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 contents
CadillaC Fairview Corp.

paul warChol

Shai Gil
20 shops at don Mills 9

news
ateral Office wins the Professional Prix
L
a new 21St-Century model oF the ShoppinG mall emerGeS in a poStwar Suburb oF
toronto. teXt John bentley mayS
de Rome in Architecture; campaign for
Hylozoic Ground at the Venice Biennale.

26 FairMont paciFic riM 16 insites

Ian Chodikoff discusses John Martins-
thiS maSterFul new downtown vanCouver proJeCt repreSentS an exCeptional
aChievement in the Career oF arChiteCt JameS ChenG. teXt trevor boddy
Manteiga’s recently published Peter Dickin-
son, a lovingly researched book that
provides astonishing details on the late,
34 60 richMond housing co-op great architect who reshaped mid-20th-
century Canada.
teeple arChiteCtS proveS that Street-wall arChiteCture Can be hiGhly enGaGinG in
thiS reFreShinGly SCulpted buildinG in downtown toronto. teXt elSa lam
41 calendar
Bent Out of Shape: Canadian Industrial
Design 1945—Present at the Design
huGh robertSon/panda

Exchange; FABRICation: Studio Production

Textiles for Interiors at Cambridge Galleries
Design at Riverside.

42 Backpage
Thomas-Bernard Kenniff provides an
update on the magnificently evocative
Borough Market in South London.
huGh robertSon/panda

auGuSt 2010, v.55 n.08

coVerthe Fairmont paCiFiC rim in vanCou-

ver by JameS K.m. ChenG arChiteCtS inC.
The NaTioNal Review of DesigN aND PRacTice/ photo by JameS K.m. ChenG.
The JouRNal of RecoRD of The Raic

08/10 canadian architect 5

 viewpoint
dIvIsIon teCh
abovewhen CoMbIned wIth GeoGraPhIC
data, aCCurate Census InforMatIon Is
beCoMInG InCreasInGLy IMPortant for
arChIteCts to Make InforMed deCIsIons.
Most Canadians will have experienced the me-
dia’s recent coverage of the intense anger ex-
pressed over the Conservative government’s de-
cision to scrap the mandatory long-form census
and replace it with a voluntary one comprised of a
few basic questions. Unless the proposal is re-
versed or drastically altered by the end of August,
Prime Minister Stephen Harper’s stubbornness
will yield a meaningless information-gathering
exercise that will deny statisticians, economists,
charitable groups, municipal governments, de-
velopers, urban planners and architects a critical
resource to accurately gauge the ways in which
Canadian society is evolving. A voluntary census
will hinder the decision-making processes re-
lating to future design projects such as parks,
community centres, hospitals and health-care
facilities, schools, commercial and residential de-
velopments, and specialized mixed-use facilities.
Without an adequate census, formulating impor-
tant and intelligently programmed city-building
initiatives will be radically compromised.
Currently, there are two methods for accurately
tracking a country’s population: a mandatory
long-form census and a registry system. Registry
systems are common in most Scandinavian and
some European countries. They typically involve
a cross-referencing system that gathers data
from its tax, employment, education and popula-
tion registers. In these countries, registers are
constantly updated because citizens are obliged
to report matters such as any change of address,
job, vehicle or marital status. A recent article in
The Economist noted that these countries consider
census-taking obsolete, preferring to gather in-
formation from centralized government data-
bases, in addition to periodic polling.
Registers have an advantage over censuses in
that they allow countries to evaluate their demo-
graphic structure at much shorter intervals. This
6 canadian architect 08/10
is very useful, given the increasingly global na-
ture of society, and the fact that today, Canadians
switch jobs and change addresses much more
frequently. The government’s lame excuse for
eliminating the long-form census in Canada is
that it is an invasion of privacy, but they already
keep considerable amounts of detailed informa-
tion on Canadians. If we follow the reasoning that
a census isn’t the best way to gather data, then
our government should make a concerted effort
to leverage the existing information available,
improving it as required.
Sadly, Stephen Harper has already been reduc-
ing the budget and eliminating surveys on various
aspects of Canadian society—one being the Parti-
cipation and Activity Limitation Survey, which
collects data on people with disabilities. In this
instance, the government seems to believe that it
is sufficient to collect information only from dis-
abled people who receive welfare, given that Ca-
nadians with disabilities are more likely to be ei-
ther unemployed or low-income earners. As
Susan Ruptash, a principal at Quadrangle Archi-
tects and expert on barrier-free design noted at a
recent seminar, architects still have not fully ad-
dressed the needs of users who have physical or
cognitive impairments. Clearly, if we no longer
track this segment of the population with accu-
rate and complete data collection, then how can
we ever make informed decisions regarding
changes to building codes and by-laws so that our
built environment becomes fully inclusive?
Complete census data can also enhance a de-
sign practice’s ability to produce presentation
and working drawings. Tools like Geographic In-
formation Systems and Building Information
Modelling are becoming increasingly prevalent
in contemporary practice. They rely upon spatial
and demographic data to create impactful visual-
izations that clients can understand. Current
software is able to integrate geographic and cen-
sus data with a range of impressive mapping
tools, allowing architects to zoom into different
areas across Canada and obtain population and
dwelling counts, thematic maps and a number of
additional data characteristics. Today, it is prac-
tically mandatory for architecture students to in-
corporate sophisticated census information into
their studio projects.
Should he continue with his foolhardy plan to
abolish the long-form census, let us hope that
our Prime Minister realizes that there are pre-
ferred alternatives to replacing the current form
of census-taking with a voluntary questionnaire,
but this is unlikely to happen. As a progressive
society, we require complete demographic data to
make informed decisions about the future of our
built environment.
Ian ChodIkoff ichodikoff@canadianarchitect.coM
editor
Ian ChodIkoff, OAA, FRAIC
associate editor
LesLIe Jen, MRAIC
editorial advisors
John MCMInn, AADIpl.
MarCo PoLo, OAA, FRAIC
contributing editors
GavIn affLeCk, OAQ, MRAIC
herbert enns, MAA, MRAIC
douGLas MaCLeod, nCARb
regional correspondents
halifax ChrIstIne MaCy, OAA
montreal davId theodore
regina bernard fLaMan, SAA
calgary davId a. down, AAA
Winnipeg herbert enns, MAA vancouver adeLe weder
publisher
toM arkeLL 416-510-6806
associate publisher
GreG PaLIouras 416-510-6808
circulation Manager
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Mike karakas
PrOjects
Kasian to design the largest rcMP
divisonal headquarters in canada.
Kasian Architecture Interior Design and Plan-
ning Ltd. will design the new Royal Canadian
Mounted Police E Division Headquarters in
Surrey, British Columbia. This integrated, pur-
pose-built complex will provide consolidated
office and support space for 2,700 police per-
sonnel, currently housed in 25 separate loca-
tions throughout the BC Lower Mainland.
The new 76,162-square-metre facility will en-
hance the RCMP’s ability to provide integrated,
intelligence-based policing, and will improve
overall communications and response times.
This landmark project is a public-private
partnership (P3) between the Government of
Canada and Green Timbers Accommodation
Partners, a consortium formed by Bouygues
Bâtiment International, HSBC Infrastructure,
and ETDE FM Canada. Kasian was appointed
by the design-and-build joint venture between
Bouygues Building Canada and Bird Design-
Build to lead the design of the facility. ETDE
Facility Management Canada will provide all
management services. A fixed price of $966
million has been agreed upon to design, build,
finance and maintain the new headquarters for
a term ending 25 years after construction.
Kasian Principal Michael McDonald will oversee
the design for the new headquarters. Full build-
ing construction on the RCMP E Division Head-
quarters began in July 2010, and the estimated
date of completion for the project is December
2012.
The h2Office in Winnipeg and The MOnTrOse culTural cenTre in grande
aBOVe, LeFt tO riGht
prairie, alberTa each received an aWard Of excellence in The 2010 prairie design
aWards, unveiled aT The recenT raic fesTival Of archiTecTure held in saskaTOOn.
awards
Lateral Office wins the Professional Prix
de rome in architecture.
Toronto architecture firm Lateral Office is the
winner of the $50,000 Professional Prix de Rome
in Architecture for 2010. Administered by the
Canada Council for the Arts, this award recogniz-
es excellent achievement in Canadian architec-
tural practice. Lateral Office’s founding partners,
Lola Sheppard and Mason White, will use the
prize funds to travel to the Arctic to pursue their
research proposal entitled Emergent North. The
travel research continues an ongoing investiga-
tion and documentation of cold-climate settle-
ment forms, issues, and vernacular innovations
in the circumpolar region. Emergent North looks
at the challenges and opportunities of the public
realm, civic space, landscape, and infrastructure
emerging from a unique geography. Sheppard
and White will conduct two travel routes through
Nunavut, Yukon, and the Northwest Territories,
as well as Alaska and Greenland, to gather first-
hand knowledge and documentation of far
northern settlements. This research will inform a
series of ongoing design projects responding to
social, political, economic and ecological issues
confronting the far north. The Professional Prix
de Rome in Architecture is awarded to a young
architect or practitioner of architecture, an
architecture firm or an architectural design firm
that has completed its first buildings and demon-
news
shai gil
strated exceptional artistic potential. Founded in
2003, Lateral Office is an experimental design-
research studio that operates at the intersection
of landscape, architecture and urbanism. Lateral
Office seeks direct engagement with the difficult
questions of contemporary urbanism, the public
realm and infrastructures demonstrated through
design competitions, publications and exhib-
itions. Born in Montreal and based in Toronto,
Lola Sheppard is an architect, writer, and educa-
tor as well as a member of the Ordre des archi-
tectes du Québec. She is Assistant Professor at
the University of Waterloo School of Architec-
ture. Mason White is an architect, writer, and
educator born in Washington, DC and based in
Toronto. He is Assistant Professor at the Univer-
sity of Toronto Daniels Faculty of Architecture,
Landscape and Design.
design exchange awards 2010 call for
submissions.
The Design Exchange Awards program promotes
Canadian design excellence and recognizes the
critical role of design in all types of organizations
including commercial entities (large and small
businesses), not-for-profit organizations, and the
public sector. These Awards are designed to: ex-
pand national understanding of design as an es-
sential resource; demonstrate that investment in
design impacts overall business success; celebrate
effectiveness in all design disciplines; highlight
the critical role of design in enhancing quality of
08/10 canadian architect 9
2010 AwArds of ExcEllEncE
Canadian Architect invites architects registered in Canada and architectural graduates
to enter the magazine’s 2010 Awards of Excellence.
Eligibility 4. Please do not submit any material in CD, DVD, or any other audio-visual
Projects must be in the design stage, scheduled for construction or under con- format not confined to two dimensions, as it will not be considered.
struction but not substantially complete by September 16, 2010. All projects
must be commissioned by a client with the intention to build the submitted Entry fee
proposal. All building types and concisely presented urban design schemes are $85.00 per entry ($75.22 + $9.78 HST). Please make cheques payable to
eligible. Canadian Architect. HST registration #809751274RT0001.

