arido.ca
EVDS professor recognized for his
exemplary contributions to architecture.
Architect and University of Calgary Environmen­
tal Design professor John Brown is this year’s
winner of the Residential Architect Magazine
Leadership Award in the rising star category. The
Leadership Awards are the editors’ choice
awards, where architects and firms specializing
in residential architecture are singled out for
their exceptional accomplishments and contri­
butions to the profession. “This award means a
lot to me. I am passionate about improving the
quality of the average house,” says Brown. “This
isn’t the sexiest type of architecture and it doesn’t
get the big headlines, but it affects the lives of so
many people, and even small improvements can
have a really big impact. It is very gratifying to
have this kind of work recognized by your peers.”
With the help of his partner Carina van Olm and
designer Matthew North, Brown runs House­
brand, a multidisciplinary firm that specializes in
approachable, practical modern architecture. As
an architect, builder, real estate agent, and inte­
rior designer, he helps clients find, rehabilitate,
and tailor houses to their needs. In 2006, Brown
founded Slow Home, a Web-based initiative that
promotes alternatives to builder-driven housing
through how-to videos and other features.
Through Slow Home, Brown teaches the public
about the elements of good design.
Competitions
Winner of the Montreal movable street fes-
tival furniture competition announced.
Among the five finalist concepts for this compe­
tition, the jury selected the proposal submitted
by Morelli Designers and Signature Design Com­
munication for the ingenuity and effectiveness of
the anchoring system and mounting brackets,
and its modular system of nesting ballast blocks.
The jury also remarked on the great flexibility of
the various elements. “The movable furniture el­
ements can be quickly installed by the setup
teams, and will help prevent deterioration of the
festival sites. The proposal is discreet, and re­
spects the architectural concept of Place du
Quartier des spectacles,” explained Mario Ga­
gnon, President of the Association des designers
industriels du Québec and the jury Chair. The
jury also sought to underscore the innovative
nature of the concept submitted by NIP paysage
by awarding the firm an honourable mention.
The City of Montreal will issue a call for tenders
between now and spring 2010 for the design and
production of the winning concept.
www.realisonsmontreal.com
What’s New
Online interviews from The Roadshow:
Architectural Landscapes of Canada.
Eight interviews can now be watched online from
the participants of this fall’s cross-country tour
of The Roadshow: Architectural Landscapes of
Canada. The Roadshow tour took place from Sep­
tember 23 to October 2, 2009, a series of linked,
broad-based national events that focused archi­
tectural discourse in Canada at the level of the
public, the profession, and the schools of archi­
tecture. The Roadshow seeks to promote and fa­
cilitate an emergent and evolving discussion re­
garding contemporary architecture in Canada.
Beginning in Vancouver, The Roadshow brought
together a group of eight critical architects and
designers from across Canada. At every venue,
each of the eight architects and designers had 10
minutes to present one project and articulate this
project’s engagement within a consistent frame­
work around which intentionality and meaning
have emerged. The goal was to allow for a broad­
ening of understanding of the points of conflu­
ence and difference between various forms of ar­
chitectural practice in Canada. The online inter­
views feature the following architects and de­
signers: Lisa Rapoport, Philip Beesley, Neil
Minuk, Annie Lebel, Roger Mullin, Randy Cohen,
Manon Asselin and David Battersby.
http://the-roadshow.tumblr.com/
Will Alsop returns to work in Canada.
Will Alsop, the internationally acclaimed British
architect who is responsible for the design of
high-profile and award-winning buildings in
Toronto is to once again focus his attention on
winning work in the city which he describes as his
spiritual home. Alsop, who designed the iconic
Sharp Centre for Design and who is responsible
for revitalizing neighbourhoods with modern res­
idential developments in the city, has announced
he is to create a studio called Will Alsop at RMJM,
as part of the RMJM worldwide architecture firm.
His studio, based in London, UK, will seek to win
ambitious commissions inter­nationally and Alsop
has expressed his intention to focus particularly
on Toronto, where he has worked extensively
since the year 2000 after winning the Sharp Cen­
tre for Design project, which picked up the pres­
tigious RIBA Worldwide Projects Award. Another
of his designs, for a major office and event space
at the Filmport film studio project in Toronto, is
currently under construction.
Omer Arbel collaborates as industrial
designer of the 2010 Olympic Medals.
Every medal won at the Vancouver 2010 Olympic
and Paralympic Winter Games will be unique—a
first in Games history. Recently unveiled to great
critical acclaim, the medals designed by Omer
Arbel are characterized by an undulating form
meant to abstractly represent ocean waves, drift­
ing snow and the mountainous landscape sur­
rounding Vancouver. On the medal’s surface,
Arbel applied two large master artworks of an
orca whale (Olympic) and raven (Paralympic) by
Vancouver-based Corrine Hunt, a Canadian artist
of Komoyue and Tlingit heritage. Hunt’s artwork
was produced at a large scale, and then a specific,
cropped section of the larger art was applied to
each of the individual medals, making each
unique. A silk scarf printed with the master art­
work will be presented to each medallist along
with their medal, enabling them to see how their
medal connects with those awarded to other ath­
letes at the Games and to make the artwork com­
plete. Like a puzzle, it takes all of the individual
medals to complete the artwork. Omer Arbel is
an industrial designer and architect based in
Vancouver who leads his own design office.
www.omerarbel.com
11/09 canadian architect 13
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New Way of Life
Vancouver’s Olympic Village reveals its
bid for sustainability and its transform-
ative effect on Southeast False Creek.
PROJECT Millennium Water—2010 Athletes’ Village, Vancouver, British
Columbia
ARCHITECTS GBL Architects Inc., Merrick Architecture_Borowski
Lintott Sakumoto Fligg Ltd., Nick Milkovich Architects Inc.,
Walter Francl Architecture Inc., Acton Ostry Architecture Inc.,
and IBI Group—Lawrence Doyle Young + Wright
TEXT Hannah Teicher
Conversations on building are often centred on sustainability these days,
claims to LEED credits flying, either as one-upmanship or creative bluster.
What is often lost in these conversations is a sense of the underlying trans-
formation that any real bid for sustainability would require. The City of
Vancouver and the Millennium Water design team set ambitious goals for
the Olympic Village, alternatively referring to developing “new ways of liv-
ing in the city” or more simply, developing “a sustainable community.” And
there is a sense in much of the framing policy documents and design work
that realizing this goal necessitates more than the sum of its technical parts.
But when it is actually built, how does it work towards fostering the shift in
attitudes or ways of living that it seeks?
The sanitary engineering movement of the 19th century made huge
Martin Tessler
ABOVEWorkers rapidly put together the final elements of GBL
Architects’ residential projects along West 1st Avenue—two
of the many buildings that comprise the Athletes’ Village for
the 2010 Winter Olympics.
strides in creating more livable, healthier cities, conducive to density.
There’s little question that anyone who has grown accustomed to its benefits
would roll back the clock to a time when a hapless stroll down the street
could involve the overturned contents of a chamber pot landing in unfortu-
nate places. And it is hard to fathom the basic disconnect between “in here”
and “out there” on the part of the person doing the overturning, a person
who would surely be walking down that same street that same day. However,
the sanitary sewer, the storm sewer and all their attendant advances have
only served to reinforce that disconnect, fostering a convenient dependence
on underground systems to hide the unpleasant realities of everyday life.
Intricately connected to those unpleasant realities is the more unpleasant
reality which has now come to the fore, one which will inform urban engi-
neering just as much if not more so than the 19th century’s advances. The
growing unease about climate change and resource depletion underlies the
design team’s stated goal of developing “new ways of living in the city.”
While these unpleasant realities could inform the design but be incorporat-
ed to disappear, both the design team and the city seem to have strongly
taken the side that they should be incorporated as a legible aspect of the de-
velopment. In the Official Development Plan, this is stated very plainly.
11/09­canadian architect 17
 Danny Singer
ABOVE led by Durante Kreuk Landscape architects, some marvellous and surprising land­
scape elements have been inserted into the Athletes’ Village site. RIGHT AND OPPOSITE Several
views illustrating GBL Architects’ residential projects that comprise the Athletes’
Village.

