Perspectives is the official JOUrnal of the Ontario Association of Architects and is publ ished quarter-ly. Articles fmm Perspectives may be repmduced w~h appropriate credit and written permission.

Copyr·ight © 1998 Published Spr·ing, Summer~ Autumn and Winter in 1998 by: Omnicom Publications Inc. 5 12 King Street East. Suite 300 Toronto, Ontario M5A I M I (416) 955-1550

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EDITORIAL COMMITTEE Stephen Pope, Chair· Clifford Harvey Rimes Mortimer John Ota Alan Seymour Alexander· Temporale

ADMINISTRATOR, COMMUNICATIONS Mar·cia Wubben

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President's Message

Network

Response

International

People & Practices

Pract ice

Environment

Regulato ry Framework

Ontario Places

In this issue

In small print at the bottom of this page, among other things that you may not hove noticed, the following words appear: "Articles from Per-spectives may be reproduced with appropriate credit and written permission." To facilitate the first of these requirements, Per-spectives records the title and issue number at the bottom of each page. Not only will this assist you and others in identifYing the source of copied material, it will also lend, we like to believe, a certain credibility to such pages as may, from time to time, find their way into your portfolios and proposals as examples of published work. With regard to the second requirement, to my knowledge, we have never refused permission to anyone.

If you need convincing of the value of having work published, john Oto offers a sterling example of the "power of the press" in the

International column: a plum commission motivated by on article in a magazine.

In our feature article, we present the results of the biennial OAA Ideas and Presentation competition. As in previous years, the entries ranged from precious to outlandish, from simple to convoluted, and in locations from around the corner to the other side of the world. While we can only publish the winners, readers ore encouraged to view all the entries at the OAA Headquarters from April 24 to August, 1998.

For further re~ections on the importance of architectural presentations, be sure to read john Bobaljik's Practice column. Is architectural presentation necessary, or does a good design solution speak for itself?

Also in this issue, Terri Myer Boake describes the emergence of a "new sustainable vernacular typology", Editorial Board Chairman Steven Pope assumes the Herculean task of appraising the Model National Energy Code in precisely I 000 words, and Alan Seymour tokes us up the creaky stairway and into the dusty, cavernous aWe of the Ontario Legislature Building

In Future Issues: Fall 1998 - Smart Architecture: "intelligent" buildings in an intelligent context - submission deadline: june 12/98 Winter I 998 - Architectural Digressions: new roles for architects in Ontario - submission deadline: August 28198 Spring I 999 - OAA Design Award Projects: the I 999 Architectural Excellence Awards - submission deadline: December I I /98 Summer 1999 -The Suburbs: In the 50 years since the post-war building boom began, a lot has changed. submission deadline: February 15199

The Ontario Association of Architects rs an open and responsive professional association of members which regulates, supporis, r·epresents and promotes the practice and appr-eciation of ar·ch~ecture

To recognize environmental concerns and pmmote environmental responsibil~ies, this journal is printed on r·ecycled paper· with vegetable dye ink and can be r·ecycled. ®

in the interest of all Ontarians. The Association was founded in I 889

and its pr·imar·y mle is to serve and pmtect the public interest thmugh administration of the Arch~ects Act, and thmugh leader-ship of the profession in Ontario.

For further information contact the Administrator~ Communications

Ontario Association of Architects (OM) I I I Moatfield Drive Toronto, Ontario M3B 3L6 Tel: (416)449-6898 Fax: (416)449-5756 E-mail: lynns@oaa.on.ca

COVER: Site Plan,A.J . Diamond, Donald Schmitt and Company.

COVER BACKGROUND: Thesis Exoskeleton; Mechanisms for· the Corporeal Landscape,Trevore Gr·ams.

II

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Design Exchange to October I 8 Shifting Gears: Green

Transportation fot· the 21st Centut·y Viable transportation alternatives contt·ibuted by designers, manufacturers, engineers and at-chitects at·e displayed and discussed. *See Shifting Gears: greening our cities through transportation, below.

June 8 to I 0 Opportunities in the New Toronto: Environmental Design Seminars and Envirofest: A joint presentation of DX and the OAA

Seminars already scheduled include: Oppot·tunities fot· Renovation, Rehabilitation and Re-use; Oppot·tunities fot· lnfi ll and New Development; Opportunities for Regulatory Refot·ms; and Opportunities in Tt·ansponation and lnfrastt·ucture.

October I 3 and I 4 Communications in Motion

DX takes a look at the national and international development of gt·aphic design, fmm medieval typography to computer graphics. Day One will focus on Design for the Screen; Day Two, "Designing for the Page" wi ll explore the more traditional aspects of graphic design.

Market Gallery, Toronto opening October 31

Conservation in Context: To Want a Better City Passionately - a centenary tt·ibute to at-chitect, teacher, pt·eservationist and author Eric At·thur, ot·ganized by Alec Keefer:

International Awards Competition Notice

deadline for submission: September I I, I 998 Excellence on the Waterfront Annual International Awards Program 1998

Sponsored by the Waterfmnt Centre, a non-pmfit membet·ship organization pmmoting sound development of urban watetfront t·esources, the competition is in its 12th yeat~

Open to completed watetfront pmjects, compt·ehensive watetfmnt plans and citizen's efforts. Call the Waterfmnt Centre to be placed on the list to t·eceive entt·y fot·ms, available spt·ing 1998 (202) 337-0356. Entries consist of a short nan·ative and up to 20, 35mm slides plus backup matet·ials contained in a 3-ring binder: Local governments, private developers, design

firms and non-pmfit entities at·e eligible to enter: All watet· bodies (rivers, docklands, canals, lakes, etc.) are eligible. Entries fmm overseas encout·aged.

An interd isciplinary jut·y wil l select the winners to be announced on Friday, November 13, 1998 at the 16th Annual Waterfmnt Centre Conference to be held in Toronto, Ontat·io at the Royal York Hotel.

Shifting Gears: greening our cities through transportation Global warming, ground pollution and the depletion of non-t·enewable t·esources at·e among the many environmental pmblems facing our planet. To demonstrate the important mle that design can play and to draw attention to the issues, the Design Exchange is ot·ganizing Shifting Gears, an exhibition that will focus on the t·eduction of CO, emissions as they t·elate to t t·anspot·tation and the urban landscape. The exhibit, opening May 25, 1998, examines two key strategies: innovations in transportation and how we can reduce the need for travel in out· cities.