Judging criteria Publication

Awards are given for architectural design excellence. Jurors will consider the Winners will be published in a special issue of Canadian Architect in Decem-
scheme’s response to the client’s program, site, and geographic and social con- ber 2010. Winners grant Canadian Architect first publication rights for their
text. They will evaluate its physical organization, form, structure, materials and winning submissions.
environmental features.
Awards
Presentation
Framed certificates will be given to each winning architect team and client.
1. Anonymity. The designer’s name must not appear on the submission except Details to follow upon notification of winners.
on the entry form. The project name and location should be identified.
notification of winners
2. Each entry must be securely fastened in a folder or binder of dimensions no
Award winners will be notified after judging takes place in October 2010.
greater than 14´´ 5 17´´; oversized panels will not be accepted. One (1) copy of
this entry form must be enclosed within an envelope and affixed to the front deadline
of each folder, preferably without the use of Scotch tape or adhesives. Clips Entries will be accepted after August 12, 2010. Send all entries to arrive by
are ideal. 5:00 pm on Thursday, September 16, 2010 to:
3. Each project folder must include:
a) first page—a brief description of the project (500 words or fewer) Awards of Excellence 2010
b) second page—a brief description indicating the project’s ability to Canadian Architect
address some or all of the following issues (1,000 words or fewer): 12 Concorde Place
i) context and/or urban design components Suite 800
ii) integration of sustainable design Toronto, Ontario
iii) innovation in addressing program and/or the client’s requirements M3C 4J2
iv) technical considerations through building materials and/or systems
c) drawings/images including site plan, floor plans, sections, elevations return of Entries
and/or model views Entries will not be returned.

name of Project

name of firm

Address city & Province Postal code

Telephone fax E-mail

Architect/Architectural Graduate submitting the project signature

according to the conditions above

client client Telephone

life; reinforce the value of strong client/designer
partnerships; and promote the critical role of de-
sign in sustainability. A jury of leading business
executives, designers and community leaders will
select a Gold, Silver, Bronze and two Honourable
Mentions in each of the 12 categories, including
architecture, engineering, fashion, graphic de-
sign, industrial design, interior design, landscape
architecture and urban design. The final submis-
sion deadline is September 30, 2010. The awards
ceremony will be held on November 23, 2010.
www.dx/org/dxa
winners of the 2010 Prairie design
awards announced.
The winners of this year’s Prairie Design Awards
were announced at the recent RAIC Festival held
in Saskatoon in June 2010. The award is pre-
sented every two years by the Alberta Association
of Architects (AAA), the Saskatchewan Associa-
tion of Architects (SAA) and the Manitoba Asso-
ciation of Architects (MAA). The Awards were
presented at the kickoff to the RAIC/SAA Festival
of Architecture in Saskatoon at the end of June.
In the Recent Work category, an Award of Excel-
lence was given to Teeple Architects in associa-
tion with Kasian Architecture for the Montrose
Cultural Centre in Grande Prairie, Alberta, and to
Cibinel Architects Ltd. for H2Office in Winnipeg.
Five Awards of Merit were given to the following:
Cohos Evamy Integratedesign for the Calgary Zoo
North Gate; Cibinel Architects Ltd. for the Apotex
Centre at the University of Manitoba’s Faculty of
Pharmacy in Winnipeg; LM Architectural Group
for the University of Manitoba’s John A. Russell
Building Exterior Envelope Replacement in
Winnipeg; Cohlmeyer Architecture Ltd. and
5468796 Architecture Inc. for the Bohemier
Residence in Winnipeg; and Cohos Evamy Inte-
gratedesign for the Royal Canadian Pacific Entry
Pavilion in Calgary. In the Interior Design cat-
egory, an Award of Excellence was given to Dub
Architects for the 2nd Avenue Lofts in Saskatoon,
and an Award of Merit was given to Bernard
Flaman for tiny + heritage + green = home in Re-
gina, a small-scale residential heritage restora-
tion and redesign project. In the Small Projects
category, two Awards of Excellence were given to
spmb_projects for Table of Contents in Winni-
peg, and to David Penner Architect for Corogami
Hut, also in Winnipeg.
Lubor trubka associates architects wins
wan health-care award.
World Architecture News announced the winners
of its awards in the health-care sector for both
built and unbuilt projects. Located on the west
coast of Vancouver Island, the Tseshaht First Na-
tion Health Centre and Multiplex by Vancouver-
based Lubor Trubka Associates Architects took
the prize in the built category, and the Shenzen
Third Peoples’ Infectious Disease Hospital by
TRO Jung Brannen was declared the winner in
the unbuilt category. Juror Phil Nedin of Arup
Associates stated that Lubor Trubka Associates
encapsulated “the way to be going forward—a
message about the importance of health care on a
very local community-services level.” The WAN
Awards program is organized by World Architec-
ture News, the international online magazine and
UIA media partner.
www.worldarchitecturenews.com
3rd international holcim awards.
The 3rd International Holcim Awards competi-
tion offering a total of $2 million US in prize
money is open to: sustainable building and civil
engineering works; landscape, urban design and
infrastructure projects; and materials, products
and construction technologies. The Awards are
an initiative of the Swiss-based Holcim Founda-
tion for Sustainable Construction. Entries must
be submitted online by March 23, 2011. The com-
petition celebrates innovative, future-oriented
and tangible projects and visions from around
the globe and is open to anyone involved with ap-
proaches that contribute towards a more sustain-
able built environment.
www.holcimawards.org
cOMPetitiOns
eVolo skyscraper competition.
eVolo Magazine invites students, architects, en-
gineers, and designers from around the globe to
take part in the 2011 Skyscraper Competition,
a forum for the discussion, development, and
promotion of innovative concepts for vertical
density. Multidisciplinary teams are encouraged.
The exponential increase of the world’s popula-
tion and its unprecedented shift from rural to
urban areas has prompted hundreds of new de-
velopments without adequate urban planning and
poor architectural design. There are no restric-
tions in regards to site, program or size. The ob-
jective is to provide maximum freedom to the
participants to engage the project without con-
straints in the most creative way. Participants
must register by January 11, 2011. Participants
may submit various projects, but must register
each entry. There is no limit to the number of
participants per team. Individual entries are ac-
cepted. The project submission deadline is Janu-
ary 18, 2011. The 1st place winner receives $5,000
US; 2nd place receives $2,000 US; and the 3rd
place winner receives $1,000.
www.evolo.us/architecture/registration-2011-sky-
scraper-competition/
aBOVe a rendering frOM laTeral Office’s
research prOjecT enTiTled eMergenT
nOrTh. The 2010 prix de rOMe Winners
Will be exaMining ecOlOgical and
sOcial issues unique TO The far nOrTh.
what’s new
iideX/neocon canada goes national.
Big changes have been underway since the 2009
IIDEX/NeoCon Canada exposition and conference.
One of the most important changes is the transfer
of ownership of IIDEX/NeoCon Canada to IDC, the
Interior Designers of Canada, creating Canada’s
largest national exposition and conference for the
design, construction and management of the built
environment. The 2010 edition welcomes the
return of the Green Building Festival and Light
Canada, and will also feature many new products
and exhibitors, expanded feature areas, special
events, tours, awards ceremonies and the ever
popular international keynote lecture series plus a
CEU-accredited conference covering all aspects of
design, architecture, facility management, lighting
and sustainable design. Additional highlights in-
clude the following: Think: Material, showcasing
the most innovative and creative materials from
around the world; Kitchen Concept 2015, which
offers a look into the future trends of kitchen de-
sign circa 2015 based on the four main principles
of increased convenience, improved ergonomics,
state-of-the-art wiring, and multimedia network-
ing; LEDiscovery, an annual conference dedicated
to informing and empowering designers to incor-
porate energy-efficient lighting solutions; and a
Fractal Garden installation designed by Legge
Lewis Legge Architects. This year’s lineup of key-
note speakers includes Arik Levy of Ldesign in
Paris as the Design Keynote; Jeremy Rifkin of the
Foundation on Economic Trends as Environment
Keynote; Avi Flombaum of Designer Pages in New
York as Innovation Keynote; and Craig Dykers of
Oslo- and New York-based Snøhetta as Architec-
ture Keynote. IIDEX/NeoCon Canada runs from
08/10 canadian architect 11
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1. 2. 3. 4. DAYS OF GREAT DESIGN CONFERENCE