“SEFC (Southeast False Creek) is to demonstrate
a comprehensive approach to sustainability re-
flected in both open space and building design.”
This is a useful point of departure, but could still
lead in a number of directions: displaying tech-
nical prowess, offering up the subtleties of pas-
sive design, or revealing the nuances of everyday
systems deliberately manipulated to foster a
more sustainable version of modern urban life.
Where the Olympic Village achieves the latter,
it is most successful in laying the groundwork for
a new way forward for development in Vancou-
ver, another stated goal of the ODP. “SEFC is to
promote the implementation of sustainable de-
velopment principles in an urban setting, and
thereby contribute to improving the mainstream
ment system and the neighbourhood energy util-
ity bring the bowels of the city to the surface, af-
fording selective glimpses of systems at work,
hints of the messy realities behind comfortable,
convenient human inhabitation.
Though incentives for disconnecting down-
spouts are taken up in a haphazard fashion
around Vancouver, most stormwater goes directly
into the combined stormwater and sanitary sys-
tem with the result that in heavy rainfall events,
sewage overflows into False Creek. This unten-
able situation has added to the impetus for alter-
native approaches to stormwater management,
relieving the burden on the combined system by
allowing rainwater to infiltrate where it hits the
ground. Within the Olympic Village’s building
Martin Tessler

practices of urban development throughout the parcels, rainwater is collected in cisterns to pro-
region.” This occurs most strongly on an infra- vide irrigation and feed a greywater system for
structural level; both the stormwater manage- toilet flushing, a feature which required an ardu-

18 canadian architect 11/09

 GBL Architects

Martin Tessler

11/09­canadian architect
19
Martin Tessler Martin Tessler
 ous negotiation process with the Engineering Department due to concerns
over non-potable water in residential units. This is a significant accom-
plishment which could begin to have an impact city-wide by establishing a
precedent; for good and for bad, nobody using the facilities would give a
second thought to where the water in the toilet came from.
In the public realm, on the other hand, stormwater management is made
highly visible. Rather than sloping toward the curb, the streets slope toward
the middle. A narrow, open runnel carries water to pipes at the end of the
street, which then drain into a bioswale on one side of the site and a wet-
land on the other. The meandering wetland with its habitat shelves and dark
water provides a glimpse of a water system at work for anyone who cares to
pause and consider it, and a picturesque diversion for anyone who doesn’t.
More subtle, and perhaps more powerful, are the direct rainwater outfalls
which punctuate the boarded slips protruding from the seawall. Where
groupings of large granite blocks step down to the water in between the
slips, steel channels protrude from the level of the seawall promenade. If
someone with an affinity for the rain happened to be sitting on the granite
blocks appreciating a wet day, they just might be surprised by a sudden wa-
terfall as the rain reached a critical mass in the channel above. More than
the other visible stormwater strategies, this episodic event stitches together
the constructed system branching through the site and the large body of
water which absorbs the effluvia of its urban surround. At the edge, it cracks
open a reveal. It viscerally challenges the lingering notion that the city is
functionally distinct from an unconstructed “nature.” This seemingly minor
moment has the potential to act as a catalyst, transforming attitudes about
Danny Singer
20 canadian architect 11/09
the city’s relationship to the resources it draws in and discharges.
Expressing this interface of water systems could have been taken further,
exposing the stream that had been boarded over during the site’s industrial
period. Restoring it would have created a practical challenge for the devel-
oper by cutting the site in two, but could have offered an opportunity to pre-
serve a piece of ecological heritage in a city whose small streams have been
lost to development. It might also have provided a unique site constraint for
the residential buildings, pushing the quest for a new form of development
beyond the adoption of a mid-rise form.
Filling in the stream did give rise to one distinct feature. Though the
stream’s habitat value had been low as a consequence of being covered over
for 60 years, the Department of Fisheries and Oceans required 2 to 1 com-
pensation for filling it in. The result has taken the form of reconstructed
fish habitat along the length of the foreshore and a “Habitat Compensation
Island.” This highly visible reshaping of the interface of land and water in
just one single instance reveals the possibility of many more such construc-
tive operations in the future. Imagine an altered False Creek dotted with
habitat compensation islands, peninsulas and spits.
Where “the reveal” in architecture operates in a limited manner, ex-
pressing the junction of two materials, here it operates instrumentally, at a
larger scale, expressing the interface of multiple systems and even multiple
times.
Mapping character-defining elements of the Olympic Village—or Ship-
yard—neighbourhood, the public realm plan identifies the progression of
shorelines from the 1889 foreshore through multiple iterations of a ship-
Danny Singer

building, working waterfront. On this map, the new sustainable community
incarnation of the area with its own shoreline alterations represents the lat-
est iteration in a changing waterfront. It only requires a small leap to imag-
ine that just as the rise and fall of shipbuilding were inscribed into the
physical built character of the area, future economic changes linked to cli-
mate change and resource pressures will inscribe themselves. Given such
evident physical evolution, development on the site is uniquely situated to
capture and convey this sense of change unfolding over time, not only as
“history,” but as an adapting, shifting future.
The Salt Building, the sole industrial building retained on the Shipyard
portion of the site, fulfills its heritage mandate through the refurbished
cladding and exposed wood trusses which recall its industrial function and
time period. But this static representation of history is upended by a simple
move in the ground plane. The building was raised in order to meet the new
plaza level at the north end, presenting the opportunity to leave a gap where
the plaza meets the building at the south end. Passersby on the south side
catch a glimpse of piles and pile extensions while on the north side, those
who happen to use the public washrooms descend from the current land-
scape to the historic one, coming face to face with the original piles, a built
consequence of the 1889 shoreline. As the force of history gathers such a
strong presence in this small space, it undermines the sense of permanence
embedded in the current built condition, suggesting an inevitably evolving
role for both the community and its inhabitants.
At their best, both the public realm and the public buildings reveal the
site and its systems in nuanced, provocative ways which engage the much
Danny Singer
Danny Singer
a visual panorama of Vancouver, with Southeast
OPPOSITE TOP
False Creek (SEFC) visible to the left of the Science World
Sphere—an earlier intervention into False Creek that was built
for Expo 86. OPPOSITE BOTTOM, LEFT TO RIGHT A view of False Creek from
the VanCity building; Hinge Park; a pedestrian walkway leading
into the village; another view of site—the green roof is that
of the Southeast False Creek Community Centre.
larger issues the development sets out to address. But the residential archi-
tecture falls down in this regard.
A number of practical sustainable strategies were applied across all the
residential buildings. Exterior sun-shades on the south and west sides of
the buildings automatically unfurl to reduce unwanted solar gain. Daylit
corridors and wide stairs have views to and from public spaces in order to
encourage walking. Corner units and through units are prioritized to pro-
vide cross-ventilation wherever possible. The neighbourhood energy utility
captures waste heat from sewage and redirects it to a capillary mat system in
the ceiling of every unit. Rainwater is collected on each roof to provide
water for irrigation and toilet flushing. Fifty percent of the roofs are green.
The walls achieve an average R-value of 16. Twenty percent of the units are
affordable housing and an additional 110 units are rental housing. All of this
is a major improvement on conventional development in Vancouver, and if
repeated, could make major inroads on the energy and water fronts.
And yet, even though the buildings are low- to mid-rise, in distinction to
their towering counterparts across False Creek, they look and feel remark-
ably the same. Squinting east from Southeast False Creek to CityGate or
Danny Singer
11/09­canadian architect 21
 Michael Elkan
Walter Francl Architecture
Acton Ostry Architects INC.
ABOVE, TOP TO BOTTOM Walter Francl Architecture and Nick Milko­
vich architects are working hard towards completing their
Southeast False Creek Community Centre; a view out toward
False Creek with the new community centre still under con­
struction; Acton Ostry’s Salt Building is the only remaining
historical structure on the site.
north and west toward the downtown core, the buildings blur together with
their window-walled neighbours. The mandate to achieve an R-value of 16
could have given rise to a distinctly different envelope, revealing the sus-
tainable ambitions of the development, or at least provoking questions as to
what drove the difference. To make heating with a single neighbourhood
22 canadian architect 11/09
Acton Ostry Architects INC.
Acton Ostry Architects INC.
utility plant feasible, a window to solid wall ratio of 70 to 30 was applied
across the site. In the market-rate buildings, this ratio was distributed uni-
formly through window wall systems, such that the walls are still made of
glass, but with a slight spandrel panel creep to make up that 30 percent. In
order to convey that this development is qualitatively different, the 70/30
might have been deployed more inventively across all four façades, both re-
sponding to solar orientation and reimagining the irrefutable primacy of
“the view” in market housing, working from the understanding that the
views might be just as valuable when carefully framed.
Given its prominent waterfront site, and its soon to be prominent place
on the world stage, the architecture operates at more scales than most
buildings. It operates at a large urban scale, given its high degree of legibili-
ty from across False Creek or up on the Cambie Bridge. It has an impact at
an intermediate urban scale from within the site, and at a more intimate
scale from within the units. An additional scale is made meaningful through
the massing of the roof gardens, situated a storey or two below the ultimate
roof line such that these semi-private green spaces rest within the field of
view of a significant portion of the occupants on an everyday basis. These
spaces become an easily accessible part of life, a place for casual use and
encounters, rather than a questionable amenity requiring a special trip or
the exclusive domain of penthouse dwellers. And this is where an evolution
of form can be felt, a byproduct of the mid-rise massing perhaps, but more
than the introduction of mid-rise in and of itself. Four or five storeys above
the street, with perhaps one storey enclosing them on one side and several
on another, these spaces become a lifted ground plane with an indetermi-
nate relationship to the city. The surrounding units frame offset, fragment-
ed views, affording a surprising connection to the bridges and viaducts in-
habiting the same strata.
Where these tangible differences emerge, they really do reinforce the
City’s aspirations to create a more sustainable community. Where the sus-
tainable strategies are shaped in service of a “marketable” package, becom-
ing either attractive amenities or invisible features, they do much less than
 Ed White/GBL Architects
City of Vancouver