More than just an exhibition, Shifting Gears will allow fot· the development of new imaginative ideas. DX is working with environmental organizations, businesses and designers to conceive local design strategies that, if implemented, could transfot·m an amalgamated Toronto. Eleven design teams from vat·ious design disciplines will create conceptual designs for specific areas in need of improvement. In addition, DX will showcase existing solutions fi·om national and internat ional sout-ces.

In one part of the exhibition, at-chitects and designers will focus on reducing the need for tt·ansportation. David Oleson of Oleson Worland Architects will endeavout· to make Scar'bomugh a mot·e pedestrian-ft·iendly area. DaliborVokac of Zeidler Roberts Partnership Architects will study the Downsview lands and how to avoid uncontmlled expansion and ensut·e a compact ut·ban district. Architect Mat·ti n Liefhebbet· has begun a pmject whet·e building and car wot·k as a whole, co-genet·ating and shat·ing enet·gy

In the second part, teams will design new vehicles and infrastructure to achieve greenet· tt·anspot·tation. Claude Gidman, designet· of the Tomnto streetcat~ has amassed a gmup

of designet·s, transportation and communication expet·ts to illustrate a new alternative tt·anspot·tation system. Kim Stot·ey of Brown and Storey Architects will wot·k with het· team to develop a cohesive Eglinton Avenue that encourages altemative transpot·tation. With direction fmm Professor Ken Cummings, Humbet· College automotive design students will design advanced vehicles that t·equit·e less enet·gy and allow for disassembly, reuse and recycling.

In conjunction with the exhibition and the OM's annual envimnmental showcase, Envirofest, DX is organizing 'The New Tomnto .... towards pmfitability and sustainability," a two day seminar where each Shifting Gears design team will present the t·esults of its research. The seminat· will also examine development opportunities in the amalgamated city pmviding for a meaningful exchange between developers, builders, designers, planners and politicians.

As Toronto moves to develop a new plan, the seminar and exhibition could fot·m a valuable point of depat·ture, building on Canadian design capabilities. In addition, Design _ Exchange hopes other major urban centt·es amund the world will apply the solutions developed in this program. Shifting Gears demonstrates that environmental pmblems are global, but if we act locally we can develop valuable solutions t hat have a global impact.

For more information please contact Fabiana Stubrich, Manager of Programs, Design Exchange, tel: 416 216-2124, fax: 41 6 368-0684 ot· e-mail: dx@pathcom.com

AlA Third International Conference on Courthouse Design -The Royal York Hotel

September 9 to I 2, 1998 The Ontat·io Association of At-chitects, in conjunction with the American Institute of Architects Committee on At·chitecture fot· Justice, the RAIC, Public Wot·ks and Government Set·vices Canada, the Depat·tment of Justice Canada, the Fedet·al Court of Canada, the Attorney General of Ontat·io, Ontat·io Realty Corporation, and the Law Society of Uppet· Canada, will host the Third lntemational Conference on Courthouse Design. The conference will bt·ing together judges, judicial administratot·s, lawyet·s,

architects and students in a forum fat­

presentation and discussion of design, practice and technology issues ,-elating to the physical environment in which justice is administered intemational ly.

The theme of the conference is "Challenge - Delivet-ing Justice in the Third Millennium" and the speaket-s list is a veritable "Who's Who" of big North American corporate design. Chief Justice of Ontario Roy McMurtry and Attorney General of Ontario Chat-les Harnuk will be joined by keynote speaket- Richard Meier: The list of pt-esenting at-chitects includes Hugh Hardy of Hardy Holtzman Pfeiffec William Hel lmuth of HOK, and William Pedersen of Kohn Pedersen Fox. Canadian speakers include Ebet-hard Zeidle1~ Arthut- Erickson, and Jack Diamond. There will also be International ,-epresentation from the Australian National University the Judicial Council ofVenezuela, and the World Bank.

Conference events will include a panel discussion moderated by the Dean of the University of Toronto School of Architecture Larry Richat-ds. Four internationally renowned

architects will discuss the topic "Civic Architecture: Timeless Quality.''

Presentations at the conference will be rounded out by exhibitions and a trade show covering all areas of justice architecture. Two exhibitions of professional work are planned: the AlA Justice Facilities '98 Exhibition, which includes the Canadian Justice Architecture Display; and the Design Excellence Exhibition of the US General Services Agency (the American equivalent to Public Works and Govemment Services Canada -PWGSC). A student exhibition is also

to be mounted, showing selected projects with commentary, from an International Student Competition on Courthouse Design. This student exhibition is sponsored by the AlA. the UIA, and DuPont.

Should OAA members at­

interested membet-s of the public wish furthet- details, they are requested to contact Mr: Randy Dhac OAA, Directoc Industry and Government Services, Real Property Services, Ontario Region, PWGSC, 4900 Young Street, Tot-onto M2N 6A6. M1~ Dhar can be reached by telephone: (416) 512-5796.

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Letters Deat- Sirs: I couldn't help but be intet-ested in Andt-ew Mathet-s's lettet- in the fall issue of Perspectives. Since it was my pt-ivilege to wot-k fot- At-thut- Eadie of Beck and Eadie for sevet-al months following my graduation fmm the University of Tot-onto in 1950, I have a distinct recollection of drawings pt-epat-ed in that office fot- the Bank of Nova Scotia building at 44 King Stt-eet West,Tomnto.

Mt~ Eadie had a great deal to do with the main banking room and main vault details as I t-ecall. At least two othet-s in the office were involved in the details. I also recall visits to out­office by Et-ic Haldenby and A. S. Mathet-s of Mathers and Haldenby Architects.

I don't know if Stuat-t Cauley is still in Tot-onto, but I believe that he had participated in the constt-uction of the model refet-red to by Andrew Mathet-s. Stuart worked as a student fot- Beck and Eadie in the summet­pt-ior to my employment and was a classmate of Doug Haldenby.