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 a phOTO and deTail draWing Of an OrgOne, a cOMpOnenT Of philip
aBOVe, LeFt tO riGht
beesley’s HylOzOic grOund, canada’s Official enTry TO This year’s venice biennale.
September 22-25, 2010 at Toronto’s Direct Energy
Centre.
www.iidexneocon.com
campaign for Hylozoic Ground at the
Venice Biennale.
Participate in the campaign for Canada’s official
entry to the 2010 Venice Architecture Biennale.
Hylozoic Ground, Canada’s official entry to the
2010 Venice Architecture Biennale, runs from
August 29 to November 21, 2010. The installation
is an astounding blend of architecture, art, sci-
ence and technology, an empathic living organ-
ism that interacts with individuals entering its
space. Please help Canada shine on the world
stage with a $100 donation, and help build Hylo-
zoic Ground one frond at a time, one of the deli-
cate leaf-like building blocks of the installation.
Or, join as a Friend, Supporter or Sponsor. No
donation is too small or too large, and all will re-
ceive a charitable tax receipt. Your name will be
featured in Hylozoic Ground’s publicity, on the
website, and on the sponsor wall in Venice.
www.hylozoicground.com/opportunities/index.html
ryerson University’s Master of architecture
program granted initial accreditation.
For the first time in 35 years, a new professional
program in architecture has been granted initial
accreditation in Canada. Ryerson’s Master of
Architecture (M.Arch) program recently achieved
this major milestone, granted by the Canadian
Architectural Certification Board (CACB), the
sole agency authorized to accredit Canadian pro-
fessional degree programs in architecture. The
accreditation means graduates of the program
will have a vital prerequisite for licensing as pro-
fessional architects. Accreditation recognizes
that a program meets the established profession-
al qualifications and educational standards of
CACB. Ryerson’s program earned the maximum
term allowed (three years) for initial accredit-
ation and is the 11th Canadian university to
receive the professional status. The Ryerson
M.Arch program consists of a pre-professional
undergraduate degree and a professional gradu-
ate degree, which, when earned sequentially,
comprises an accredited professional education.
All sanctioned architectural societies and insti-
tutes require a degree from an accredited profes-
sional degree program as a prerequisite for li-
censure for candidates educated in Canada. A
team of CACB experts visited the Department of
Architectural Science to evaluate the program, its
facilities, faculty and student work. After review,
CACB granted the accreditation based on the rel-
evance and validity of the curriculum, physical
resources, and the contributions made by stu-
dents, staff and faculty. Ryerson’s M.Arch pro-
gram began in fall 2007.
archiVe launches housing and health
campaign for haiti.
On the six-month anniversary of the Haiti earth-
quake, the international charity ARCHIVE
(Architecture for Health In Vulnerable Environ-
ments) has launched the campaign Kay e Sante
nan Ayiti (Creole for Housing and Health in
Haiti) to raise awareness of how innovative hous-
ing designs can reduce the transmission of air-
borne diseases such as tuberculosis (TB). The
one-year campaign starts with a global design
competition calling on architects, engineers,
health specialists, and the general public to pool
together their knowledge and submit housing de-
signs which can mitigate TB transmission and are
sensitive to the local culture. An interdisciplinary
panel of judges and the local community will
choose five winning designs for construction in
an integrated community development and
health-care pilot project in the coastal port town
of Saint-Marc in western Haiti. The registration
deadline is September 20, 2010.
www.archiveinstitute.org/haiti
archigram archival Project.
Almost 10,000 images from one of architecture’s
most revolutionary groups, Archigram, went on-
line in a free website in April 2010. This initiative,
from the University of Westminster’s Department
of Architecture, creates probably the richest digital
resource for modern architecture in the world.
Now the astonishing range, sheer volume and con-
tinuing challenge of Archigram’s work can be seen
as never before through the openly available infor-
mation technology they helped to predict.
http://archigram.westminster.ac.uk
world congress of the international Union
of architects to be held in tokyo next year.
The next World Congress of the International
Union of Architects (UIA) will be held in Tokyo,
Japan, from September 25-29, 2011. The UIA
General Assembly will take place from September
29 until October 1, 2011. “Design 2050” is the
theme of the congress, which is divided into
three sub-themes: Environment, Cultural Ex-
changes, and Life. Architects from around the
world are welcome to share their architectural
visions for the second half of the century.
www.uia2011tokyo.com
architecture (art+architecture) residency
for a project in Ghana.
NKA Foundation has an ongoing call for submis-
sions from individuals or teams interested in
participating in a residency program in form of a
design/build and live-in project. The program is a
part of the foundation’s arts village at Abetenim
in the Ashanti Region of Ghana (about 15 minutes
from Kumasi). The task of the ARchiTecture
residency is to design, build and test-live in low-
budget, quality structures with earth and other
materials from the environment. In the construc-
tion, participants will be assisted by a local master
builder and local labourers. Length of residencies
is usually from one month to 12 months. The ap-
plication should include your work plan, CV/resu-
mé, and a sample of completed works or a website.
www.nkafoundation.org
08/10 canadian architect 13
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insites
the Life and times of
Peter dickinson
A recent book produced by dominion modern entitled Peter
Dickinson is both A colourful biogrAphy of An extrAordinAry
mAn And An Awe-inspiring cAtAlogue of work documenting An
Ambitious period of cAnAdiAn ArchitecturAl history.
teXt iAn chodikoff
In the 1950s, the stars aligned for a young architect by the name of Peter
Dickinson, and he eagerly seized the opportunity to engage in one of the
most ambitious periods of city-building in Canada, designing countless
projects that profoundly changed the direction of architecture in this coun-
try. From the time the 25-year-old Dickinson left Britain in 1950 to when
he died of cancer in 1961, he had designed over 150 buildings and left an
indelible architectural legacy, receiving five Massey Medals as a testament
to his creative genius. A young man with a compelling personality and an
appetite for the good life, Dickinson and his prodigious output have been
thoroughly researched, studied and documented in the aptly titled Peter
Dickinson, a recently published book by John Martins-Manteiga, founder of
Dominion Modern and perhaps one of the most dedicated fans of Modern-
ism in Canada today.
16 canadian architect 08/10
hugh robertson/pAndA
“Dickinson was everywhere and was a big part of the whole picture in
Canada at that time,” notes Martins-Manteiga, who spent eight years pre-
paring a superbly approachable book that is both a biography and a cata-
logue of work. Complete with interviews, along with a quasi-archaeological
approach to uncovering the life of such an iconic figure, the book paints a
detailed picture of a charismatic and aspiring young architect flourishing in
a society that offered him an unprecedented opportunity unheard of by
today’s standards. Having enjoyed an illustrious career that spanned the
1950s and the early ’60s, Dickinson easily fits into the highly stylized aes-
thetic world of Mad Men, an award-winning television series based on a
Madison Avenue advertising agency set in the 1960s. Had his life not been
cut short at the age of 35, Peter Dickinson Associates could very well have
become the largest architectural practice in Canada, according to Martins-
Manteiga.
Born in Suffolk, England, Dickinson graduated from the Architectural
Association in London and quickly entered private practice there. After
marrying Vera Klausner, the young couple left Britain on a steamship bound
for Canada two months later. Four days after landing in Halifax, Dickinson
began working for Page & Steele Architects in Toronto where he quickly
rose through the ranks, becoming a senior partner in 1953. At Page &
 hugh robertson/pAndA
Steele, Dickinson designed such buildings as Great West Life (1952),
Toronto Teacher’s College (1954), Benvenuto Place Apartments (1955),
Regent Park South Apartments (1956) and the Park Plaza Hotel (1957).
Shortly after the birth of his two sons—Trevor and Gregory —Dickinson left
Page & Steele to form Peter Dickinson Associates in 1958. His associates—
Colin Vaughan, Dick Williams, Rod Robbie, and Fred Ashworth—quit two
years later when Dickinson reneged on his offer of partnership. According
to Robbie in an interview with Martins-Manteiga, “So what he did [was
take] the next layer, which [consisted of] these guys known as Webb, Zerafa,
Menkes, Housden, Korbee and Tirion. Made a deal with them, made them
sign agreements...” These newly minted associates eventually went on to
form the Webb, Zerafa, Menkes, Housden Partnership (currently known as
WZMH Architects). Such was the high-intensity world of Peter Dickinson in
1950s Toronto that compelled and motivated Martins-Manteiga to produce
this book, one that is capable of reigniting the energy of the period—even
for the most casual reader.
Despite the drama, tension and ego swirling around those who worked in
Dickinson’s office from 1958 until his death in 1961, the firm produced a
dizzying array of prominent buildings, including the Inn on the Park, the
Workmen’s Compensation Rehabilitation Hospital, the Four Seasons Motor
herb nott And co.
photogrAphed in 1962, severAl months After peter
oPPosite toP
dickinson’s deAth, the 43-storey windsor plAzA in montreAl is
considered to be one of dickinson’s greAtest ArchitecturAl
Achievements. aBoVe, Left to riGht photogrApher hugh robertson
cAptures A cAndid moment in front of windsor plAzA; Archi-
tect peter dickinson completed over 150 projects before his
untimely deAth six dAys before his 36th birthdAy.
Hotel, the KLM Royal Dutch Airline Ticket Office and the Windsor Plaza—
which, at 43 storeys, was the tallest building in the Commonwealth when it
was completed in 1962.
During the 1950s, there were a number of architects born and raised in
the UK who left at varying stages of their careers to seek their fortunes in
Canada. Architects such as Peter Caspari, Welles Coates, John C. Parkin,
Blanche Lemco van Ginkel and Rod Robbie were among them, along with
other British expatriates who helped develop Canada’s architectural culture
at that time through their efforts in private practice, academia and public
service. Dickinson may not have been the smartest of the British invasion,
but few were as charmingly persuasive and focused as he had been.
As described in Martins-Manteiga’s book, one of Dickinson’s legacies
08/10 canadian architect 17
courtesy four seAsons
Archives of ontArio
toPcompleted in 1961 And long since demolished, the Archi-
tecture of dickinson’s four seAsons motel on jArvis street
cAptured the spirit And elegAnce of its time. aBoVe designed with
legendAry engineer morden yolles, the benvenuto plAce ApArt-
ments (1955) remAins one of toronto’s most remArkAble mod-
ernist ApArtment buildings. the building hAs only recently been
converted to A condominium.
was his ability to link his design vision with the aspirations of the develop-
ment industry in Toronto, Ottawa and Montreal. He successfully and con-
vincingly imported Modernism to Canada through his associations with
progressive developers like Leon Yolles and Harry Rotenberg. He would
continue to promote design excellence along with the efforts of their sons
who were his contemporaries—engineer Morden Yolles and developer Ken
Rotenberg. Dickinson “had the ability with clients to give them what they
18 canadian architect 08/10
thought that they wanted. When he would speak, he would draw the client
in. They were mesmerized by what he concocted. Clients like Leon Yolles—
who considered Dickinson to be like a son—and the Rotenbergs certainly
carried on with Dickinson’s vision. They understood his legacy,” states
Martins-Manteiga. Another developer, Isadore Sharp, became a good friend
of Dickinson, and had him design the recently destroyed Inn on the Park
while Dickinson was literally on his deathbed in 1961. It was one of the ar-
chitect’s most famous designs and the second Four Seasons for Sharp’s
fledgling hotel chain. “Certainly, the winds of change were coming in from
the US and Europe. There was an atmosphere. Dickinson picked up on
these currents. He was just so incredibly charming, and you believed in
him. And he could produce on budget as well,” notes Martins-Manteiga.
With no formal education in architecture, and a desire to impress upon
the general public a greater awareness of architecture, Martins-Manteiga
continues to be a tireless promoter of architecture, largely through Domin-
ion Modern, an institution that he founded in 2003. He has difficulty un-
derstanding why the general public continues to remain relatively ignorant
of architecture, and he is even more dismayed by the fact that “significant
architectural discourse is always kept in a locked safe by academia.”
Dominion Modern is a non-profit charitable museum and organization
whose mandate it is to “collect, catalogue, preserve and disseminate” 20th-
century Canadian architecture and design. As such, it has amassed over 200
recorded interviews with architects, engineers and designers, and has pro-
duced several publications and exhibitions. Peter Dickinson is Martins-Man-
teiga’s fourth book to be produced through Dominion Modern, and accord-
ing to the author, “If we had waited for academia to publish this book, I
don’t know if it would have [ever been done]. People have been talking
about publishing a book on Dickinson for 20 years.” A fifth publication on
the history of the Montreal Metro is nearing completion.
One of Martins-Manteiga’s regrets was that he wanted the book to come
out before Dickinson’s wife passed away. He adds, “The book came out
three months after she died. Vera was the driver behind Peter. Many people
have told me that Peter would have been perfectly happy to draw in his cor-
ner at Page & Steele, but she drove him to succeed. I see them as one per-
son. Vera was certainly able to push people out of the way. Boris Zerafa was
terrified by her.”
“I think that given time, Dickinson would have become more of an archi-
tect-developer. I think that he would have become more of a John Portman.
He would have operated both here and in the UK, and his firm would have
become the largest architectural firm in Canada,” says Martins-Manteiga,
adding, “I think that we’ve regressed. I think we’ve lost our confidence and
the ability to think big when it comes to imagining ambitious projects in
Canada.”
Martins-Manteiga continues his struggle to keep Dominion Modern
alive, and desperately needs a greater financial contribution from the
architectural profession—a profession that is surprisingly unsupportive of
an institution whose leadership is devoted to disseminating the value of
architecture to as wide a public as possible. It is unfortunate that Martins-
Manteiga’s efforts are neither understood nor appreciated by more archi-
tects, particularly those belonging to the firms whose history and reputation
were borne during the exciting cocktail-laden and anything-is-possible era
of Peter Dickinson. ca
Donations are critical to support projects and programming at Dominion Modern.
To make a donation or to purchase a copy of Peter Dickinson, please visit
http://dominionmodern.ca. John Martins-Manteiga’s book on Dickinson is
also available at SWIPE in Toronto and at the CCA in Montreal.
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CirCle reply Card 18