SiTE PLAN

they could to foster the qualitatively different re-
lationship to the urban environment that a sus-
tainable community would entail. CA
Hannah Teicher currently works for SHAPE Architec-
ture in Vancouver.
Client Millennium Southeast False Creek Properties Ltd.
Structural Glotman Simpson Group of Companies
Mechanical Cobalt Engineering & Associates Ltd.
Electrical Nemetz (S/A) & Associates Ltd., Acumen Consulting
Engineers
Civil Vector Engineering Services Ltd., Stantec
Geotechnical Geopacific Engineering Inc.
Landscape Durante Kreuk Ltd., PWL Partnership Landscape
Architects Inc.
Interiors Coordinated Hotel Interiors Ltd.
Contractor Metrocan Construction Ltd., ITC Group of
Companies
Environmental Keystone Environmental Ltd., Aqua-Tex Scientific
Consulting Ltd.
Code & Certified Professional Pioneer Consultants Ltd.
Building Envelope Morrison Hershfield Group Inc.
Transportation Ward Consulting Group
Sustainability Recollective Consulting
Commissioning KD Engineering (TBC) Co.
Cost Consultant BTY Group
Scheduling Quoin Project and Cost Management Ltd.
Area 1,500,000 ft2
Budget $1 billion
Completion November 2009

11/09­canadian architect 23
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26 canadian architect 11/09
Beyond the Edge
In advance of this winter’s Olympic
games, an ambitious extension of
Vancouver’s shoreline accommodates a
much-needed convention centre facility
and additional public space along the
waterfront.
PROJECT Vancouver Convention Centre West, Vancouver, British
Columbia
ARCHITECTS DA Architects + Planners, Musson Cattell Mackey Partner­
ship, LMN Architects
TEXT Frances Bula
PHOTOS DA Architects + Planners
The most popular images of the new Vancouver Convention Centre West
show it from above or afar—images that emphasize its vast acreage of green
roof set amid the city’s downtown towers or its waterfront profile of low
hills faced in glass. Neither of those distant images conveys the experience
that the average person has at ground level up close. Approaching the centre
along the seawall that runs from Stanley Park—a walk that is among one of
the city’s most popular—is akin to a small boat gliding alongside the world’s
largest ship.
The glass walls of the 11-storey-high-equivalent convention centre slope
out the way the hull of a freighter does from its narrow underwater keel.
High above is the roof edge, the deck rail of this mammoth. The roofline
continues, angling up and finally extending to a point beyond the edge of
the building, forming a triangular prow high above. That’s just one of the
many unusual physical experiences of the building that the photographer’s
lens can’t capture. It’s also a distinct contrast to the original convention
centre to the east, where public access on terraces high above the water
make it feel more like the deck of a cruise ship.
Inside, the view of the city through the exceptionally clear, tilted-out
glass walls—reminiscent of an airport lounge—makes Vancouver’s towers
and streets look like the most vivid museum display imaginable. The famous
six-acre living roof, which has been planted to reproduce the look of a ver-
dant island off the coast of BC, pops into view at unusual points inside and
outside the building, jolting visitors with touches of cognitive dissonance as
they register the line of ragged wild grasses waving in the wind next to the
city’s sleek glass office towers.
And it’s not until one is inside, walking through the vast hallway spaces
that surround the interior meeting rooms, that the wood pattern in the
building is understood. From the outside, all that is seen is the warm glow
of cedar and hemlock. Inside, it’s evident that the wood panelling is de-
signed to look like lumber stacked in a mill yard. On the walls running from
east to west are the regular lines of what look like 1” x 4” strips of wood. On
the walls extending from north to south, it appears as though the ragged
ends of milled boards haven’t been properly aligned; this result is achieved
by gluing on wood caps in varying sizes to create an uneven mosaic.
That disconnect between the faraway images and the up-close reality has
happened for many people in this city, including architects who once feared
that the centre was going to become a hulking, life-draining box in the mid-
dle of prime harbourside land.
Ever since LMN Architects of Seattle—renowned convention-centre
builders working with the Vancouver firms of Downs Archambault and
Musson Cattell Mackey—came out with the first designs for the convention
centre in 2003, people worried about how a 1.2-million-square-foot build-
ing was going to fit into the fabric of Vancouver’s unique downtown, where
a couple of generations of planners have worked to ensure that mountain
views are preserved and that city streets feel comfortable and human-
scaled. As they looked at the models and the drawings, images that shrank
the centre to miniature scale, they imagined what it would look like in real
life and were almost always concerned about the sheer bulk. That was even
though LMN kept emphasizing that they weren’t building the usual black-
box convention centre. They kept reminding people that they would be put-
ting the meeting rooms inside or underground, wrapping those functional
spaces in wood, and then designing glass façades on all sides so that there
would be a sense of connection between visitors and passersby alike, both
inside and out.
The project got poor reviews twice by the city’s influential Urban Design
Panel during 2003 and 2004, which included one formal vote of non-sup-
port. As a corollary to their concerns about the bulkiness of the building’s
OPPOSITE The new convention centre leans toward Burrard
Inlet. It will serve as the main media centre for the 2010 Winter
Olympics. BELOW LEFT Vancouverites enjoy a sunny day on the
newly built plaza in front of the new facility. BELOW Visitors
assemble on one of the external balconies to appreciate the
view of the mountains beyond.
11/09­canadian architect 27
28 canadian architect 11/09
massing, the panel members noted on several occasions that the interior
and exterior spaces needed to incorporate quality materials because they
were covering such vast spaces. Cheapening out on a few details in a small
structure can go unnoticed, but mediocre-quality pavers or wall materials
covering a few acres would be the equivalent of looking at skin blemishes
through a magnifying glass.
A second major concern was how the centre would contribute to Vancou-
ver’s urbanism and create a sense of civic life around it. Another conten-
tious point was its relation to the original, smaller convention centre de-
signed by Eb Zeidler, whose Teflon-coated sail-shaped roofline has become
one of the symbols of the city. Architects and planners didn’t want the new
centre to compete with the old one, but at the same time they wanted it to be
distinctive and beautiful.
Finally, the green roof—one of the building’s most commented-on fea-
tures—generated considerable attention. Landscape architect Bruce Hem-
stock’s original idea was to make the roof look like an uninhabited island
off the BC coast, with planes rising and folding up from the water. But it’s
expensive to recreate BC topography, so the roof eventually became a sim­
pli­­fied collection of angled planes. And because the roof needed to be
strong enough to support the soil required for the vegetation, its edges be-
came very deep. The aesthetic of that broad edge became the focus of many
subsequent critiques.
When the centre finally got approval in 2005, it was only by a slim 4-3
margin. At the next stage in the process, under the review of the Vancouver
Development Permit Board, there was equal ambivalence from the Advisory
Committee. Craig Henschel, an architect whose role it was to represent the
public, voted against the project, calling its design awkward and clumsy.
Today, the finished building has pleasantly surprised the project’s de-
tractors. “It appears to me that they have largely pulled it off architectural-
ly,” says architect Bruce Haden, who was on the Urban Design Panel when
the convention centre was being reviewed. “They made some smart moves
in materials. In terms of the level and quality of details, it’s better than I ex-
pected.”
He is concerned, though, about how well the building connects to the city.
It’s still too early to tell how the wide walkways on two sides and the city’s
biggest public plaza on a third will be energized over time. The city’s plan-
ning department and Urban Design Panel had consistently urged the cen-
tre’s design team to wrap the lower level of the building with retail to attract
more people to the area. The storefronts exist, but only on the north side,
and they won’t be leased until after the 2010 Vancouver Olympic Winter
Games are over. The restaurant, a complementary building on the west side
of the plaza, also won’t open until after that time. And the planned small-
boat dock is yet to be built, so it’s hard to know how the completed urban
space will operate.
And there are still some regrets by various other architectural observers
who consider it a lost opportunity that the public cannot gain access to the
huge green roof as originally planned. Others think that the roof edge looks
too heavy, with little thought into making it a design element instead of
what might be the world’s largest roof gutter. And there are still others who
complain about other unresolved elements, like the second-floor north-
facing terrace that looks like a large fire escape with a blank wooden wall
behind it.
But the public is prepared to embrace this new facility. More than 65,000

OPPOSITE TOP With its folding roof planes, the convention centre
forms a pleasant complement to a most striking context.
OPPOSITE BOTTOM with the public forbidden to walk on the rooftop

garden, the visual composition of the folding roof planes is

apparent only when viewed from above. LEFT to maintain
visitors’ orientation, the central atrium space permits a clear
visual connection to several levels.