In wt-iting this lettec I hope that some recognition is given to At-thut­Ead ie for his considet-able contt-ibution to the Bank of Nova Scotia building. I agt-ee that it, like many other buildings of that et-a has worn well and will probably continue to do so for at least anothet- half-centut-y.

ian j. Rutherford, B. Arch.; Toronto

Dear Got-d: t-e: Small Plans. I wanted to send you a shot-t note of thanks for your coverage of both out- Holderbank and Helyar pmjects. It's a gt-eat honout- to be pat-t of such a good-looking magazine let alone to make the covet~

Tye S. Farrow, M. Arch. U D., OM, MRAIC Principal,

Dunlop Farrow Inc., Toronto

Deat- Gordon: I saw the at-ticle you wmte (using my quickly thrown together notes) in the [International column of the J Wintet­issue of Perspectives. I found it to be vet-y t-eadable and, I hope, vet-y interesti ng fot- the rest of yout- audience.

Thanks and well done! ian R. Grinnell Partner, Zeidler Roberts

P011nership Architects, Toronto

Ed. Note: You are both extremely welcome and ian's notes were far ft·om "thrown together"

Follow-up on Literary Architecture

and Style, from Spring Perspectives Fmm the Globe and Mail Arts Section, Febt-uat-y 5, 1998, in an at-ticle on Eleanot- Gould Packat-d, fot- 52 yeat-s, venet-able gt-ammat-ian at the New Yorket- magazine:

"Eieanot-'s undet-standing of gt-ammat- goes deepet- than stuff like making sut-e that subjects and objects agree. It's about the at-chitectut-e of the sentence and the pat-agt-aph. And it's about the architectut-e of the thought behind the sentence and the paragraph."

From an advet-tisement in Harpet-'s Magazine, Januat-,~ 1998, fot- a book entitled Thinking Styles:

"You Have Style.Your Kids Have Style. Even Your Boss Has Style." Accot-ding to the copy, the book has "tests and charts so you can detet-mine what yout- styles at-e, and com pat-e them with those of the people amund you."

And regarding those whose thinking possesses neithet- style nor substance, this chilling piece fmm the Globe and Mai l, Febt-uat-y 17, 1998, page one:

"Ideally, style should not mattet~ said Jessica, a student at Glen Ames Seni01- School. It shouldn't be held against you, a classmate added, if, rathet­than designer-label clothing, your pat-ents can only affot-d 'sweatpants from Sears or Bi-Way with elastic at the bottom." '

Pardon me while I go and change.

More Architecting without Architects

In an article in The Canadian At-chitect last fall (Cabinet Decisions, October; 1997), Gat-y Michael Dault suggested that at-chitecture appears to be getting a lot more attention these days as thematic matet-ial fot- set-ious art. I agree with Me Dault and have taken notice of other t-ecent examples. I hope that this marks a tt-end and not a short-lived cultut-al divet-sion.

On the othet- side of the coin, in the at-ea of populat- culture, architecture t-emains commet-cially little league, particulat-ly when compat-ed with other pmfessions. If you't-e like most North Americans, when you sit down in front of the TV, you't-e watching teache t-s, doctot-s and lavvyet-s - possibly even a medical lavvyet~ a fo t-ensic psychiatt-ist or a law pmfesso t~ Lavvyet-s even have theit- own jokes - det-ision is a sure sign of

mainstream attention. Have you heat-d the one about the at-chitect ... ? No, neither have I.

I don't know whethet- the mainstt-eam attention lavished on these othet- professions t-eally adds anything to the public's understanding ot­appt-eciation, but in the endless barrage of appat-ent professional concerns that fill the so-ipts fot- these movies, books, plays, and TV programs, there is surely legiti mate matet-ial fot- public dialogue should the pmfessions choose to put-sue it.

At-chitects meanwhile, with no majot- TV series to thei r credit, at-e fot-ced to sit helpless while theit- very t itle is tossed about in the most inappropt-iate and often demeaning ways.

Het-e at-e a few recent sightings. Ungt-ammatical: "Your combination of leadership, business and technical knowledge along with a proven ability to architect [ouch] and engineet­complex systems ... " fmm a want ad in the Globe and Mail, back cove t~

business section, 28 Novembet- 1997 Uncomplimentary: "Even a solid,

tucked-under-the-brim guy like Charles "Lucky" Luciano, an architect of the modern mafia ... "-from a t-eview in Harpet-'s magazine. I can imagine the want ad for this position: "Wanted: an architect. Must be a shoot-from-the-hip guy; not afraid to gamble. Must be able to work within a lat-ge ot-ganization, but not afraid to break a few rules."

Incriminating: "He was clearly the architect of the scheme."- Judge Barbara Jones referring to Jose Medina, possible mastermind of the scheme to extot-t $40 milliion from Bill Cosby, quoted in the Globe and Mai l, I 3 December 1997.

Beyond the pale: "Ramzi Yousef, at-chitect of the Wot-ld Trade Centet­bombing, has been convicted . fmm a drive-time news broadcast on Tot-onto radio station CHFI 13 Novembet- 1997.The t-adio station claimed that the pht-ase had been picked fmm the news wire. Sure enough, thet-e it was in the Globe and Mail o-edited to "AP": " ... pot-tt-ayed by pmsecutot-s as one of history's most sinistet- tetTot-ists and the architect of the 1993 attack." To theit­o-edit, the New Yot-k Times and the Toronto Star refen-ed to Yousef (an engineet- by training) as merely a "mastet-mind," thet-eby avoiding offence to any law-abiding gmup ot- profession .

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Ideas and Presentations celebrates a divers ity of skil ls, not strictly ar-chitectUI·al. Open to ar-chitects, inter·ns, and architectural students, this awards program seeks to expand the boundaries of architectural t hinking to include drawings and renderings, theoretical projects -unbuilt or unbui ldable, non-architectural (or marginally­arch itectu r-al) objects, and architectural photographs. The success of the biennial awards has been to involve and to recognize practitioners and aspiring practitioners whose design talents have not necessarily been directed toward architectural -award-winning projects.

The judges were: • Nelda Rodger; architectural obse r·ver· and editor· of Azure, a magazine of architecture and design published in Toronto • Randall Cohen, B. Arch. , OAQ, partner in t he firm Atelier Big City in Montreal • Bruce Kuwabara, B. Arch. , OAA, FRAIC. partner· in Kuwabara Payne McKenna Blumberg Architects in To ronto.