CoUrtESY oF thE CaDillaC FairViEW Corp.
shiny happy people
revamped as a lifestyle centre, the
shops at don mills provide a dynamic
new hub for one of canada’s most
famous postwar suburbs.
proJectShopS at Don MillS, toronto, ontario
rUDY aDlaF For thE CaDillaC FairViEW Corporation ltD.
desiGn team
in CollaBoration With GiannonE pEtriConE aSSoCiatES inC.
arChitECtS anD pElloW + aSSoCiatES arChitECtS inC.
teXt John BEntlEY MaYS
In the 200 years since the great shopping gallerias and arcades of Europe
started to appear, the designers of consumerism have been on a quest for
utopia. They first banished the haggling and jostle of the souk and market
square. They invented the fixed-price department store, the strip mall, then
the covered mall, all in pursuit of a shopping context that promised safety,
comfort and predictability to consumers in the new civil society. But even
the North American enclosed mall, that commercial marvel of the postwar
era, has recently proven an inadequate vessel for the ideal of shopping per-
fection. Enter, circa 1990 in the US, the lifestyle centre, of which Toronto’s
recently opened $225-million Shops at Don Mills is one of only two Cana-
dian examples: a mall with the protective roof lifted away, the interior
streets exposed to the Canadian elements, and with some 100 mid- to high-
end shops on streetscapes that mimic the popular shopping avenues of the
Model-T era.
There is considerable cynicism in architectural circles about such new-
20 canadian architect 08/10
fangled retail development in the midst of a well-established community:
“part Disney, part Distillery District” (a reference to a disappointing pedes-
trian shopping enclave in downtown Toronto), one commentator has called
the Shops at Don Mills. I do not share this view. If still incomplete, and
marked by a new-suit shine that will probably be soon rubbed away by use,
the Shops is a serious instance of place-making in old suburbia, and a
thoughtful retail scheme whose architects have discarded historicizing doo-
dadery—the curse of many a lifestyle centre in the US—in favour of a muted,
serene Modernism that belongs to our time and place.
The architecture of the Shops at Don Mills, which is owned by the Toron-
to-based Cadillac Fairview real-estate empire, was crafted by Rudy Adlaf,
the corporation’s senior vice president for architecture and design, in con-
cert with Ralph Giannone, principal in Giannone Petricone Associates, and
with Harry Pellow, principal in pellow + associates architects. Steered by
highly detailed urban design guidelines assembled several years ago by
Adlaf and Pellow, this team has been responsible for the open-air, lifestyle-
centre configuration of the plaza’s 11 large, low buildings (one of which, the
Metro store, has survived from the mall’s former incarnations), arrayed
along an internal system of meandering streets cut into the 41.1-acre site.
The other pre-existing buildings include an office tower slated for overhaul
into a residential block, a Royal Bank office building and a city-operated
hockey rink that will eventually be acquired by Cadillac Fairview and moved
elsewhere.
These streets are furnished intensively—almost to the point of clutter—
with stainless steel rings for bicycle parking, benches, permanent and por-
table planters, trees, light standards, bollards that emphasize intersections
and pedestrian crosswalks, and other features. The street naming, which

recalls local notables, is clearly legible, and large maps posted on yet-to-
be-leased storefronts afford instant orientation. Some façades have been
fitted out with canopies, though not enough of them to protect pedestrians
from Toronto weather at its foulest.
That defence against the elements is one valuable thing that covered
malls provide and lifestyle centres do not. But in the opinion of designer
Harry Pellow, the tradeoffs involved in creating a Main Street condition
have made the exercise worthwhile. “The key features of [the scheme] were
to create scaleable streets, higher-quality street character, storefronts that
were different from what you would do in a regional mall,” Pellow said. “To
take advantage of the light and sun and the outdoor climate, and ensure that
it is enjoyable not only in the summertime when it’s at its best, but also in
the three other seasons. The argument there, of course, is that we are Cana-
dians, most of us shop out of doors, most of us dress for the weather, and as
long as we can protect our shoppers from serious downpours of rain and
keep our streets clean, we shouldn’t have a problem.”
If human use during a long, clear summer evening is anything to go on,
the public square called for by the design guidelines is a great success. Chil-
dren played on the lawn and in the interactive fountain, adults sat round
and socialized at the tables distributed across the site, and everyone, as far
as I could tell, was employing the open space as it had been envisioned. At
times, this square becomes a venue for musical performances, plays and
similar entertainments programmed by Cadillac Fairview. A clock tower by
Vancouver artist and author Douglas Coupland—a tall sunburst sculpture
with miniature bungalows modelled after typical 1950s house plans and at-
tached to each metal ray—spells out the time in large illuminated numerals.
“We are trying to make the Shops at Don Mills a focal point for the commu-
BEn rahn/a-FraME
With a FarMErS’ MarkEt in thE BaCkGroUnD, ChilDrEn
opposite top
plaY With thE nEW intEraCtiVE FoUntain loCatED aDJaCEnt to
thE toWn SqUarE. above a ViEW oF thE rEStaUrant paVilion
aCroSS thE toWn SqUarE pUnCtUatED BY a DoUGlaS CoUplanD-
DESiGnED CloCk toWEr inSpirED BY 1950S hoUSE DESiGnS.
nity,” Rudy Adlaf said. “We’re not out in the middle of a field somewhere,
trying to create a new project. Don Mills was already established. We didn’t
want a thematic centre, a little Victorian village or whatever. Don Mills was
quite a contemporary community when it was planned. Our core commit-
ment is creating places for people.”
Much effort has been expended by the team on making the avenues and
façades closely resemble Main Street shopping districts. Streets in the com-
plex offer front-of-store parking spaces for cars. More parking is available in
the surface lots that ring the site, and in a new multi-storey garage. Commer-
cial space has been added atop some buildings, and it has been successfully
leased to dentists, doctors, real-estate agents, lawyers and so on—the usual
gamut of professionals whose services are useful in a community such as Don
Mills. But the architectural team’s suggestion that office space be included
above the stores, the better to reinforce the Main Street ethos, was met with
some resistance inside Cadillac Fairview. “When we first approached our
office group, they said it wasn’t very good office space,” Adlaf said. “We ar-
gued that the more mixed use you do, the more it helps the office tenants. It’s
like your old downtowns, with a little bit of everything. It’s worked out well.
We probably could have used three times the [office] space we’ve got.”
Then there are the large, picture-frame façades of the shops themselves,
which present to the pedestrian a variety of textures, earthen colours,
08/10 canadian architect 21
 roofline heights and decorative treatments in imitation of the street walls of
yesteryear. Each owner has been encouraged by Cadillac Fairview to create a
distinctive symbolic storefront, and some have done so: one striking and
lawrence ave. east
strikingly un-Modernist example is the rustic log entryway to the rough-
5
8
country apparel store Eddie Bauer.
The tone and tenor of the Shops’ prevailing Modernism was established
9
in the 1950s, when financier and industrialist E.P. Taylor laid out the gar-
we
st den suburb of Don Mills on green fields north of Toronto. In addition to or-
ay
nw
the
do daining the contemporary styling, curving streets, low-profile streetscapes
7
and earth-toned colouration of the houses and apartment blocks of Don
8
Mills, urban planner Macklin Hancock—Taylor’s design mastermind—also
9
12
3 saw to it that the whole subdivision was anchored by a complex of shops at
9 its centre. The private car was enjoying the dawn of its immense postwar