11/09­canadian architect 29
 people came out to visit the centre on its opening
weekend in April. Since then, it has also attracted
a steady stream of walkers, joggers and picture-
takers because of all the pathways through the
site. It not only extends the city’s enormously
popular seawall along its north side, but it also
includes a grand staircase further south and, in
between the staircase and seawall, there are
angled walkways that allow people to wander
through what feels like a green hillside that rises
slowly from the west.

the new convention centre has

TOP LEFT

improved connectivity for cyclists, jog­

gers and pedestrians along Vancou­
ver’s sea wall. MIDDLE LEFT The interior of
the exhibition hall allows myriad acti­vi­
ties to function simultaneously. LEFT
blocks of wood resembling the stack­
ing of sawn lumber 100 years ago
comprise the aesthetic for the interior
public spaces. above, TOP to bottom Visitors
gawk at the mountains beyond the
North Shore, as seen from the centre’s
expansive windows; The new conven­
tion centre sits along the shoreline,
with the downtown skyline rising
behind.

30 canadian architect 11/09

 Folding Floor

TOP A construction photo illustrating

the placement of hundreds of piles to
support the new convention facility.
ABOVE The low rise of the new conven­

tion centre almost blurs into a land­

scape form along the edge of Burrard
Inlet.

1 2 EXHIBIT HALL
BALLROOM/MEETING ROOM
LOBBY AND PREFUNCTION
ADMINISTRATION
3 SUPPORT AND SERVICES
COMMERCIAL/RETAIL
PUBLIC CIRCULATION
Roof Plan Key PARKADE Landscape Site 0 50M

terrace

canada
place
exhibit hall waterfront
road

Section 1 @ Thurlow Terrace/Harbour Green transition 0 50M Section 2 @ East Prefunction/32m Commercial 0 50M

registration parkade
lobby entry
burrard
plaza
canada
thurlow terrace place
harbour
concourse

harbour
green exhibit hall

Section 3 @ Thurlow Terrace/Harbour Green transition Section 3 @ South Lobby/Harbour

0 Concourse
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11/09­canadian architect 31
 3

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CLIENT Province of British Columbia (PAVCO) with Project Man­ 6

agement by Stantec Consulting
DA Architects + Planners TEAM Ron Beaton (Partner in
Charge), Christian Audet, Michael Canak, Tomas Cho, Mark 6
Ehman, David Galpin, Sean Hemenway, Patrick McTaggart, Alex
Piro, Natasha Saksman, Svetlana Sharipova, Alan Shatwell, Peter
Smith, Jessica Winters, Patricia Yam 4 8 9
Musson Cattell Mackey Partnership Team Jacques Beau­
dreault (partner in charge), Usman Aziz, Harvey Huey, Dale Koso­
wan, Alan Kwan, Beatriz Leon, Felito Liao, Elena Martynova,
Paul Mason, John Moorcroft, Tyra Moorcroft, Frank Musson,
Janet Nepromuceno, Gustavo Rodriguez, Mark Thompson, David canada
Weir, Mark Whitehead, Edith Wormsbecker, Ivona Zebrowski 7 place
harbour 5
LMN Architects TEAM Rob Widmeyer (partner in charge), Chris eXhib
green
Baxter, Jim Brown, Tom Burgess, John Chau, Rina Chinen, Kirk ballr
Hostetter, Joseph Lee, Fred Novota, Niti Parikh, Mark Reddington,
Brian Tennyson, Lori Wilwerding, John Woloszyn canada place lobbY

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Fire Protection Engineers GHL Consultants Ltd.
Construction Manager PCL Constructors Westcoast Inc.
BUDGET $625.9 M 15
COMPLETION SPRING 2009 14

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16 restaurant 23
17 drop off

Plan 03500
18 waterfront drop off
19 bus turn around
20 waterfront Road access point
21 Park Restaurant 20
22 lobby
23 loading dock 21

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32 canadian architect 11/09

 That public approval is sweet relief to the pro-
vincial government. During construction, the
project, which was mostly paid for by the prov-
ince with some money from the federal govern-
ment and Tourism Vancouver—eventually dou-
bled in cost to $883 million. Several negative
headlines were generated during construction
because of both cost overruns and the tremen-
dous noise resulting from 1,443 concrete pillars
being driven into Burrard Inlet to support the
portion of the centre that is built out over the
water.
For the architects who worked on the centre,
that public interaction with the building is a key
point. Mark Reddington of LMN believes the
building succeeds because it addresses so much,
from large to small. The roof, the greywater recy-
cling, the daylighting, the addition of a concrete
skirt underwater to encourage marine life, and
many more features make it a sustainable build-
ing. The major plaza is the city’s biggest, and it’s
a people-welcoming space. And the thought given
to even small architectural details—the fine-
mesh aluminum grating that is used extensively
to provide a lacy screen in front of mechanical el-
ements—give the building a visual lightness that
is unusual for a structure so large. Reddington
doesn’t mention it, but the wood beams suspend-
ed from the ceiling do the same. They look struc-
tural, but they’re really just a visual trick, one that
makes the ceiling look like it’s entirely made of
wood, even though the mechanical systems are
visible above the beams.
There’s so much in this building to look at—
now Vancouver’s biggest indoor space apart from
sports stadiums—that it will keep laypeople and
architects busy debating for years to come about
which elements are successful and which aren’t.
As Vancouver architect Oliver Lang says about the
centre, it works because the team took some
chances. “It has a real presence. It says we’re
here and we can go head to head with anyone on
the West Coast. In terms of materials, it’s very
contemporary and doesn’t try to mimic some­
thing from the past. It takes positions and they’re
confident ones.” CA

Frances Bula is a journalist specializing in Vancouver

urban issues and city politics. She has a regular col-
umn in Vancouver magazine, and makes frequent
contributions to The Globe and Mail.

RIGHT Vancouverites relax along a newly

constructed elevated boardwalk, one

of several outdoor amenities resulting
from the construction of the conven­
tion centre.

11/09­canadian architect 33
Circle Reply Card 24
Circle Reply Card 25
 Oval and Above
As part of the 2010 Winter Olympics, this
innovative speed-skating facility will
eventually be part of a thriving new
community on the banks of the Fraser
River.

PROJECT Richmond Olympic Oval, Richmond, British Columbia

ARCHITECT Cannon Design
TEXT Ian Chodikoff

Nic Lehoux

36 canadian architect 11/09

Across the Fraser River from Vancouver lies the
city of Richmond. Spread out across 17 islands,
Richmond operates as a busy transportation hub
for the Greater Vancouver Regional District, yet
over half of its total area is comprised of farm­
land, parkland and natural areas. With a popu­la­
tion of just under 200,000, slightly over 60 per­
cent of its people are either Chinese or South
Asian in origin, making it one of the most diverse
municipalities in British Columbia. Long consid­
ered a vast suburban wasteland known primarily
for the Vancouver International Airport and for
malls catering to its strongly Asian popu­la­tion—
rather than its industrial riverfronts popu­lated by
fishing boats and historic canneries—the urban
identity of Richmond continues to evade the
hearts and imaginations of most Vancouverites.
However, this is about to change. Having enjoyed
con­siderable growth over the past several years,
Richmond’s reputation for banal sub­divisions and
a lack of pedestrian-scaled public space will final­
ly be put to rest, now that its new speed-skating
facility and athletic centre is set to play host to the
2010 Vancouver Olympic Games in February.
Already open for nearly a year, the Richmond
Oval will not only become a competition venue
for the 2010 Vancouver Olympic Games, but will
also remain as an anchor building to bolster
future interest in redeveloping the surrounding
region once the speed-skaters return to their
respective nations after the Winter Olympics.
When visiting the site today, the area’s potential
still remains locked in the imagination of archi­
tects and planners. If it weren’t for the building’s
supergraphics declaring its presence, visitors to
the new facility would certainly feel lost, con­
vinced that they took a wrong turn in the middle

Hubert Kang
of an industrial park. But despite the current
barren qualities of the site, one could be con­
vinced that with the addition of the Oval, a very
livable community with vibrant commercial and
residential activities could be established in a
relatively short time frame. Already, some meas­
ures have been taken. The Water Sky Garden and
Riverside Plaza (also known as BC Spirit Square)
occupy some of the vacant land sur­round­­ing the
Oval. Here, the installation of public art and
amenities have been encouraging accessibility for
pedestrians to this newly formed public space.
The first of the two initial site improvements
is the Water Sky Garden, which contains a $1.2-
million public art project—the largest ever under­
taken by the City of Richmond. Designed by
Hubert Kang

Boston-based public artist Janet Echelman,

70-foot-tall lanterns suspended by fishing line
will change colour throughout the day and night.
When designing the Water Sky Garden, attempts
have been made to naturalize the landscape with
a series of shallow retention ponds to slow the
stormwater run-off flowing into the Fraser River.
While the design doesn’t recreate the lush cran­
OPPOSITEA soaring, wing-like canopy greets visitors at the entrance of the new
facility. TOP Concrete buttresses on the Richmond Olympic Oval feature Coast Salish-
themed bas-reliefs of salmon, herons and the Fraser River by Musqueam artist Susan
Point. Set in concrete runnels, the fish design carries stormwater from the roof
into the Fraser River. ABOVE The Richmond Oval exudes an inviting glow at night.