Renderings and Perspectives In this category, computer drawing dominated - of the I 0 renderings entered, seven were computer drawings. This is both an encouraging and a discouraging trend -encouraging because it reflects t he realities of today's architectural practice, and discouraging because manual drawing has not been replaced by work of any greater aesthetic merit.

Two items appeared in the October issue of the Canadian Architect dealing with the phenomenon of computer rendering. The first was a letter to the edito r by Robert Ouellette which stated in part: "There is a vast chasm between what we are dr·awn to visua lly in the digital rea lm and what can usefu lly be app li ed to the practice of architecture and urban design." The second item appeared further on, in an article ent itled "Computers: Drawings that Work" by Michael Starr. In it, Mr Starr stated, "High-quality presentation graphics should not on ly be pretty and per·suasive, but should also be put to work in developing the fundamentals of a project's design," and then, "How can a graphic image t hat is produced provide the greatest utility to the project?" Both these writers appear to be making the same point, but they ar·e separ·ated by a wide gulf

_ Renderings a~rspectives

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Mr~ Ouellette proposes that art must only be judged according to its uti lity. This idea has been immensely

popular during the great sociali st revolutions of this centur·y~ but I had never guessed that it would be part of the credo of the Digital Revolution.

Perhaps the wr·iter· feels that computer ar·t, because it is new, differs from all other ar·t forms and should be judged according to different

standards - an idea that is distressingly prevalent even among professional illustrators. If these standards dwell on the supremacy of software, and the abandonment of artistic judgment then the current scarcity of competent computer rendering is explained.

Michael Starr, on the other hand, makes the point that computer models and the images that they gener·ate may be used as design and production tools just as hand-done sketches frequently are. His point is that the computer models, upon which computer· renderings are frequently based - the quantitative component of the exercise - and not the drawings - can be useful design tools. The oddity is that this point has to be made at all. So seductive are computer images that we allow them to complicate, rather than facilitate the connection between architecture and drawing.

Of the seven submitted for adjudication in this categor·y, two computer-generated renderings, both by Trevore Grams shared the award.

As befits a graphic pr·esentation, no text was provided to explain the source or· intent of the images. The titles of the drawings hinted at the hypothetical nature of the drawings and permitted the viewer to lend whatever import he or she might choose. The use of the word "corporeal" in the title suggests that the interpretation need not be architectural although the complex forms are certainly descriptive of structural fo rm and architectural space. Regarding the use (or lack) of figures in computer drawing, Br·uce Kuwabara had this to say: "In the computer world, the human figure is the last thing you put in**; you have to construct the model, etc."

For· the mor·e representational drawings, motives were discussed. What was the reason for having done the drawing. Marketing? Selling a concept to the client? For the abstract drawings, no motive was sought; it was assumed that an exploration was being conducted.

"We're a little more interested in interior views. Perspective is the only key to getting inside a project."

Randall Cohen, regarding the interior abstract. "We can do a watercolou r in a day and a half, but

it takes ages to construct a computer rendering." Bruce Kuwabora.

"You can get drawn in by the potential of the technology or you can use it for your own purposes. These drawings are seductive but they are definitely drawn by what the computer can do."

Randall Cohen.

*Nikolai Lenin had this to say about art and culture: 'The rift between dreams

and reality causes no harm ir only the person dreaming ... works conscientiously

ror the achievement or his rantasies."- What is to be Done?, I 902

••curiously, this is often the case in hand-<Jone rendering too

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Theoretical Projects, Unbuilt "The solidest architectural facts are fictional to a degree."

- Robert Harbison, The Buil~ The Unbuilt and the Unbuildable

In the pt·evious Ideas and Presentation Awat·ds, no pt·izes were awat·ded in this category. This yeat~ fmm among the 12 entt·ies, two projects wet·e granted awat·ds and one an honout·able mention.

In this categot·y too, because the projects are theoretical, some discussion centred around the designer's motives. Did the project spring from a real need ot· an imagined ot· fabricated one? In some cases, the pmject appeared to satisfY an existing requit·ement but, because the t·equit·ement was well undet·stood, the pmposal's shot·tcomings were too apparent. As a t·esu lt, the pmjects selected for awards were more theot·etical, allowing a much ft·eet· t·eign to the imagination.

"I , don't trust science anymore." Nelda Rodger

The limitation to one pt·esentation board pet· entry was intended to encourage an economy among submitters. Glenn Edwards's single boat·d is an example of a submission that would easily have benefitted fmm a mot·e ambitious scope of pt·esentation. As it was, the bare essentials of the idea wet·e compt·essed from what must have been several boat·ds onto one, leaving necessat·ily large gaps in the explanation and leading the jumrs to wonder aloud at times whethet· the scheme wou ld t·eally wot·k.

The project defies brief description but, in a nutshell, pmposes the habitation of an area of the Bonneville Salt Flats, by means of a numbet·

of technological improvements: a Wind Trap to condense water, Wind Turbines to generate electricity. a Solar Array to provide heat and further energy. and Housing Modules.

ward - Dwelling - Trevore Grams

The project's g1·eatest merit was best desuibed by Randall Cohen: "What I like is the inventions. It's a way of thinking that could be applied to other problems." Bruce agreed that it exhibits "an industrial

designer/inventor mentality." but that "becomes architecture because you inhabit the devices". Nelda Rodger suggested that it might be "the kind of investigation that has little to do with the inhabited world."

Oddly, this is how ou1· culture slides slowly into the futu1·e. A very few years ago, a scheme like this would have been consigned to the mainst1·eam of science fiction - ve1·y much at home in a j. G. Balla1·d landscape . But it connects ideas about sate ll ite civi lizations, renewable resources, new technologies and, of cou1·se, entertainment that are mainstream reality today.

This scheme won a Student Award of Excel lence in the December 1997 Canadian Architect magazine .

A second award in th is category went to Trevore Grams, his th ird award in this competition, and which while site-specific, stil l managed to employ the same large degree of romantic conjectu1·e that was evident in his compute1· drawing. In this scheme,Ti·evo1·e inverts the mo1·e common condition of house as

bi ll board into one that t ransforms an existing billboard into a house. In Mr. Grams's words, "This investigation concerns the inhabitation of alternate landscapes within the city."