road
4 popularity when Don Mills was young, but Hancock believed that the devel-
opment’s residential districts, as well as its shopping centre, should be

don mills
8
2 8
1
8 easily walkable. And so it was that centralized shopping at Don Mills be-
10 8
6 came something conducted in the open air, a communal place for strolling
and browsing and socializing and relaxing.
8 8
In 1988, the shops were enclosed. Covered malls were flourishing, and
the owners of Don Mills Centre (now Cadillac Fairview) were feeling the
10 pinch of competition from nearby Fairview Mall and other regional centres.
“We wanted Don Mills to be something different,” Adlaf said. “Don Mills
10 10 10 was the first suburban department store location in Canada, with Eaton’s.
Fairview Mall had the Bay and Simpson’s. We enclosed Don Mills, struggled
along for a few more years until we lost Eaton’s, when it started going
11
slightly downhill. The demographic we wanted wasn’t being attracted by the
13
old Don Mills.”
10 10

t
the donway wes a rEaSonaBlE aMoUnt oF VariEtY iS prESEnt in
below, left to riGht

thE DESiGn oF EaCh rEtail BUilDinG WhilE an oVErall SEnSE oF

Phase 1—The shoPs aT don Mills Phase 2—Mixed-use residenTial MatErialitY anD proportion For thE liFEStYlE CEntrE iS Main-
tainED; thE lEaF MotiF USED on ManY oF thE CUStoM-DESiGnED
ConCrEtE ElEMEntS throUGhoUt thE proJECt iS intEnDED to
site plan
EVokE a 1950S-inSpirED GraphiC qUalitY; thE oriGinal MUral
DEpiCtinG a poStWar nUClEar FaMilY WaS SalVaGED FroM thE ori-
1 toWn SqUarE 6 proMEnaDE ConnECtor 11 FUtUrE pUBliC park
2 FoUntain 7 parkinG StrUCtUrE 12 ExiStinG poSt oFFiCE Ginal ShoppinG CEntrE anD rEappliED to thE north EnD oF thE
3 Main StrEEt 8 CoMMErCial/rEtail 13 FUtUrE CoMMUnitY CEntrE
4 FEStiVal StrEEt 9 rEtail/oFFiCE
SitE FaCinG laWrEnCE aVEnUE.
5 UrBan parkEttE 10 FUtUrE MixED-USE rESiDEntial
BEn rahn/a-FraME

CoUrtESY oF thE CaDillaC FairViEW Corp.

CoUrtESY oF thE CaDillaC FairViEW Corp.

22 canadian architect 08/10

 As the mall declined in the quality of shops and consumer attractiveness,
Adlaf added, the owners were approached by big-box retailers eager to see
Don Mills become a setting for their oversized stores. “We’re not in the big-
box business,” Adlaf said. “One of our models is to be best in class. Sherway
Gardens, Toronto Eaton Centre, the Toronto Dominion Centre—they’re all
owned by Cadillac Fairview. We wanted to focus on the lifestyle kind of
shopper.”
This emphasis is evident in the content of the Shops at Don Mills. In for-
mer days, the stores were mostly one-off enterprises operated by local en-
trepreneurs—a hardware store, a bakery, a drugstore, a Birks jewelry shop
and so forth. At its zenith in the late 1970s, the centre contained 105 stores
of this kind. Today, almost all the outlets are franchises for upmarket Cana-
dian and multi-national chains. Starbucks has replaced Diana Sweets;
Anthropologie, Coach and Banana Republic have supplanted the middle-
brow Eaton’s, Sears and other enterprises that once served the Don Mills
community.
A walk around the plaza today suggests that the target demographic is now
composed of buffed urban professionals aged 18 to 40—people, in other
words, with the disposable income (and trim figures) to buy chic dresses at
Aritzia and Hugo Boss suits at Barbuti, guacamole and olive oil at the ultra-
deluxe McEwan food store, and fine wines at the well-stocked LCBO store.
The Top o’ the Mall family restaurant is no more, but its place as a local din-
ing magnet has been taken by Glow, a reasonably priced ground-floor eatery
that overlooks the Shops’ central square and fountain.
So far, some services are conspicuously missing in the contemporary
mix: a toy store, a Baby Gap, an outlet for cutting-edge designer clothing, a
newsstand. There is no place here for the consumers of Chanel, Gucci and
Prada, nor for customers who shop at Wal-Mart or Costco. Rather, the plaza
caters to financially secure shoppers who have most things they need (fur-
niture, art, tableware) and go shopping mainly for what they want—consum-
ers within the broad upper-middle echelon of fashion consciousness, and
into prêt-a-porter lifestyles.
Nor is there a sheltered place here for the pensioner—that standard char-
acter in anti-lifestyle centre mythology—who brings his own coffee into the
mall and nurses it all day long. But even this legendary foe of high-speed
retailing will eventually have his spot. Over the next several years, the sec-
ond phase of Cadillac Fairview’s scheme for the site will roll out—in the
form of a community recreation centre to be located at the south-east cor-
ner of the site, as well as seven new residential towers and a conversion of
an office block into a condo stack. This development will be accomplished
through a joint venture between Cadillac Fairview and the Mississauga-
based FRAM Building Group, a Giannone family company.
Cadillac Fairview’s vision for the Shops at Don Mills will not be realized
until these condominium towers are fully occupied, and the moneyed young
and style-savvy downsizers who will live there settle upon the Shops as their
neighbourhood centre. The existing population of historic Don Mills, which
is more well-off but also older than the Toronto average, probably cannot
sustain all the youthful lifestyle shops in the complex indefinitely—though
this problem will lessen in time, as well-rooted residents move on and their
places are taken by young families.
Meanwhile, the sound design principles built into the Shops at Don Mills
appear to be working to the advantage of Cadillac Fairview, the individual
shop-owners in the complex, and the consumers of goods and services that
this plaza is intended to serve. According to Harry Pellow, “The urban de-
sign was scale-driven, in the width of the street, the configuration of the
streets, the concept of the park and public square being wrapped by the
streets so they could open up into a public forum. Public space is an impor-
tant element, to replace the communal space in the old mall. Don Mills was
to be an integrated community where you lived, worked—and played. We are
not changing that concept.” ca

below thiS ViEW oF thE rEDEVElopMEnt illUStratES thE tWo-StorEY

client thE CaDillaC FairViEW Corporation ltD.
oFFiCE anD rEtail BUilDinG FaCinG FEStiVal StrEEt anD aGGiE structural rEaD JonES ChriStoFFErSEn Con-
hoGG GarDEnS. thE photo alSo illUStratES thE intEraCtiVE FoUn- SUltinG EnGinEErS
mechanical thE MitChEll partnErShip inC. Con-
tain aDJaCEnt to thE toWn SqUarE anD thE oVErall approaCh SUltinG EnGinEErS
electrical haMMErSChlaG & JoFFE inC.
to ManaGinG a SaFE pEDEStrian-VEhiCUlar intErFaCE.
landscape qUinn DESiGn aSSoCiatES inC.
contractor ElliSDon Corporation
planninG BoUSFiElDS inC.
area 500,000 Ft2
budGet $225 M (Capital CoSt)
completion april 2009