11/09­canadian architect 37
Hubert Kang
Hubert Kang
berry bogs of Richmond, the landscape strategy involves re-engaging the
variety of plant material naturally present in the local low-lying marine en­
vironment. The second public space intervention is Riverside Plaza. Featur­
ing Coast Salish-themed sculptures by Musqueam artist Susan Point, it will
host a range of year-round public activities. Other public art installations
on the site include Buster Simpson’s less ambiguous sculptural interpreta­
tion of skate blades adjacent to a new bridge crossing the Hollybridge Canal.
Designed by Cannon Design, the 7,600-seat Richmond Oval represents
one of the finer structures designed and built for the 2010 Olympic Games.
Cannon, which has offices in Toronto, Vancouver, Victoria and Calgary,
employs close to 800 people in 17 offices throughout North America, as well
as in Shanghai and Mumbai. The 506,000-square-foot sports facility is or­
ganized on three levels. The lowest level contains support functions and
parking while the main space on the second level contains the central pro­
grammatic feature—a 400-metre speed-skating track that will host 12 medal
events. The uppermost level contains a mezzanine for fitness programs and
spectator seating as well as a hospitality lounge with views of the Fraser
River and Coast Mountains to the north.
A key programmatic feature of the facility is its anti-doping lab, which
will handle the drug testing for all of the medal events held at the Winter
Games—a vital aspect that helps regulate and administer the realities of to­
day’s world of competitive sports. In its legacy post-Olympic Games mode,
38 canadian architect 11/09
Hubert Kang
TOP An expansive 100-metre clear span marks a significant mile-
stone in contemporary wooden construction. ABOVE, LEFT TO
RIGHT supported by concrete buttresses, the rhythmic wooden
roof elements are apparent to visitors; a detail view of the
composite glulam-and-steel beams.
the Oval will evolve into an international centre of excellence devoted to
sports and wellness, while allowing the multipurpose athletic facility to be
used by the local community, something that has already been done for the
better part of this year. Many people frequent the facility to work out on
treadmills, enroll in exercise classes, or play sports like badminton on one
of the four hardwood athletic courts.
The Richmond Oval is the second purpose-built facility of its kind. The
first purpose-built Oval was completed for the 1988 Calgary Olympic
Games. Before that, all long-track speed-skating events occurred outdoors.
The facility in Calgary was never designed to have a legacy mode, and there­
fore remains a single-use building. A flexible program was very important
for the long-term viability of the Richmond Oval, where it could be easily
converted for track-and-field activities. All four sports courts and the re­
maining one-third of the Oval’s section can be used for two international-
sized ice rinks. The Oval is designed to revert to the 400-metre-long
speed-skating track at any point in the future.
 Building the facility was not without its chal­
lenges. The site is located on top of a river delta
where soft soil extends down over 200 metres.
Because a high-performance speed-skating track
requires tolerances that vary no more than 20
millimetres over the entire length of the Oval, it
was decided to raise the slab above the ground
plane through the design of a two-level structure
partially supported by a raft foundation, with the
remaining portion supported by concrete piles.
The resulting structure created 450 parking
stalls, additional athletes’ services, retail outlets
and even an indoor paddling training facility.
The most distinctive aspect of the Oval is its
roof. Its gentle curvature is inspired by a heron’s
wing, where the feathered wing tips are repre­
sented by a segmented roofline that helps break
up the visual monotony of the large structure.
Designed by Fast + Epp, the roof’s surface area is
vast—6.5 acres—so it is not surprising that over
one million feet of salvaged lumber was collected
from trees killed by pine beetles to create a struc­
tural ceiling that incorporates a significant num­
ber of services, while visually breaking down the
scale of such a large building component. The
massive amount of wood used remained relatively
affordable, largely due to the fact that the majority
of it was locally harvested lumber from dead pine
forests. The bones of the structure, 15 steel-and-

Hubert Kang
glulam composite arches—the longest of which
provides a 100-metre clear span—are integrated
into the complex ceiling matrix that curves in two
directions. The arches are made of BC Douglas fir
Hubert Kang

which rest upon 30 enormous concrete buttress­

es. To increase the lateral stiffness of the beams,
a composite steel beam—referred to as a “skate-
blade” beam—forms the base anchor for the
glulam arches. Building these structural members
was no small feat. The glulam elements were
transported to a steel fabrication facility where
the two materials were integrated into the com­
posite structure that we see today. Because the
interior architecture is dominated by the vast sur­
face of the ceiling, it was important to create an
appealing aesthetic that was unmarred by the
mundane yet necessary services of the facility.
For this reason, the centres of all the structural
beams were designed to be distinctive V-shaped
elements that integrate heating, ventilation, air-
conditioning, plumbing, acoustical, electrical and
lighting systems, resulting in a visually coherent
aesthetic. The HVAC ducts that are integrated into
the beams have motorized nozzles to distribute
Nic Lehoux

cool air to wherever it is needed; appropriately,

effective environmental separation between the
rinks and other sports functions is maintained.
Because the design team couldn’t find any pre­ TOPProviding very clear visual orientation upon entry into the building, the main
cedents for large wooden ceilings of this size and lobby spatially conditions the visitor to the larger space of the speed-skating oval.
ABOVE, LEFT TO RIGHT A speed-skater practices on the new 400-metre track; a generously
span, they developed their own. Known as the
scaled exterior plaza helps to establish the facility as a civic institution along the
WoodWave Structural Panel System, the panels banks of the Fraser River.
used for the ceiling span 15 metres in between the

11/09­canadian architect 39
 SITE PLAN
1 Richmond Oval
2 Legacy Plaza
3 Riverside Plaza
4 WEST LOADING/SERVICE

composite glulam beams. The panels are built up

DD Model
from very pedestrian 20 3 40 lumber strips of pine
beetle-killed wood to form a 26-inch-deep zigzag
section. The WoodWave system is able to transfer
loads to the arches and absorb sound while meet­
ing existing fire safety requirements. The ceiling’s
structural loads are distributed diagonally through
the spliced wood members, and into supports at
Building Section
0 10M either end. The final result is truly admirable and
will likely become a seminal case study for archi­
tecture and engineering students.
Upon close inspection, the expansive wavy
ceiling is actually quite crude, revealing the par­
tially concealed electrical and miscellaneous con­
duits along with the acoustical blanketing and
sprinkler system. But given the fact that the ceil­
ing is mostly viewed from a distance, the overall
Dyke Section
appearance is impressive, even mesmerizing.
0 10M Certainly, the ceiling’s use of naturally sound-
absorptive lumber, with its thousands of open­
ings, provides a significant acoustical dampener
for the space, reducing its tendency to feel cav­
ernous and making the interior architecture
warm and inviting.
By utilizing innovative solutions in wood de­
sign to create a successful sports venue for the
2010 Winter Games, the Oval is a landmark
building that will undoubtedly raise the profile of
Richmond while helping to prime an important
site for future development. Given the nature of
the program, designing such a massive structure
while maintaining a sense of warmth and in­
timacy is quite an achievement. The number of
awards that the building has received thus far is
Street Section 0
0 10M
10M well-deserved. CA

40 canadian architect 11/09

 North Arm of Fraser River North Arm of Fraser River

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Level 1 Parkade
0 50M

North Arm of Fraser River

0 100M

Level 1 Parkade
1 refrigeration mech room
2 mechanical room

Ho
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lly
4 paddling centre

bri
5 sport medicine

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6 tenant

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7 change rooms
8 administration

ay
9 team rooms
10 executive locker rooms

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16 multipurpose meeting rooms

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Level 2 Field of Play
1 fitness equipment area
2 core fitness
3 meeting room
a d
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5 support
6 multipurpose room
7 tenant Level 2 Field of Play
8 speed-skating oval 0 50M
9 support

Level 2 Legacy North Arm of Fraser River

1 fitness equipment area
2 core fitness
3 meeting room
4 upper lobby
5 support
6 multipurpose room
7 tenant
8 200 m running track
Ho

9 eight-court basketball
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10 two international ice sheets

bri
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CLIENT City of Richmond

Special Structural Design Fast+Epp
Ho

Structural Glotman+Simpson
lly

Electrical/Mechanical Stantec Consulting

8 9 10
bri

Landscape Phillips Farevaag Smallenberg

dg

Civil/Marine Delcan Engineering Group

eC

Building Envelope Morrison Hershfield Group Inc.

a

Geotechnical Thurber Engineering Ltd.

na

Wildlife and Ecology ECL Envirowest Consultants Ltd.