The1·e was some concern ove1· the fact t hat this scheme, un li ke others submitted, fulfi ll ed no desperate social need, being largely gratuitous in eve1·y respect. But, it is frequently investigations such as this that provide the impetus for more demotic invention.

Bruce Kuwabara declared, "I like it for its presentation and its architectural preoccupations." He also defined the appeal of the project: "This is definitely the sensibility of someone w ho doesn't want to make things as they are but is looking for t hings within the realm of environment, technology and form and t1·ying to invent something .. . I have confidence that the1·e wil l always be those people."

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Theoretical Projects, Unbuilt

Julie Lugosi's Yonge Street installation captured the imagination of the jury for the freshness of its appr-oach and the simplicity of its execution. Unlike the other two schemes, the scale here is quite small -possibly more sculptural than architectural - and the source of inspiration lies far more in the area of artistic inqui ry and chi ld-like curiosity One can't help but wonder why no one has done this before. Also, unlike the other submissions, this one, happily, was actually executed and documented. Basically, Julie fastened squares of fabric to a subway grate and allowed the air pressu1·e changes from the station below to inflate the

squares and then leave them flattened as trains moved thr-ough the stations.

Bruce, commenting that it's too bad that there wasn't a video clip, also said "It's great that it's on Yonge Street in the public realm," and "It wou ld have been great to get some reactions of

people walking by" The judges all agreed that it was a potent

presentation, all the more effective for the simplicity of the underlying idea.

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Objects Possibly, the greatest amount of discussion was precipitated by the smallest subjects (or objects). ln this category, of IS entries, nine were pieces of furniture , including five chairs. Other entries cou ld be described as lighting, fashion design, tableware, industrial design and architectural fittings. Entries in this category were wi ld and wonde1ful.

The cribbage board submitted by Mark Koropecky struck a chord with both Nelda Rodger and Bruce Kuwabara. Both of these jurors recalled strong and happy childhood memories that revolved amund this currently unfashionable but once common object. In recalling his father's wooden cribbage board, Bruce spoke of"intimacy with the object". Clearly, this intimacy was felt by the designer whose careful translation into maple and aluminum produced an object that the jurors all found clea1·ly expressed and we ll-considered. One short-coming that Nelda Rodger and Bruce both remarked on was the apparent lack of a storage compartment for the pegs .

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Architectural Photography

The photography category garnered the largest number of entries: 19. Among these, the photograph of Carlo Scarpa's Castel Vecchio in Verona by Babak Eslahjou was the clear and unanimous winner for its ability to captul-e the angu lal-ity of Scarpa's building through a careful ly composed vignette of strong light and shade. The photo­graph appears at first as an abstract composition but closer examination reveals the extremely concrete and fine details of the building e lements. From Bruce Kuwabara: "A reading of the work that's interesting . .. really strong." From Nelda: "A clear winne1~" Among the jurors, this category was extremely popu la1~

Heard more than once was the exclamation: "Twenty-five years! I can't believe it!" Bruce echoed the sentiments of the others when he said of the entries: "These are all my favourite buildings in the city."

The selection of the landmark City Hall was unanimous among the jurors for reasons that were perhaps largely sentimental. On the day of the judging it was still not clear whethe1- the new megacity Toronto would 1-etain the Revell building as its seat of government 01- fol-sake it in favour of Metro Hall. The building is a powe1ful icon and is recognized internationally. Bl-uce quoted Jorge Silvetti as having 1-emal-ked that it was much smaller than he had imagined it would be. All the jurors felt that it was time to give the building a little architectUt-al recognition even if political recognition should elude it.

There were many strong contenders for this award and it was fervently hoped that they would be resubmitted in subsequent years. It was recalled that C ity Hall had been previously overlooked as recipient of this award in favour of the Union Carbide building whose fate was precarious at the time. Megacity had not yet been conceived.

Gordons Grice is editor of Perspectives

*submitted independently by Catherine Nasmith and David Clusiau

Tanjung Rhu Resort Expansion

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Toronto Firms Honoured in 13th Annual Architectural Illustration Competition The annual adjucation of the world 's only international architectural drawing competition, Architecture in Perspective, was held recently in Atlanta, Georgia. Among the 60 works chosen for the travelli ng exhibit and catalogue were two projects by Toronto architectural firms, illustrated by local rendering artists.

Juror·s for· the competition th is year were: Merrill Elam AlA, of Scogin, Elam and Bray of Atlanta: Terry Sargent AlA, of Lord Aeck & Saragent, Atlanta: and chairman C. Ford Peatross, Hon. AlA, F. H. A. B. S., Curator· of Architectur·e, Design and Engineering Collections at the Library of Congress, Washington DC.

Landscape Plan of Yonge Street in Newmarket

Baird/Sampson Architects Guanghao Qian, illustrator

Jury chairman Ford Peatross described Guanghao's elegant watercolour in this way: "In the Beaux-Ar·ts tradition of Jules Guer·in but with new and fresh subject matter."

Guanghao Qian is a graduate in architecture from Chongqing, China who worked for five years as an architect in Beijing befor·e coming to Canada in 1990. Li ke many gr·aduates

from Chinese architectural schools, Guanghao had r·eceived extensive undergr·aduate drawing and painting training, which he has put to effective use as a freelance illustrator for a number of Ontario firms.

In addition, the Newmar·ket il lustration is the recipient of the Formal Category Award, one of six special awards presented each year for particularly distinguished il lustrations. This is the first time that Guanghao has entered an AlP competition.

The illustration depicts the Baird/Sampson scheme to soften and humanize an otherwise fa irly mundane stretch of the world's longest street, as it passes through Newmar·ket. The quiet tones and soft outlines of the watercolour seem perfectly in tune with the romantic aspirations of the plan. Among the planting can be faintly discerned the McDonalds golden arches and the KFC awning stripes, but the overall impression is one of bucolic repose.

In commenting further on the drawing, Ford Peatross said that the drawing pr·esents "a gr·and view of a

Right Landscape Plan of Yonge Street

in Newmarket

Bottom: Condominium Proposal in Repulse Bay;

Hong Kong

planned landscape in a way that gives one hope."