harolD Clark photoGraphY

08/10 canadian architect 23

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Owning the POdium
the latest examPle Of James cheng’s aPPrOach tO the
tOwer-POdium building tyPe demOnstrates the
architect’s ability tO reshaPe dOwntOwn VancOuVer.
PrOJect Fairmont PaciFic rim, VancouVer, British columBia
architect James K.m. cheng architects inc.
text treVor Boddy
With every success, the career of Vancouver’s
James K.M. Cheng becomes an ever-greater chal-
lenge to the conservatism of Canada’s contempo-
rary architectural culture. A protégé of Richard
Meier during his studies at Harvard, for a quarter
century Cheng has been a key intellectual engine
for Vancouver’s highly regarded accomplishments
in city-building. Rather than the city planners and
politicians who usually take credit for these inno-
vations, it is Cheng who has surest claim on the
status as principal author of the tower-podium
typology, the best-known symbol of “Vancouver-
ism.” Cheng was subsequently amongst the first to
push for alternatives to tower-podium, once it had
been reduced (by others) into a dull developer’s
formula. One of the first of these—the waterfront
Shaw Tower—places elegant condos on top of one
of few substantive creations of new office space
built on Vancouver’s downtown peninsula in the
past decade.
With the just-opened Fairmont Pacific Rim
hotel-condo hybrid next door to the Shaw Tower,
James Cheng has produced his most sophisticated
and nuanced work to date. This is also the largest
building in the city’s history—at 813,000 square
feet, it is larger in floor area than the new Vancou-
ver Convention Centre addition located just across
the street. Cheng was an early supporter of Van-
couver’s design review panel system that has
subsequently been adopted in various forms by
Victoria, Edmonton, Calgary and Toronto. Not in-
cidentally, he has major projects underway in all of
these cities, in large part because of an excellent
reputation with developers and approving authori-
ties for crafting superior designs with significant
public benefits.
Contrast the nature and scale of these successes
with our best recent indicator of the state of Cana-
da’s architectural culture, the winners of the 2010
Governor General’s Medals. With three exceptions,
all of the dozen prizes this year went to extraordi-
narily small-scale projects—cottages, additions, spa
or gallery renovations, and park pavilions. Unprec-
edented in the history of Canada’s top design
award, Brigitte Shim and Howard Sutcliffe’s firm
won three medals: the conversion of a heritage
building into an art gallery; a workspace addition to
a 1997 medal-winner; and a guest house in a ra-
26 canadian architect 08/10
vine. It is worth noting that James Cheng’s first and
only GG winner was Willow Court in 1983, a clever-
ly planned and accented Fairview Slopes housing
complex. Clearly, Cheng occupies an alternate ar-
chitectural universe from the one currently validat-
ed by the GG awards jury and its sister gatekeepers
of professional and academic recognition.
In my view, the two finest 2010 GG medal de-
signs premiated—the Grande Bibliothèque du Qué-
bec in Montreal by Patkau Architects and the Telus
Centre for Performance and Learning in Toronto,
designed by Marianne McKenna of KPMB Archi-
tects—are two significant acts of city-building by
any standard, but depressingly, both were actually
designed in the 1990s. The odd project out is the
St. Germain Aqueducts and Sewers building out-
side Montreal, a modest project that would be hard
to imagine getting a major design award anytime or
anywhere else than Canada right now, where tasty
and self-consciously detailed but otherwise ambi-
tionless miniatures of Neo-Modernism rule the
land. The nine remaining modest but beautifully
crafted 2010 GG prizewinners tend to the art his-
torical in their revival of the small moments of
Modernism—either deft, as in Shim-Sutcliffe
Architects’ extensions from Aalto and Scarpa, or
else clumsy, as in gh3’s take on the glass house. Is
nothing but Modernist villas being taught in our
architecture schools?
This tendency has increased over the years. Of
the 45 projects given GGs over the past decade, vir-
tually all have been either private residences or in-
stitutional and government works, and the scale
gets smaller with every round of prizes. As an en-
tire category of work—multi-family housing—is all
but missing from this list, with only one social-
housing project by Gregory Henriquez, and two
private apartment buildings by LWPAC and Atelier
Big City. The only entirely private-sector project
amongst the 45 is the offices for Winnipeg’s Smith
Carter, an architecture firm whose main design
work is in the public sector. Modernist in their sty-
listic quotations but not in their commitment to
tectonic innovation or engagement with social is-
sues, have leading-edge Canadian architects given
up on the creation of new forms and details, aban-
doned the transformation of cities, and moved out
to the cottage? I worry that we have come to accept
a paradigm of architecture that ignores city-build-
ing, diminishes social engagement, and rejects a
priori anything built by a developer. Moreover, this
is no Vancouver versus Toronto debate, which has
been a common but shallow reading of this year’s
prize list. When leading lights of Vancouver’s de-
sign scene were recently asked by an urban weekly
what contemporary building they admired most,
the most praised turned out to be Bill Pechet’s 1993
Woods Columbaria at Capilano View Cemetery.
Cottages in the east, architecture for the dead in the
west—are we not all missing what matters? Ameri-
can and European architecture organizations man-
age more balanced national design prizes—surely
Canadian ones can too.
Of course, there are very good reasons why our
best designers and ambitious young academics aim
so low—these tiny projects are the only ones where
outcomes can be controlled, and perhaps more im-
portantly, where the artful detailing and photo-
friendly compositions can be devised for an era
when a disempowered profession turns to aestheti-
cism for its identity. Recent awards and exhibitions
tend to reify architecture towards status as isolated
works of fine art, and away from its social, techni-
cal and programmatic complexity.
Since I am deeply admiring of nearly all the de-
signers on this year’s GG list, I am forced to opine
that most have more substantive recent work than
got premiated here. My problem is less with them
than this jury’s choices and the overall evolution of
the awards, where designers as talented as Cheng
no longer submit entries. Most 2010 winners
maintain deep commitments to bettering housing
and urban spaces, but most are not given—or do not
take—opportunities to build at a larger scale.
Heightening the dichotomy, Canadian architecture
is increasingly dominated by bloated corporate
practices where the source of architectural ideas is
overpaid marketers. What is worse, building com-
missioning has become ever more conservative in
Canada, where even mid-career designers bristling
with awards face a dismal choice between arty little
essays like these, or slots as drones in design-by-
rote juggernauts. Except in Quebec, Canadians sel-
dom mount the design competitions that are the
standard means for small practices to break into
larger commissions in Europe.
 Paul warchol
The work of James Cheng poses a challenge to
this situation. His buildings are almost entirely for
private real-estate developers when such projects
are thought to be sub-architectural. As city-builder
and innovator in high-density housing, he is with-
out rival in this country, fighting for public ameni-
ties and public open space in his city-transforming
projects at a time when autonomous architectural
sculptures get the praise. The supreme irony is that
Cheng is radical in his ideas for the contemporary
city, while the designs that increasingly dominate
awards are deeply conservative in their aesthetic
choices and self-alienation. Cheng’s firm is as
much a single-sensibility atelier as any of these GG
winners, but one committed to the cause of city-
building. Moreover, James K.M. Cheng, architect to
some of Canada’s largest developers, is as bold,
creative and original a designer as anyone on this
list. To establish why, I will pass briefly by one
early and one mid-career work by Cheng to argue
how his ideas have transformed downtown Van-
couver, then review the new Fairmont Pacific Rim
in more detail.

James K.m. cheng in three steps

A native of Hong Kong, James Cheng’s first archi-
tectural studies were at the University of Washing-
ton in Seattle. After several summers spent work-
ing with firms there, Cheng moved to Vancouver
expressly to work for Arthur Erickson from 1972-
74, where he was a junior designer on the Robson
Square/Law Courts project team headed by Bing
Thom. Further study at Harvard focused his inter-
est in urban design, and deepened his passion for
Le Corbusier—via protégé Jerzy Soltan, and second-
hand via Richard Meier. Cheng’s early houses and
high-rise designs demonstrate an initial under-
standing, then assimilation of Meier’s take on Le
Corbusier. Cheng’s breakthrough pre-Expo ’86
commission was for Li Ka-shing and son Victor Li
at Cambridge Commons, a trio of mid-rise towers

right James cheng emPloys a Variety oF

architectural deVices to BreaK down

the scale oF the tower. PuBlic art wraP-
Ping the hotel Balconies and laser-cut
screens Further reFine the ProJect’s
aPPeal to Both users and PassersBy.

08/10 canadian architect 27

Paul warchol

around residential courts near Vancouver City Hall.

A few years later, Cheng pushed the concept to
much greater heights and densities at 888 Beach,
between the Granville and Burrard bridges. An un-
usual block for downtown Vancouver in not having
a mid-block public lane, both here and at the sub-
sequent Marinaside for the Li family’s Concord Pa-
cific development company, Cheng devised a raised
garden at mid-block, ringed by a perimeter block
of stacked townhouses, one set having direct access
to the raised interior garden (parking is below this
datum), with the bottom row of townhouses open-
ing out onto the surrounding streets. Streets ani-
mated with stoops and doorways, above which rise
one tower of 32 storeys, another of 22 storeys, and a
six-storey mid-rise tower at the corner of Beach
Avenue and Howe Street. I draw attention to the
latter, which features a complex layering of compo-
sitional grids on varying planes and in differing
materials—a clear precursor to the lower floors of
the Fairmont. “I was thinking about the ‘New York

the sixth-Floor Pool leVel oFFers ele-

left

gant outdoor seating areas and all

the dramatic allure that guests come
to exPect From a high-end hotel. belOw
the laser-cut steel screen along cor-
doVa street was insPired By herzog & de
meruron’s de young museum in san
Francisco.
Paul warchol

28 canadian architect 08/10

Whites’,” says Cheng, referring to the provisional
critical category of the early 1980s that lumped
Meier with Peter Eisenman, Charles Gwathmey
and even Michael Graves. The Vancouver tower-
podium typology is effectively invented with this
hybrid of tall thin towers with continuous street
and raised garden-flanking townhouses, and then
the even larger Marinaside that followed. Cheng’s
urban amalgam was foundational to urban design
rules subsequently developed by Larry Beasley and
colleagues. Beasley, who now lives at 888 Beach, is
the former city planner most associated with codi-
fying, then promoting the tower-podium as down-
town urban design policy.
Canada’s most architecturally creative partner-
ship between designer and developer is Cheng’s
ongoing relationship with Ian Gillespie of the
Westbank-Peterson Development Group, produc-
ing over two billion dollars worth of housing and
hotels together in British Columbia, Alberta and
Ontario over the past 20 years. If 888 Beach was the
experiment, Westbank’s Residences on Georgia
(1998) has become the paradigmatic standard for
tower and podium. Here, Cheng abstracts the prin-
ciples of the brownstone housing he knew from
Brooklyn and Boston’s Back Bay neighbourhood,
exemplifying Jane Jacobs’s “eyes on the street” dic-

Paul warchol
tum without the more typical bricky romanticism.
Elegantly thin towers anchor each end, made high-
er by the inclusion of public art, gardens, and heri-
tage conservation acknowledged under the now
codified Vancouver bonus density program. The
façade along Alberni Street is modelled and the
townhouse proportions are deft—the proposition of
urban houses melded with towers is rendered
complete for the 234 apartments at The Residences
on Georgia.
Tower with podium townhouses was never an
option for the block occupied by the new Fairmont
Pacific Rim. Here, the synergy between Cheng’s
work as urban designer and as composer of build-
ings comes to the fore. He played a key role in set-
ting massing guidelines, new street elevations, and
land uses for this entire precinct, former railway
lands controlled by Canadian Pacific-owned Mara-
thon Realty. Included in this framework plan is the
newly improved Vancouver Convention Centre
(VCC), the recently completed Fairmont Pacific
Rim, the Shaw Tower for Westbank, and two more
towers to the west, also designed by Cheng for
Aspac Development’s Harbour Green. A landward
view of the new Convention Centre is not possible

tOP right inside the chairman’s suite,

lucKy guests can enJoy dramatic Views

oF the harBour and the newly comPlet-
ed VancouVer conVention centre addi-
tion. right the low-lying Podium and the
elegant chairman’s suite PreserVe the
Paul warchol

View oF those who worK inside the

iconic and much-loVed 1929 art deco
marine Building.