l

Feng Shui Fortune Teller & Associates

Urban Design Hotson Bakker Boniface Haden ARchitects +
7 6 5 3 2 1
Urbanistes
Wayfinding/Signage Karo Group 4
Code/Fire/Life Safety LMDG Building Code
Security 3Si Risk Strategies Inc.
Costing BTY Group
Project Managers MHPM Project Managers Inc.
a d
Builder Dominion Fairmile Construction Ltd. r Ro
Rive
Area 506,000 FT2
Budget $178 M
Completion December 2008 Level 2 Legacy
0 50M

11/09­canadian architect 41
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A Look at Landscape Urbanism
new projects and approaches to landscape urbanism help
designers appreciate the interconnectedness of ecology, archi-
tecture and the future of our public realm.
TEXT Graham Livesey
The landscape urbanism movement emerged following the Landscape Ur-
banism Symposium and Exhibition coordinated by Charles Waldheim in
Chicago in April 1997. While there were key forces at play prior to this, this
event signalled the emergence of a reasonably coherent group of theorists,
designers and apologists, including James Corner, Stan Allen, the Dutch
firm West 8 (with Adriaan Geuze), the Office for Metropolitan Architecture
(OMA), and Foreign Office Architects (FOA), operating under the banner of
landscape urbanism. The movement has been largely centred in places like
the University of Pennsylvania, the Architectural Association in London,
and Toronto, although these are not necessarily where the best examples
can be found. The movement has been strongly motivated by the important
design competition held in 1982 for the Parc de la Villette in Paris. The
winning scheme by Bernard Tschumi was influential, but probably even
more so was the scheme submitted by Rem Koolhaas and OMA with its pro-
vocative ideas about the organization of functions and landscapes. What are
the theories behind this movement, and what have been the accomplish-
ments of its proponents so far?
We will begin by briefly examining the theories of James Corner and his
firm Field Operations; Corner is a landscape architect who is probably the
key figure in landscape urbanism. A reading of his text “Landscape Urban-
ism” is a useful starting point into the subject. Corner begins by stating that
this new discipline is a hybrid merger of landscape (understood as a broad
cultural condition) and urbanism. Landscape urbanism is an interdisci-
Insites
ABOVEA rehabilitated wetland and watercourse comprises just
a small component of the geographically vast and highly
anticipated Lake Ontario park, a redefined landscape that will
extend eastward from Toronto.
plinary approach that, in theory, amalgamates a wide range of disciplines
including landscape architecture, urban design, landscape ecology, engi-
neering, etc. It is also committed to addressing the many challenging issues
and conditions facing contemporary cities. He argues that it is an approach
that focuses on process rather than a style. He writes that landscape urban-
ism “marks a productive attitude towards indeterminacy, open-endedness,
inter-mixing and cross-disciplinarity.” Ultimately, the landscape urbanist
recognizes no singular authority.
In the essay, which reads like a manifesto, Corner identifies five general
themes that characterize the practice of landscape urbanism: horizontality,
infrastructures, forms of process, techniques, and ecology. In his discus-
sion of horizontality, Corner writes that it “maximizes opportunities for
roaming, connecting, interrelating, assembling and moving—while allowing
differences to commingle and proliferate.” In the text there is a strong em-
phasis placed on the earth as surface and a number of references made to
the field of landscape ecology. The targeting of urban infrastructure systems
has been an important legacy of the movement, infrastructural systems that
include transportation networks, utilities, code systems, and the like. Cor-
ner, describing the role of this new process-oriented professional consul-
tant, stresses a collaborative and anti-heroic approach that employs a pano-
ply of design techniques from cartography to diagramming. Probably the
most significant aspect of the approach is the recognition of the vital role of
ecology in design. This refers to Corner’s own connections to the work of
the influential landscape architect/ecologist Ian McHarg and to prominent
landscape ecologists such as Richard T.T. Forman. In summary, we can sug-
11/09­canadian architect 45
gest that Corner and his colleagues in the landscape urbanism movement
are supporting complex design processes, and engaging ecology and con-
temporary urbanism.
According to Waldheim, who continues to be an important polemicist for
the movement, landscape urbanism is engaging with the “renovation” of the
postindustrial or contemporary city, as he writes in The Landscape Urbanism
Reader:
James Corner’s projects for Downsview (with Stan Allen) and Fresh Kills are
exemplary in this regard, illustrating mature works of landscape ur­ban­ism
through their accumulation and orches­tration of absolutely diverse and po­
tentially incongruous contents. Typical of this work, and by now standard fare
for projects of this type, are detailed diagrams of phasing, animal habitats,
succession planting, and hydrological systems, as well as programmatic and
planning regimes. While these diagrams ini­tial­ly overwhelm with information,
they present an understanding of the enormous complexities confronting any
work at this scale. Particularly compelling is the complex interweaving of
natural ecologies with the social, cultural and infrastructural layers of the con-
temporary city.
The ideas, and many of the early landscape urbanism projects, are highly
evocative. However, when we begin to examine projects produced over the
last decade under the landscape urbanism title, it would seem that land-
scape urbanism is stuck in the history of grand park design, while remain-
ing well outside the history of urban design. Despite claims for the “renova-
tion” of the contemporary city, many of the noteworthy projects by
landscape urbanists tend to involve either isolated brownfield sites on the
extreme periphery of the city (such as Downsview Park in suburban Toron-
to, or the Fresh Kills site on Staten Island) resulting in large parks on one
hand, or fairly conventional and discrete landscape projects, typically along
waterfronts, on the other. From a formal point of view, the most convincing
landscape urbanism projects to be completed are schemes by FOA, includ-
ing the Yokohama International Port Terminal, the South East Coastal Park
in Barcelona, and the recently finished Olympic Sculpture Park in Seattle by
Weiss/Manfredi Architects. The FOA projects demonstrate significant
topo­graphical complexity, while the Seattle park fuses together a complex
set of site forces, supports a remarkable set of sculptures, and replicates
various local ecologies.
What is missing from landscape urbanism is how the projects re-envis-
age the city in ecological terms; much of the work is tentative at best. Excep-
tions include a small handful of projects such as James Corner’s provocative
46 canadian architect 11/09
the recently completed Campus Complex at
ABOVE, LEFT TO RIGHT
Ewha Womans University in Seoul, South Korea incorporates
six levels of programmatic and circulation requirements while
creating a very dynamic landscape for the students. Designed
by Dominique Perrault, the building takes the form of a boule-
vard that starts from the entry to Ewha Square and ends in
front of Pfeiffer Hall.
drawings for the radical greening of lower Manhattan for the World Trade
Center “Biopolis” competition sponsored by The New York Times, West 8’s
competition-winning Markeroog (U-Meer, Markermeer, 2006) project,
and Stan Allen’s Taichung Gateway Park project in Taiwan, each of which
attempts to address urbanity in a significant way. Similar and ambitious
projects by those not directly linked to landscape urbanism include Will
Alsop’s Bradford City Centre Master Plan (2003) and various provocative
projects by the Michael Sorkin Studio (some of which date from the early
1990s). A project that begins to capture the full scope implied in the land-
scape urbanist position is Dominique Perrault’s Ewha Womans [sic] Uni-
versity Campus Centre in Seoul, Korea. Completed in 2008, the project,
while not extensive, demonstrates a compelling inter-relationship between
landscape, architecture and urbanism that is not found in many of the park
projects listed above.
Toronto has become something of a hotbed for landscape urbanism,
partly due to the fact that Charles Waldheim taught at the University of
Toronto until recently, but, mainly due to the Downsview Park competi-
tion held in 2000, probably the most celebrated demonstration of land-
scape urbanism’s principles (see CA, October 2000 and November 2003).
The current status of the project, which was won by a team involving
OMA, Bruce Mau Design and Oleson Worland Architects, is somewhat un-
certain. The Waterfront Toronto initiative is an ambitious group of pro­
jects that includes a number of projects by design firms associated with
landscape urbanism. These include the Central Waterfront project by
West 8 (in association with DTAH), Lake Ontario Park by James Corner
and Field Operations, and the Don River Park by Michael van Valken-
burgh Associates (with the Planning Partnership and Ken Greenberg).
American landscape architects Michael van Valkenburgh and George
Hargreaves have produced many notable large urban projects, but they
remain somewhat peripheral to the landscape urbanism effort. When
completed, these projects will give a general coherence and continuity to
much of Toronto’s waterfront, and will also restore a number of vital lake-
shore eco-systems. Unfortunately, they will do little to connect the city
itself to the lakeshore, or provide answers to the many larger environ-
mental issues facing contemporary cities.
Has landscape urbanism created a new mode of practice? The short
answer to this question is no. Ultimately, landscape urbanism would be
more provocative if it embraced interdisciplinarity with greater conviction.
Further, the movement must actually address urbanity in all its complexity,
moving beyond the strictures of landscape architecture. As in the Garden
City movement, the dichotomy between the “country” and the “town,” or,
as Waldheim proposes, the “natural” and the “infrastructural,” remains
largely unresolved in the landscape urbanism movement. There is no doubt
that the movement has invigorated landscape design with its provocative
schemes that blend landscape, digital processes, ecology, and various ideas
drawn from recent philosophy. The attempt on the part of some landscape
urbanists to incorporate the potential design strategies inherent in land-
scape ecology is also a significant development.
The use of long-term or “scaffolded” planting strategies is a good idea,
and was used extensively in the winning project for the Downsview Park
project. The emphasis placed on the ground surface as a stage for future
“appropriation” is also intended to allow for a general design to evolve over
time, rather than existing as a static pictorial composition. While landscape
urbanists justifiably criticize the failings of much of recent urban design,
they are not actually proposing an alternative that embraces the full com-
plexity of the contemporary city. This brings us to the “large park” notion
which is the historical category into which the movement most comfortably
fits, a tradition going back at least to Central Park in New York, or even fur-
ther back to the London royal parks and the 18th-century picturesque park
tradition.
Landscape urbanism, with its emphasis on landscape ecology, is consis-
tent with what Galen Cranz and Michael Boland suggest as a new park typol-
ogy that has emerged since the early 1980s—what they label the “sustainable
park,” which places a strong emphasis on ecology. As Cranz and Boland
wrote in Landscape Journal in 2004, characteristics of this new type include
“the use of native plants, restoration of streams or other natural systems,
wildlife habitat, integration of appropriate technologies or infrastructure,
recycling, and sustainable construction and maintenance practices.” The
policies associated with this new park type include resource self-sufficiency
and integration into larger urban systems; challenges include issues of
infra­structure, land reclamation, health and alienation. Cranz and Boland
identify a number of recent parks that fit this typology, including a number
of landscape urbanism projects.
The proponents of landscape urbanism focus on process over form, and
on striving for complex proposals for complex problems. There is an
abiding commitment to the surface of the earth as a field of operation, to
en­gaging ecologies, and to designing infrastructure as ways of producing
non-deterministic projects, or the striving for open-endedness. This is
refreshing compared to the tired efforts of the New Urbanist movement.
Nonetheless, landscape urbanism is most strongly realized in the theoreti-
cal writings of Corner, Allen, et al, and is much less convincing in practice.
Most examples of landscape urbanism projects are restyled examples of
landscape architecture or large park design, with an emphasis placed on
new programming possibilities (extreme sports, skateboarding, etc.) and A perspective and computer model for Stan Allen
TOP AND MIDDLE