Condominium Proposal in Repulse Bay, Hong Kong

Zeidler Roberts Partnership Architects, Roger Yu, illustrator

Like Guanghao, Roger Yu is a graduate in architecture from a Chinese University who immigrated to Canada at the beginning of this decade. Roger· has worked as a freelance ill ustrator for a number of fir·ms, but is probably best known for· his work for Zeidler Roberts.

His wor·k with this firm has made it possible for· Roger to col laborate with such watercolour luminar·ies as Michael McCann, Doug Jamieson and Curtis Woodhouse, ill ustrators whose work has appeared many times in AlP shows.

Toronto illustrator Michael McCann is repr·esented in the show, with an ill ustration for the WWII Memorial, Washington DC. prepared by SOM, Chicago/RTKL.

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competition. Between an excellent scheme superbly presented and a poor scheme badly presented, there is no contest. But what about the difference between a poor scheme superbly presented and an excellent scheme pt-esented badly?

Some believe that the merits of a good scheme are self-evident and will therefore present themselves. These people are frequently mystified by the inability of their audiences to appreciate the evident superiority of

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their work. Unfortunately. not everyone (particularly those not trained in our profession) is able to comprehend the nuances and esoteric elements that mark the difference between good and excel lent.

Ft-ed Stitt, Editor/Publisher of Guidelines* stated in the Februat-y 1998

issue: "While sitting in on some architect presentations last year. I was struck by the sameness of most of the presenters; they talked first and foremost about themselves, their offices, and their capabilities. True enough, experience with similar building types, is the number-one consideration for most clients when selecting a design firm. But there's a better way to present that information than the self-centered list of abilities and experience so common in presentations."

He went on to focus on the need for a more client-oriented approach in the presentation, with concentration on the effect of the design on individuals and their achievement of a higher quality of life.

In any problem, the key to the solution lies in identifying the t-ight problem. Presentations can be viewed in this I ight. An enthusiastic presenter may. on occasion, "kill the deal" with an

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over"-zealous and lengthy presentation. Ski ll ed lawyers will te ll you to leam when to stop talking - when you've won the point!

The ari of excellent presentation is by no means a bypr-oduct of having intimate knowledge of the subject (or­scheme), but rather a series of careful, studied techniques with an appropr-iate amount of flexibility to assist the pr-esenter in making instantaneous adj ustments to suit changing circumstances. An appr-eciation of architecture may be second nature to practitioners, but must be taught to t hose not tr-ained. Presenters ought not take for gr-anted that their audience will under-stand what has taken many year-s for the presenter to learn.

The famed cowboy philosopher Kenny Roger·s said to his protege in the movie The Gambler: "You must leam to read the mom". To the extent that pr-esentations, like many of life's experiences, are to some degr·ee a gamble, the advice applies.

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The emergence of a new sustainable vernacular typology: Terri Myer Booke, B. E. S., B. Arch., M.Arch.

Sustainable architecture incorporates a broad range of"green" design technologies that gt·eatly affect the form, matet·iality and charactet· of the building. As a result, an identifiable new building type is being generated.

Modern sustainable design technology has learned to build upon the climate-responsive techniques found in the natural heating and cooling principles of traditional regional vernacular. In these cases, the site, its bioclimate and ecology direct the creation of a development that appmaches an "independent" sustainable state.

A fully developed sustainable building should possess six primary characteristics: I . ecologically sensitive development

of the site, according to bioclimatic considerations

2. the use of"green" materials, (including renewable, recycled, t·ecyclable and finishes with a low content of volati le ot·ganic com­pounds (VOC).) to promote a healthy intet·ior and the further use of local or indigenous materials

3. the use of Passive Design principles to attain energy efficiency in the heating and cooling of bu ildings (including daylighting) and Passive Design strategies as "form determinants" in building section and plan development

4. the use of Active So lac Wind and Water· systems to complete the enet·gy t·equirements of the facility

5. the use of wastewatet· treatment systems: bio-filter. living machine, aquaculture

6. a high level of occupant involvement

in caring for the building and ensuring the efficient functioning of its passive and site systems/ lifestyle change

The sustainable building type uses a recognizable material palate: wood sid ing (often fmm a t·eclaimed sout-ce), wood stt·ucture (where pet·mitted by code) and trellises, and exposed concrete slab floors. The large south­facing windows at·e typical ly double- or triple-glazed, varying with climate, and combine large central fixed panels with top and bottom awning openers to promote ventilation. The familiar cross-section of the passive building type and the presence of solar collectors and photovoltaic (PV) arrays are also a sout·ce of recognition, as is the use of plant material to alter the microclimate.

The occupant involvement required by sustainable buildings makes them especially appropriate as educational facilities. Such environmental education fac il ities allow the practice of "sustainable living" to be more broadly experienced. Two recently-constructed examples are described below: the Centet· for Regenerative Studies (CRS) at Cal Poly, Pomona, designed by Dougherty and Dougher·ty in 1993, and the YMCA Environmental Camp, in Paradise Lake, Ontario, designed by Charles Simon Architect in 1994.

The design of the CRS is driven by hot climate criteria while the YMCA Camp responds to both the need to heat during the winter and ventilate/ shade during the summer. Both use appropriate vernacular and bio-climatic design-based passive and active strategies to support sustainable goals, using sustainable materials and methods in the design of site and building, and requiring the occupants to reassess their lifestyle and relationship to the build ing functions. The building sections use passive principles which include berming into existing land forms on the north to take advantage of natural heating and cooling conditions and the use of fenestration and trellises on the south fot· heat and daylight.

In response to the at·id climate and water shortage, the CRS created a

water-cleansing aquaculture system to recycle grey water for irrigation. The production of high quality compost matet·ials, combined with the nutrient level in the processed irrigation water is able to enhance food pmduction on the site, Cl·eate a cool green micmcl imate and produce visually, if not actually, an oasis in a desert. The major-ity of the landscaping is "edible", and becomes a vital part of the sustainable life cycle of the occupants. The YMCA will install a "living machine" to purify water:

The vernacular style of the buildings at the CRS is remarkably similar to Charles Simon's YMCA Environmental Camp (see Ontario Eco-Architecture I and Perspectives, Vol. 5, No.2). The exterior is clad in wood siding.The shell is fr·amed and insulated (although to California standat·ds) and finished with low VOC-painted gypsum board on the interior. The floor is exposed concrete to create thermal mass. The south­facing windows have low-and high-level awning components, and are shielded on the exterior with wood trellises incorporating metal rods to support vines - almost identical in detail to those at the YMCA Camp, but lacking the solar-related geometry. The occupants of the building can direct air movement by using operable low and high level awning windows, with transfer grilles, and ceiling fans. The primary energy sources for both developments are passive solar with an active complement, biomass and wind.