08/10 canadian architect 29

 without inclusion of several of these four Cheng
towers. This is appropriate, given that Cheng’s
guidelines were devised to pull the Fairmont tower
back to permit views to the VCC’s prow from all
along Burrard Street, notably with a bench-lined
mini-park paid for by the developer.
This is no thinly elegant Vancouver tower—at
18,000 square feet per high-rise floor, it is triple
the average size of the typical Vancouver floor plate,
and more akin to a New York or Miami condo
tower. A key form-giver is accommodating distant
views towards the Art Deco Marine Building across
the street, and the Pacific Rim’s plan geometries
are aligned to give 70 percent of the condo floors
(which surmount the hotel) a view of the harbour.
Deferring to their differing prospects, each of the
tower elevations is unique, and Cheng employs a
range of devices to break their scale and integrate
them with their urban settings. The Burrard Street
elevation is a tour de force, with a mid-building
section in white, contrasting with hotel rooms
below and the larger condos above. Cheng creates
elevational interest with two-storey units, a device
he pioneered at the Shangri-La Hotel in Vancou-
ver, and which were subsequently used at Wood-
ward’s W-43 Tower designed by Gregory Henri-
quez seven blocks east on the same street. Cheng’s
hotel floor elevations have one configuration where
the cut letters of British artist Liam Gillick’s text-
based artwork wrap at windowsill level, followed by
a lighter-coloured curtain wall to wrap the build-
ing’s corner. Vertically and horizontally, these de-
vices reduce the perceived bulk of the massive
tower and generate possibilities inside—the hotel
has 44 different room types.
Cheng’s real breakthrough is found at the lower
levels of the 21-storey hotel portion, where ball-
rooms and kitchens provide him the rare opportu-
nity to fashion walls which are not floor-to-ceiling
glass. (Vancouver’s grey and temperate climate
means that entirely glazed condo elevations are
possible, usually without air conditioning.) Cheng
views Fairmont Pacific Rim as one of his first com-
plete works of architecture in the round: “More
walls, more mass, more refined details.” Along
Cordova Street, then wrapping around the corner
to face the arrival plaza adjacent to the Shaw Tower
is a perforated stainless-steel plate exo-elevation
on outriggers. Steel plates here are broken with slit
gaps to accommodate views from kitchen prep
areas, and their surfaces are set with laser-cut
holes of varying diameters—pixels that come to-
gether to form a composite image of a West Coast
rainforest. “I was inspired by Herzog & de Meu-
ron’s similar detail at the de Young Museum in San
Francisco,” says Cheng, where it was also employed

the dynamic geometry oF the new

left

tower allows 70 Percent oF the con-

dominums to haVe sPectacular Views
toward the harBour.
Paul warchol

30 canadian architect 08/10

Paul warchol
Paul warchol
to create visual interest in a zone not needing fen-
estration.
Dramatically punctuating the poolside raised
deck facing the VCC is the cantilevered black box of
the Chairman’s Suite, the flashiest lodging avail-
able in Canada’s highest-end new hotel. This bold
touch does much to complete the design: it con-
trasts with the trapezoidal Convention Centre with
its green roof; it turns the corner and creates inter-
James K.m. cheng
James K.m. cheng
James K.m. cheng
clOcKwise frOm tOP left the residences on georgia (1998) is a successFul adaPtation oF
ground-oriented townhouses deFining the street edge with high-rise residences
adroitly BooKending the site; cheng’s 888 Beach aVenue set a ’90s VancouVer Preced-
ent oF glassy residential towers caPturing exPansiVe Views while integrating the
architecture to adJacent PuBlic amenities; the stacKed townhouses For 888 Beach
aVenue add Both density and human-scaled architecture to the city; the aesthetic oF
888 Beach aVenue is somewhat dated By today’s standards, But its urBan design
intentions are nonetheless successFul; comPleted in 1998, townhouses at the Base
oF the residences on georgia attest to cheng’s aBility to uPdate the eFFectiVeness oF
neighBourhood-Friendly Podiums.
08/10 canadian architect 31
est along what might have been a dead street; it transforms a motel village-like
raised pool deck into a variegated pleasure zone. Top to bottom, all around
each side, Fairmont Pacific Rim is a bold creation from an architect in full
command of his art. Now, if Cheng could only shrink his tower one hundred
fold, cast it in concrete, then call it a “garden marker,” would he again earn a
GG? Or, if he barged away the Chairman’s Suite to new life as a seashore cabin,
would this inventive architect get the attention he deserves?
In the early decades of the 20th century, conflict and economic uncertainty
boiled away the aestheticized fat of Art Nouveau and Art Deco architecture. A
century later, the same thing is happening again in most places, with the added canada Place

imperative of energy conservation. I believe that Canadian architects should

remain committed to shaping beautiful things, but they need to mature into
the knowledge that there are many forms and scales of beauty, with no more cordova ramp cOrdOVa st.
important a place for it than our downtown streets. ca

st.
st.

d
ar
w
lO

rr
ur
Architecture critic Trevor Boddy is the curator of the exhibition Vancouverism:

bu
th
hastings st.
Architecture Builds the City, which features the work of James Cheng along with ha
sti
ng
ss
many others. t.

site Plan 0 100’

client westBanK ProJect corP./Peterson inVestment grouP inc.

architect team James cheng, terry mott, adeline lai, dennis
selBy, don chan, Julian carnrite, ly tang, richard lee, scott
macneil, eVa low
structural Jones Kwong Kishi consulting
mechanical sterling cooPer & associates
electrical nemetz (s/a) & associates
landscaPe PhilliPs FareVaag smallenBerg
interiOrs residential—James K.m. cheng architects inc.;
hotel—James K.m. cheng architects inc., chil design grouP, Kay
lang & associates.
cOntractOr 299 Burrard landing
area 818,044 Ft2
budget $260 m
cOmPletiOn aPril 2010

flOOrs 26-32—tyPical residential leVel

sixth flOOr—POOl leVel

canada Place
eet
str
rd
rar
bu

cordova ramp cOrdOVa street

grOund flOOr 0 25’ sectiOn 0 25’

32 canadian architect 08/10

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United coloUrs of richmond
a toronto commUnity hoUsing initiative introdUces an
Uplifting and environmentally sUstainable bUilding
into the downtown core.
proJect 60 Richmond housing co-op, ToRonTo, onTaRio
architectTeeple aRchiTecTs inc.
teXt elsa lam
photos shai gil
Chalk up one more for Toronto’s architectural
renaissance tally. The latest addition to the
downtown core, a social housing co-operative,
defies Hogtown’s conservative reputation. De-
signed by Teeple Architects, 60 Richmond East is
a boldly contemporary highrise with sculpted
lines and splashes of colour, as well as a compel-
ling blend of social, environmental, and urban
aspirations.
One block east of the historic Hudson’s Bay
Company building, the city-donated lot once
housed a land registry building—the place where
newcomers in another era would have laid stake
to a homestead. The 11-storey structure that now
34 canadian architect 08/10
stands on the site, commissioned by Toronto
Community Housing, offers the modern equiva-
lent: a mix of subsidized and affordable units for
low- to moderate-income residents, including
new immigrants.
At the outset, over half of the apartments—
which range all the way up to family-sized three-,
four-, and five-bedroom units—were reserved
for relocated tenants from the Regent Park revi-
talization project. The City of Toronto team, in-
cluding project manager Leslie Gash, realized
that many prospective tenants were members of
the hospitality workers’ union Unite Here. As a
result, they refined 60 Richmond’s mandate:
drawing from the union model, the building
would be self-administered as a co-op, and
would cater to residents employed in the hospi-
tality and restaurant industries.
The downtown location was a perfect fit. “It’s a
fabulous site for Unite Here [members], because
it’s close to all the hotels where they work,” says
Gash. Other program elements reflect the collab-
oration of Unite Here from the early planning
stages. The sidewalk is bordered by a double-
height glass-walled storefront planned to open as
a restaurant and training facility this fall. The
street-level space will put future bartenders,
baristas, cooks and servers in the limelight. By
training residents along with other union mem-
bers, the public face of 60 Richmond is poised to
become a community hub.
Inspired by the theme of food, Teeple Archi-
tects incorporated a series of kitchen gardens
into the core of the structure. A generous outdoor
terrace on the sixth floor includes two elevated
garden plots that will be irrigated by storm water
from the roofs and nourished with composted
kitchen waste. The architects describe the gar-
dens as part of what they call an “urban permac-
ulture” cycle—a full ecosystem in miniature.
As with any new landscape, it takes some
imagination to envisage the garden areas flour-
ishing with lettuce and tomatoes, and grape vines
snaking up the multi-storey grow-wall trellis.
However, what’s already obvious is the generosity
of the courtyard spaces themselves. The garden
terrace occupies nearly a quarter of the floor-
plate; floors above and below project into the
space without detracting from its voluminous,
open feel. On the third floor, a more intimate
courtyard adorned by a delicate Japanese maple
adjoins a community room.
On each floor, window-equipped hallways ring
the openings, bringing natural light and air into
corridors that are more typically landlocked.
“Every time you move through the hallways, you
get a reference to this common social space,”
says architect Stephen Teeple. “You’re always
reminded that it’s there.” The reverse is also
true—from the courtyard, residents can glimpse
their neighbours moving through the building.
When I toured, we spied a young boy serenely
rollerblading through the seventh-floor hallway.
Wisely, there’s no street access to the light-
filled courtyards and hallways—they remain a se-
cret hideaway for residents to enjoy. However,
glimpses into these spaces appear on the façades,
an interlocking play of volumes. Conceived as a
sculpted mass, the corner block is a departure
from the ordinary—a studied weave of perimeter,
terraces, and courtyard punctuated by an irregu-
lar pattern of windows. The whimsical composi-
tion and injections of bright colour might not ap-
peal to everyone, but they succeed in escaping the
blandness endemic to downtown infill. “There’s
a tendency for street-wall buildings to be seen as
complete background—especially in Toronto,”
comments Teeple. “We were trying to prove that
you can be a good citizen urbanistically, without
being boring.”
By using glazing selectively rather than opting
for the familiar trope of an all-glass condo, the
architects foresee significant energy savings in
cemenT-boaRd cladding offeRs
opposite top
a complexiTy To The suRface geomeTRy
of The building. above The public TeRRace
and gaRdens of The fifTh flooR allow
foR consideRable passive venTilaTion
ThRough To The building’s cenTRal
aTRium.
the future. Also directed towards that end, the
entire building is wrapped in an insulated rain-
screen cladding that eliminates thermal bridging,
with high-end fibreglass window frames to com-
plete the envelope. Other sustainable measures
include a sophisticated mechanical system that
transfers heat from the warm side of the struc-
ture to its cold side, and in-suite heat recovery
systems. Together, these put 60 Richmond on
track to achieve a LEED Gold rating.
As with all projects, 60 Richmond has its share
of compromises and tradeoffs. The cement-
board cladding looks monolithic from a distance,
but up close, the deliberate mosaic pattern of
panel joints seems to lack resolution. Had budget
08/10 canadian architect 35
 1 1 1

3 1
4
4 1 1

siXth to eighth floors

1 1 1 1

1
1 1

1
1
2

third to fifth floors

1 1 1 7

6
1

1 5

second floor

QUeen st. e.
13

13
12
13 13 13
chUrch st.
berti st.