Architect’s new Taichung Gateway Park in Taiwan. ABOVE James

the digital manipulation of topographies. The tenets of landscape urbanism
Corner’s firm Field Operations offers a vision of Lake Ontario
remain very compelling, particularly the notion of marrying ecology and Park.
urbanism. However, as suggested above, the “landscape” component of the
movement has been established, but not the “urbanism” element. CA

Graham Livesey is Associate Dean (Academic-Architecture) and Associate Profes-

sor at the Faculty of Environmental Design at the University of Calgary.

11/09­canadian architect 47
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Practice
Doing your Homework
This is the second article in the series examining the changes to
the role of the architect within the P3 process using lessons
learned from the UK. the P3 process from start to finish is
presented from the perspective of an architect within a success-
ful bidding consortium.
TEXT Helena Grdadolnik and David Colussi
PHOTOS Tom Soar
Since the Building Schools for the Future (BSF) P3 program began in 2001,
two English secondary schools (Hampden Gurney by Building Design Part-
nership and Westminster Academy by AHMM Architects) have been short-
listed for the Stirling Prize, the premier architectural prize in England; both
schools were delivered outside of the government P3 initiative. Meanwhile,
CABE’s research found half of the BSF schools delivered to be mediocre or
poor. Is the discrepancy in design quality inherent in the process or due to
architects’ inexperience with this new way of working? This article will try
to address these questions by examining the P3 process from pre-qualifica-
tion to on-site delivery from the perspective of a project architect for two
BSF schools.
BSF contracts range in size from as few as four to more than 100 schools,
awarded to a contractor through a competitive process. The competition in-
cludes the design of a series of “sample schools” to demonstrate design ap-
ABOVE Completed in 2008, the Michael Tippett School in Lambeth
by Marks Barfield Architects is an excellent example of a UK pro-
ject delivered through a P3 process.
proach, working method and understanding of the brief, as well as a review
of the team’s qualifications and additional criteria such as financial models,
information technology provision, long-term facility management commit-
ments, and a pledge to use local workforce or supply chain.
The first stage of BSF is pre-qualification and is similar to most RFQs,
though in this case it is contractor-led. As an architect within the contrac-
tor’s consortium, you can be named as a “preferred supply-chain partner”
for future work in the contract (and have no further responsibilities
through­out the bid) or be the bidding architect on one of the sample
schemes. I will relay my experience with the Tuke School for the latter
through a case study of a successful bid for 12 schools in London.
Once qualified, bidding consortia enter into a three-month “competitive
dialogue” stage—a process of testing the project brief and presenting design
ideas to the school and school board for feedback. Through this stage, the
contractor is taking on all of the financial risk, including paying the consul-
tant teams for each stage of work. Frequent structured meetings are often
held with an unruly number of participants, due to the number of interests
involved. This is the only chance for bidding consortia to consult directly
11/09­canadian architect 49

ABOVE The award-winning Westminster
Academy (2007) by Allford Hall Mona-
ghan Morris architects is a remarkably
cost-effective educational facility com-
pleted outside of a P3 process.
with the user, so the architect’s communication
skills are put to the test. Also, these meetings can
at times be strained (kicks under the table from
the contractor if you unknowingly mention
something that hasn’t been “cleared”—easy to do
in these circumstances) and it can be difficult to
get meaningful client feedback due to limited
time and the client’s reluctance to speak candidly
for fear of compromising competition fairness.
In my most recent experience, the brief con-
tained several core requirements that we dis-
agreed with. As the project designers, we had to
strike a balance between challenging the brief’s
preconceptions without appearing to ignore the
school board’s brief or feedback. These condi-
tions are not unique to a P3 process, but are
amp­li­fied by the structure of the discussion and
the compressed schedule.
The consortium enters the competitive dia-
logue with a full design team, including specialist
consultants (acoustics, traffic, fire) as required.
One truly positive result of this fully engaged
consultant team is an integrated design process
that I have not experienced on traditionally pro-
cured pro­jects. At the conclusion of this phase,
bidding teams are required to submit their pro-
posed scheme to CABE design review for evalua-
tion, where a passing grade on design quality is a
requirement for proceeding to the next stage. It
is crucial that this evaluation is conducted prior
to the close of the competitive process, while the
school board has a stronger bargaining position
with the bidding consortia. This step is even
more vital for non-sample schemes (the subse-
quent schools that are awarded after the initial
50 canadian architect 11/09
competitive process), but due to the sheer vol-
ume of schools, CABE only reviews non-sample
schools on a randomly selected basis.
A “preferred bidder” is then selected for exclu-
sive final negotiation with the client, though the
contractor is still working at risk until achieving
“financial close.” During this period, the scheme
is further refined to detail the consortium’s final
interpretation of the client brief including area/
finish schedules, external materials, indicative
construction details and a full schedule of furni-
ture/fixture/equipment. This binding agreement
between client and consortium becomes the con-
tract documents, though it is closer to a perfor-
mance specification for the entire building than
more conventional contract documents. The fi-
nancial close agreement also establishes a bench-
mark for subsequent projects in the contract, so
the client is pushing to have as many elements
defined as possible while the contractor is trying
to stay non-committal. The architect is stuck be-
tween the two. The task of trying to sufficiently
define the final building in the absence of tradi-
tional prescriptive contract documents while up-
holding design quality is incredibly onerous and
demands a different working method—one that
many firms are still trying to reconcile. Addition-
ally, beyond meeting the client requirements for
achieving contractual financial close are a parallel
set of contractor-imposed deadlines relating to
sequentially tendered work packages for a con-
struction date that will inevitably start the day
after financial close is achieved. Aside from the
challenge of coordinating this work, the difficulty
lies in negotiating appropriate fees against a proj-
ect schedule that does not align with a typical de-
sign development sequence.
In P3 school projects, all buildings are provided
with new furniture, computers and sports equip-
ment. The impact of this exercise on time and re-
sources cannot be underestimated, and additional
fees should be negotiated for this additional ser-
vice. Seen from another perspective, however, it
offers another opportunity for architects to add
value to the process and extend design control to
an area beyond conventional scope.
After financial close is achieved, there is enor-
mous pressure on the construction schedule, as
contracts typically include an optimistic fixed
hand­over date. The on-site delivery phase of the
project is where differences bet­ween the UK and
Canada are the most profound and where refine-
ment to the P3 process could bring the greatest
improvements to finished buildings. In the UK,
an architect’s seal/signature is not a requirement
for either Building Permit submission or as a
condition for occupancy. Coupled with contract
documents which, though incomplete, have been
signed off by financial close, the architect’s role
risks being made superfluous. In my own experi-
ence on the Lanchester School, this phase of the
project was the most frustrating. The inevitable
lack of coordination that results from incomplete
construction documents was compounded by a
site team that did not feel obliged to follow de-
tails/specifications as long as financial close re-
quirements were not compromised. In addition
to eroding the goodwill established between ar-
chitect and contractor during the bid stage, it
raises a serious question over liability. The archi-
tect is expected to maintain design responsibili-
ty, but with specifications/details incomplete and
purposely kept vague prior to financial close.
Coupled with reduced control on site, legal liabil-
ity lies in a troubling grey area. This lack of con-
trol during construction is evident in even the
best examples of BSF projects, where detailing
and coordination is too often wanting. This dis-
parity is being addressed through the introduc-
tion of a new role from the client’s side; a combi-
nation clerk of works/technical advisor who will
regularly be on site to ensure the design intent of
the broader financial close documents are carried
through at detail level. While this will almost
certainly have positive results, it is indicative of a
shortcoming in the wider P3 process where
mechanisms are forced into place to compensate
for the reduced role of the architect.
Despite the diminished role on site as outlined
above, CABE’s assessment of the design quality
of P3-delivered schools found evidence that, al-
though the P3 process is no longer architect-
driven, the architect is still the key to a successful
outcome rather than the contractor. Schools built
by the same contractor with different architects
showed a range in quality, but schools by the
same architect for different contractors showed
similar levels of quality. The conclusion was not
only that some architects were more skilled de-
signers, but some practices are more skilled at
getting the best building from this new procure-
ment method.
As evident from the examples presented, some
aspects of the traditional role of the architect are
reduced through P3, but the question remains,
with more familiarity and experience (as well as
the addition of suitable mechanisms within the
system itself to ensure design quality and appro-
priately apportioned risk) can architects find new
avenues to influence the final delivery of the
building projects completed through this pro-
curement route? CA
David Colussi, MAIBC, was the designer and project
architect of several new P3-delivered schools with
Haverstock Associates Architects in the UK. He is now
practicing in Toronto.
Helena Grdadolnik, MRAIC, was a senior advisor at
CABE, the English government’s advisor on architec-
ture, urban design and public space. She is now based
in Toronto and is a partner in Public Workshop.
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Calendar