The YMCA responds to the cold climate with the addition of a large masonry heater and, fot· the residences, uses solar collectors to provide hot water. The institutional nature of the CRS clients required the use of low flush toilets in that facil ity rather than the more environmentally efficient com posting toilets used at the YMCA Camp.

The Sustainable Vernacular Building type needs active, educated occupants to ensure that the building functions successful ly. In this way, passive and active design strategies can help to support the creation of a new

Far left: CRS at Col Poly, Pomona, Ca. - Dougherty and Dougherty Architechts

Left: YMCA Environmental Camp, Paradise Lake, Ont - Charles Simon Architect Inc.

vernacular, based on an inclusive biocl imatic approach to Sustainable Architectural Design.

Terri Myer Boake is Assistant Professor of Architecture at the University ofWaterloo and

a frequent writer on environmental issues.

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A Guide to the Model National Energy Code fo r Buildings Stephen Pope, OM, MRAIC

The following article is a brief"Guide" to the Pt·eso·iptive Compliance Path of the newly OBC refet·enced Model National Enet·gy Code for Bui ldings (MN ECB). While the intent is to give a compt·ehensive ovet·view, space limitations pt·event a total listing of the requit·ements, and practitioners are advised to augment th is guide with their own review. Discussion of the building envelope Trade Off Compl iance Path, (Part 3.4), or the Petiormance Compliance Path (Part 8), wait for futut·e articles. Parts I and 2: General Conditions and Application Pat·ts I and 2 cover definitions and genet·al t·efet·ences to other standards. When starting a code t·eview process, designers should collect the basic information requi red fo t· compliance demonstration such as, occupancy type, heating type, fioot~ wall and window areas. Part I provides definitions useful for establi shing what parts of a fioor at·ea is included in app li cable calcu lations. Appendix E contains detailed defin it ions fot· items like dimension points fot· windows and

skylights (rough opening sizes are used). Part 2 is concerned with the application of the standard. The fi rst question in any code review is: Does the code apply to this project? Appendix E describes which portions of building types such as warehouses ot· at·enas, can be exempted from cet·tain pt·escriptive requi rements. It also describes the information, from both dt·awings and lists, required for demonstrating compliance. Part 3: Building Envelope Part 3 is concerned with the energy characteristics of the building envelope. Through reference to Appendix A. insulation values required for envelope assemblies are established following both the "pt·incipal heating sout·ce" used, and the t·egion in which the pmject is to be constructed. One caution is that thet·mal tt·ansmittance rather than resistance is described, so, U values at·e used instead of R or RSI values.

For all sections, there are a number of mandatory provisions that must be fo llowed regardless of compliance path. For the envelope they generally are concemed with coordination of structut·al and mechanical penetrations and continuity of the thermal enclosut·e. Vestibules are mandatot·y at building entt·ances, although thet·e at·e some

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exempt ions. Requirements for skyl ights and windows are the most significant elements of the envelope section. Both are included in the overall fenestration­to-wall ratio, although the procedures fot· calculating fenestt·ation-to-wall ratio and skylight-to-roof t·atio at·e described sepat·at ely. If the skylight-to-roof t·atio is less than two pet· cent. the petiormance 1·equirements are relaxed.

Finally, the fenestration-to-wall ratio may not exceed 70 per cent This ratio is calculated by dividing the sum of"all build ing envelope assembl ies that transfer visible light", by the "sum of all areas of the projections onto vertical planes of al l above ground building envelope components." For example, a 2.5 m ta ll stmefront window, running unintetTupted along the entit·e length of a 3.6 m tall one stot·ey bu il di ng, has a fenestration-to-wall t·atio of 69.4 pet· cent If this isn't enough, the Ti·ade Off Path for compliance offers computet· assisted and simple manual methods for balancing larger window areas with decreased wa ll transmittance values. Part 4: Lighting The MN ECB Mandatory Pmvisions for lighting are primarily concerned with exit lights and extet·ior lighting. They provide limits to the powet· allowances used in entt·ance and exit lighting, and extel"iot· facade lighting. Contmll et·s with preset schedules or photocells are required for exterior lighting.

For Presuiptive Compl iance the code focuses on the power allowances for lighting occupied spaces in comparison to the actual connected lighting powet~ The methods for calculating Interior Connected Lighting

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Power· (ICLP) and the interior· lighting power allowance (ILPA) ar·e described. ILPA is developed from floor areas multiplied by area factors (AF) and lighting power· densities (LPD), which ar·e selected from tables based on space function or· building type. Par t 5: Heating Ventilating and Air Conditioning Systems (HVAC) The Mandatory Provisions for HVAC establish the levels of insulation for pipes, ducts and plenums.They also r·equir·e duct sealing, the use of exterior damper-s and provide limits on the ther·mal transmittance of exterior walls at pockets for recessed wall heater-s.

For the Prescriptive Compliance Path, the code establishes maximums fo r· power consumption in constant and var-iable volume fan systems as a function of the volume of air moved. It also requires the use of outdoor air for mechanical cooling with systems larger· than I 500 1/s or 20kW capacities. Fina ll y, depending on "pr-incipal heating sour-ce" and r·egion, heat r·ecover·y may be required for the principal building exhaust. Part 6: Service Water Heating Systems The Mandatory Provisions for· Ser·vice Water· Heating Systems establish the insulation requirements for water piping, mandate the use of low-flow shower

heads, limit the flow of hot water· in lavatories to 9.5 1/min. and set cover insulation levels for heated pools. The Prescriptive Requirements are few. Limits ar·e placed on the size of combined space heating and service water· systems, and their· compliance with energy efficiency regu lations must be demonstrated. Par t 7: Electrical Power All of the provisions for Electrical Power ar·e mandatory. The section concer-ns itself with meter-ing, monitor-ing, power· controls, transfo r-mers, electrical motors and t he documentation of system design and operation.