Canadian Museums Now
September 19-December 13, 2009 This
exhibition at the Art Gallery of
Alberta in Edmonton includes con­
tributions from the recently opened
Art Gallery of Ontario, Royal On­
tario Museum and the Gardiner
Museum in Toronto, the Canadian
War Museum in Ottawa and the new
Cana­dian Museum of Human Rights
in Winnipeg.
www.artgalleryalberta.com
Expanding Horizons: Painting
and Photography of American
and Canadian Landscape 1860-
1918
October 17, 2009-January 17, 2010 This
exhibition at the Vancouver Art Gal­
lery compares the extraordinary
work of American and Canadian
landscape artists during the forma­
tive days of each nation. Beginning
with the American Civil War and
ending with the conclusion of the
First World War, the exhibition
presents some of North America’s
greatest artworks from a time when
each country was aggressively ex­
tending its boundaries westward.
www.vanartgallery.bc.ca
deegan day design: Blow x
Blow
October 23-December 13, 2009 This
exhibition at the SCI-Arc Gallery in
Los Angeles stages a bout between
two trends in exhibition: gallery
space as installation designed by ar­
chitects versus the use of the gallery
space within the realm and possi­
bilities of new media. To chart this
collision, deegan day design repur­
pose techniques of cinematic pro­
jection and scripting to spur new
orders of spatial and structural se­
quencing, and new environments
for communing with new art.
www.deegandaydesign.com
Parallel Nippon: Contemporary
Japanese Architecture 1996-
2006
November 10, 2009-January 11, 2010
Taking place at Toronto’s Design
Exchange, this companion exhibi­
tion to the book Parallel Nippon re­
traces how Japan’s architectural
scene has responded to the de­
mands of the age amid the transi­
tion from the period of the Japanese
speculative bubble to the post-bub­
ble period. The exhibit is built
around the idea of contrast: expand­
ing metropolises versus local com­
munities plagued by declining birth
rates, grand cultural facilities with
an international focus versus small
but sensitive community facilities
for local children and the elderly.
www.dx.org
Quebec in Design
November 12, 2009-April 18, 2010 This
exhibition at the Musée national des
beaux-arts du Québec in Quebec
City presents 75 years of work from
its own collection, and provides an
overview of the history of design in
Quebec, from the interior decora­
tors of the 1930s and the entrench­
ment of design in the aftermath of
World War II to the period of effer­
vescence surrounding Expo ’67 in
Montreal. The exhibition also ex­
amines the contemporary period in
design, sequenced to enable explo­
ration of design landscapes from
the late 1970s to the present.
www.mnba.qc.ca
Sick Rooms
November 24, 2009 Roger Ulrich of
Texas A&M University delivers this
lecture at 6:30pm in Room 103 of
the John H. Daniels Faculty of Ar­
chitecture, Landscape and Design at
the University of Toronto.
www.daniels.utoronto.ca
Journeys to the East: Arthur
Erickson and Japan
November 25, 2009 Professor Michel­
angelo Sabatino from the Gerald D.
Hines College of Architecture at the
University of Houston delivers this
lecture at 7:00pm at the Vancouver
International Film Centre’s Vancity
Theatre + Atrium. In the summer of
2009, Sabatino retraced Arthur
Erickson’s first journey to Japan in
1961, revisiting the sites Erickson

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CIRCLE REPLY CARD 35 CIRCLE REPLY CARD 36

11/09 CANADIAN ARCHITECT 57

BackPage

Affective Change

Michael Boland Chris Allen

Cause+Affect’s interdisciplinary design

approach energizes the 2010 Winter Olym­ A rendering of one of the exhibition areas inside Vancouver House, an exhi­bi­
ABOVE LEFT

pics through its temporary pavilion called tion space intended for the 2010 Vancouver Winter Olympic Games. ABOVE RIGHT At a
Vancouver House. recently held Pecha Kucha event in Vancouver, an excited crowd holds up copies of
the evening’s promotional poster designed by Cause+Affect.

TEXT Adele Weder
The big mean Olympic machine has gathered its
share of detractors as it lumbers through town.
From the old-boy distribution of the Olympic
venue architecture, to the Draconian bylaws pre-
scribing exactly what bon mots an individual is
allowed to hang in his window, the epic process
has occasionally seemed overzealously corporate
and artless. But in a city of Olympic-sanctioned
everything, a unique design firm is providing a
refreshing counterpoint. Cause+Affect is a design
and branding firm that has already done more to
raise awareness of architecture and design in the
lead-up to Olympic-frenzy Vancouver than the
architects themselves. And crucially, they’ve
proven that edgy, risk-taking design is actually
good business.
Principals Steven and Jane Cox were both edu-
cated at the University of Manitoba—Steven in
architecture, Jane in interior design. After com-
pleting their studies, they migrated to London,
and spent several years career-building at multi-
disciplinary design firms. “I don’t think we real-
ized what we learned in London until we came
back here,” says Steven. One glaring North
American predilection was towards compart-
mentalization—“siloed design,” he calls it, rather
than interdisciplinary design.
Cause+Affect was founded five years ago on the
couple’s dining-room table. A year later, they
moved to their present abode, a century-old con-
verted meatpacking warehouse with a view that
looks out onto mountains, ocean and a jumble of
rail cars.
Everything starts as an open-ended concept,
most notably their Pecha Kucha nights—the
Vancouver franchise of the worldwide series of
cultural micro-talks. And, the pair have almost
single-handedly transformed the fusty image of
the city’s Vancouver Museum with their Movers &
Shapers exhibition series: its beautifully under-
stated slogan is “20 designers you should know.”
Now just in their mid-thirties, they seem at the
top of their game. As for those Winter Olympics,
it’s no surprise that they weren’t on the old-boy
radar of the Vancouver Organizing Committee for
the 2010 Olympic and Paralympic Winter Games
(VANOC). But Cause+Affect is making an Olym-
pic appearance after all, as co-creators with fel-
low maverick firms Haymaker and Brand Live—
of the symbolically important Vancouver House,
the temporary Olympic pavilion that will be the
city’s calling card to the world. Comprised of an
exhibition component, a networking lounge and
other “spatial experiences,” as Jane puts it, the
pavilion will showcase Mayor Gregor Robertson’s
“Green Capital” promise. Their basic ambition
for Vancouver House, according to Steven, is that
people will walk away and say, “Vancouver is
cool.” Jane adds, “You’ll want to move here, set
up a shop and produce wonderful things from
here.” CA
Adele Weder is an architectural critic and curator
based in British Columbia.

58 canadian architect 11/09

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