Individual dwellings or suites with dedicated circuits ar·e to be separately meter-ed, with office occupancies exempted. For electrical distribution systems with greater than 250kVa capacity, monitoring systems must be provided for· tenants having a connected load of more than I OOkVa, or· a suite area greater· than I 000 m'. Monitor-ing systems are to r·eview: lighting; HVAC systems for multiple tenants; service water heating; e levators; and special equipment.

This completes a gener-al review of the mandatory and prescr-iptive requirements of the Model National Energy Code for Buildings. As can be

seen from above, the cr·iter·ia are not over-ly str-ict. In fact, cur-rent best practices may be I 0 per cent to I 5 per cent better· than the li mits here described. For copies of t he new code, contact t he Canada Codes Centr-e at t he Institute for· Resear-ch in Constr-uction at the National Resear-ch Council in Ottawa.The MNECB may be ordered by telephoning (613) 993-2463.

Stephen F. Pope, Architect is Chair o( the Perspectives Editorial Committee and a

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Specification Writing Service Spec One Specifications Services Inc., Erin .......... 24

' Titanium Zinc Architectural Cladding Rheinzink Canada Ltd., Burnaby. BC.. .......... .. ............. 23

Watches Time's Square, Richmond Hill.. ...................................... 25

Fidelity Investments, Toronto ............................................ 5 Windows Columns Andersen Windows, North York ...... .. .......................... ..7 Colonial Pillars Inc., Stoney Cr·eek ........ .. ..................... 27 Non-Shrinl< Grout

Rovocan Inc., Etobicoke .............. .... ........ .. .............. ........ .. . 24 Willmar-Windows, Mississauga ................................ .... .. 25 Concrete Block Richvale York Block Inc., Gormley. ............................... 27 Wood Moldings

Central Fairbank Lumber Ltd., Concor-d ..... .. ........... 9

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Alan Seymow; OM, MRAIC. RIBA

We're standing in the most fantastic attic in Ontario. Each of us sees the space from a different viewpoint. Publisher Richa1-d Soren, li ke most first-time visitors, is del ighted to be inside that silhouette of silhouettes, that most familiar mofscape -the attic of the Pmvincial Parliament Bu il ding at Queens Park in Toronto. It's what we see in the centre of our windshields driving north or south on University Avenue: that soaring slate pyramid, flanked by four coppel-­capped bastions, that unmistakeable row of porthole win­dows. Solid, reassuring. No soaring towers or gilded domes for us Ontarians thank you.

Paul Tranquada, our guide, scans the attic critically, pointing out work done, noting work still outstanding. Paul directs the implementation of the "Restoration Master Plan for the Ontario Legislative Assembly Building and Grounds". He's been doing this, wing by wing, contract by contract since 199 I, when Julian Smith and Associates Al-chitects prepared the Mastel- Plan on behalf of a special pal-liamentary committee. C. A. Ventin Architects 1-estored the exterio1- of the bui ld ing in four phases over four years. On an earlier visit before the work started, we toured the extensive attic spaces and observed a kind of technological Troy: layer upon layer of wires, ducts and tubes representing I 00 years of progress in bu il ding services, with the latest on top. In one area, we discovered the 1940s vintage Otis elevator brass winding gear - wheels still spinning, mechanical relays still clicking. In another area, we found t he dusty ducting of the original attic fan ventilation system.

Architect Richal-d Waite designed the bu il ding to be innovative in many ways. Design and constl-uction occurred during the dawn of the Electric Age in Ontal-io and, in a last-minute decision toward the end of the construction, Waite decided to add electric light fixtures. At the end of I 892, a tender was rapidly prepared for a combination of gas and (hedging bets) electric fixtures. A Toronto Company, Bennett and Wright won the tender to light the hallways and the Legislative Chamber. Two of these transitional­technology fixtures are sti ll visible in the East W ing, east of the elevators. Another of these fixtures was taken by Paul Tranquada to a lighting restorer who, in one of those moments that make historical restoration so fascinating, announced that it was identical to a fixture that had been "gathering dust in our attic for years."

The purpose of the master plan was to restore some sense of unity and respect for Richard Waite's controversial original design of I 886, which played a pivotal role in the development of the Canadian architectural profession. Although compromised by subsequent alterations, the plan, style, material and circumstances of its construction were without significant precedent in Ontario and Canada. The doubtful conditions under which the Buffalo-based a1-chitect secu!-ed the commission motivated a solidal-ity among local p1-actitionel-s that ultimately led to the formation of the Ontario Association of Architects and the struggle for legislation to regulate the profession.

Paul points out the immense space behind the rose windows in the southwest tower. Waite's drawings show that the circular openings, I 6 feet in diameter, were intended for two gigantic clock faces - a sort of imploded Big Ben. Maybe a clock could be the final flourish for the restoration program, the icing on the cake, the Queens Park/Danny Hillis* Millenium Project.

I look upwards at the Piranesian mof space above us, the laye1-s of huge lattice wood trusses disappearing into the gloom, the fabrication date I 89 I sti ll visible on some of them. Here are the fresh colours indicating the overlay of new paralam members where strengthening was required; the immense circular duct exhausting hot stale air from the Legislative Chamber below us (a pregnant political metaphor if ever there was one); the new circular pivoting windows, fabricated to match the original details; the winches used to lower the four chandeliers to Chamber floor level for relamping and cleaning. There is much of value here: the value of hel-itage and continu ity, the value of a master plan and the political wi ll to follow it the value of adaptive re-use, the quality of the workmanship.

This is one fantastic attic!

Alan Seymour is principal in Alan Seymour Architect

* Computer scienlisr Danny Hillis, has proposed the maldng of "a Iorge mechanical dock. powered by seasonal temperature changes. It ticks once a year.

bongs once a cencury, and rhe cuckoo comes our every millenium: The point is to have a chan'smatic object !hat helps people think long-rerm.

Stuart Brand, How Buildings Learn (Penguin Books, 1995).

At best, it kept out the light.

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