11 9

richmond st. e.
9

10

site plan 0 40m

0 20 40m

groUnd floor 0 10m

public lobby & amenity service space

public terraces private terraces

an open-aiR walkway
left, top to bottom

cuTs ThRough The cenTRal aTRium; 1 ResidenTial uniT 8 ResidenTial lobby

2 public TeRRaces 9 TRaining faciliTy
a conTexT shoT of The building as iT 3 pRivaTe TeRRaces 10 co-op office
4 gaRdens 11 bicycle paRking
appeaRs along Richmond sTReeT, look- 5 indooR ameniTy space 12 paRking aRea
ing wesT. 6 ouTdooR ameniTy space 13 gaRbage/seRvice space
7 laundRy

36 canadian architect 08/10

 abovedespiTe The hefTy bulk of The building, a view aT The coRneR of Richmond and beRTi sTReeTs illusTRaTes how The pRojecT’s massing
RespecTs and Responds To The heighT of a neighbouRing building. below looking souTh TowaRd The downTown coRe, as viewed
acRoss The cenTRal aTRium.

permitted, the introduction of a different soffit

material, such as wood, would have given the
composition more nuance. The scarce parking
dismayed several potential tenants—only nine
spaces, including an auto-share spot, for the 85
units. On the other hand, the building offers a
generous bike room with interior and exterior
access, which in the early move-in stage seemed
well populated with two-wheeled conveyances.
Turning over the building to the co-op board
also entails growing pains. One of the board’s
first moves was to furnish the community room—
with painfully staid-looking office furniture.
(Teeple murmured something to Gash about hav-
ing a talk with the board.) From my own experi-
ence living in a Toronto co-op, I can testify to the
pleasures and pitfalls of this particular manage-
ment model.
However, whatever the fate of the common-
room furniture, the solid foundations for a vi-
brant social-housing community are already in
place. By being thoroughly incorporated into the
city, the building resists the ghettoization of
physically segregated social housing develop-

08/10 canadian architect 37

 EVAPORATIVE GREEN ROOFS (RAIN WATER RETENTION)
COOLING

PA
ASSIVE
PASSIVE
VENTILAT
VENTILATION

CISTERN

EVAPORATIVE IRRIGATION
C
COOLING
GROW-WALL

GARDEN
N
PRODUCE
PRODU
UCE

PASSIVE
VENTILATION

COMPOST

RESTAURANT

above The emphaTic and impRessive aRRangemenT of solids and

voids along The Richmond sTReeT façade. left bRighTly colouRed
cemenTiTious exTeRioR panels in one of The uniTs fRames a view
of sT. james caThedRal in The disTance. bottom left uniTs aRe fin-
ished wiTh exposed concReTe and wood laminaTe flooRing
ThaT is noT dissimilaR To RegulaR maRkeT condominiums.

ments like Regent Park. Moreover, as a conscientiously designed, boldly

contemporary building, 60 Richmond gives its residents a place to be proud
of. Earlier this year, Gash passed by a meeting of unionized residents with a
tour group. “[The residents] turned and said, ‘D’you love our building?’
And the ownership was there.” ca

Elsa Lam is a PhD candidate in the Architectural History and Theory program at
Columbia University.

client ToRonTo communiTy housing coRpoRaTion

architect team sTephen Teeple, chRis Radigan, RichaRd lai, william elswoRThy
strUctUral cpe sTRucTuRal consulTanTs limiTed
mechanical/electrical jain & associaTes lTd.
landscape nak design gRoup
interiors Teeple aRchiTecTs inc.
constrUction manager biRd consTRucTion company
leed eneRmodal engineeRing lTd.
area 99,565 fT2
bUdget $20.4 m
completion maRch 2010

38 canadian architect 08/10

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08/10 canadian architect 39
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40 canadian architect 08/10
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 calendar

Bent Out of Shape: Canadian
Industrial Design 1945-Present
July 16-October 10, 2010 This exhibi-
tion celebrates the Design Ex-
change’s rich industrial design col-
lection dating from 1945 to the
present, and showcases it through
the lens of material, method, tech-
nology, identity and transformation,
illustrating rapid changes following
World War II towards modernity.
www.dx.org
Atelier Hitoshi Abe: len-tic-u-
lar-is
July 30-September 12, 2010 This exhi-
bition at the SCI-Arc Gallery at the
Southern California Institute of Ar- FABRICation: Studio Production
chitecture features the work of Los
Angeles- and Sendai-based archi-
tecture firm Atelier Hitoshi Abe
(AHA). One of AHA’s projects in
Los Angeles is the design of a new
large-scale roof over the Japanese
American Cultural & Community
anArcAug2010_Canadia Architect 6/25/10 9:31 PMentrepreneurs
Center (JACCC) Plaza, designed by
Isamu Noguchi.
www.sciarc.edu
The Original Copy: Photog-
raphy of Sculpture, 1839 to
Today
August 1-November 1, 2010 This ex-
hibition at the Museum of Modern
Art in New York presents a critical
examination of the intersections
between photography and sculp-
ture, exploring how one medium
informs the analysis and creative
redefinition of the other. The
exhibition brings together over
300 photographs, magazines,
and journals by more than 100
artists.
www.moma.org
Textiles for Interiors
August 24-October 17, 2010 This ex-
hibition at Cambridge Galleries
Design at Riverside features prod-
ucts and collections by 10 estab-
lished Canadian textile designer-
Page 1 whose work bridges
the worlds of art and commercial
fabrication.
www.cambridgegalleries.ca
architecture for humanity
toronto lecture
August 30, 2010 Join Architecture for
Humanity from 6:30pm to 8:30pm
on the Trading Floor of the Design
Exchange in Toronto, and hear An-
drew Levitt speak about where ar-
chitecture begins, from concept to
design to design process. This is a
pay-what-you-can event; the sug-
gested donation is $10.
Taller: Objet-Vêtement: When
Architecture Meets Clothing
September 9-October 2, 2010 Located at
the crossroads of two disciplines—
fashion design and architecture—
this exhibition at the Maison de la
Culture Maisonneuve in Montreal
features the work of Professor
Maryla Sobek of the Université du
Québec à Montréal’s École de
design and the École supérieure de
mode de Montréal. It consists of
five “objets-vêtements” designed in
the manner of an architectural
drawing. Inspired by Dogon archi-
tecture, these “objets-vêtements”
are the result of field research car-
ried out by the artist in 2009 in
Mali, whose architecture is seen as a
perfect example of the rationality of
vernacular architecture.
iideX/neocon canada
September 22-25, 2010 Canada’s larg-
est national exposition and confer-
ence for the design, construction
and management of the built envi-
ronment welcomes the return of the
Green Building Festival and Light
Canada, along with many new prod-
ucts and exhibitors, expanded fea-
ture areas, special events, tours,
awards ceremonies and the ever
popular international keynote lec-
ture series which this year features
Craig Dykers, Arik Levy, Jeremy
Rifkin and Avi Flombaum.
www.iidexneocon.com
For more inFormation about
these, and additional list-
ings oF Canadian and inter-
national events, please visit
www.canadianarchitect.com

Designer: Krista Demirdache | Photo: Krista Demirdache | Direct Vent 6FT

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08/10 canadian architect 41

BackPage
SOuth LOndOn ecStaSy
the conStant evolution of the popular
centurieS-old Borough market in South-
eaSt london repreSentS an orderly chaoS
that iS perhapS the true heritage of the Site.
teXt + PhOtO thomaS-Bernard kenniff
Near the south end of London Bridge, across
from where the 310-metre-tall Shard designed
by Renzo Piano is being erected, Borough Mar-
ket, one of London’s most distinctive places, is
undergoing yet another transformation. The
wholesale and retail food market, which falls
within a heritage conservation area, is now sub-
ject to a controversial project for a new rail
viaduct running through its heart. The contro-
versy raises the issue of whether such an entity
should be exempt from the very alterations that
have turned it over the years into one of the most
inherently successful heterogeneous places in
London.
Built over the last 250 years, the area of the
market has become a hodgepodge of architectural
elements and styles with a chaotic yet oddly co-
herent juxtaposition of contemporary architec-
ture, Victorian brick buildings, skeletal wrought
iron and glass canopies, and rail viaducts. From
any point within the area, the eye follows mul-
tiple vanishing points between criss-crossing
42 canadian architect 08/10
aBOVe Bedale Street underneath the exiSting rail viaductS running through Borough
market. the victorian ironwork in the Background waS reStored at the turn of the
millennium.
lines and openings amongst the structures that
reveal yet further fleeting structures. Reminis-
cent of what Eisenstein identified as the ecstatic
space of Piranesi’s carcere etchings, the space of
Borough Market seems to reach beyond itself.
This is a place that is neither subterranean nor
overground, a place that can never be experi-
enced as a whole from a distant vantage point.
Borough Market is, simply put, one of the single
most thrilling spatial experiences of London.
The most recent modifications occurred here
between 1995 and 2005 with a widely acclaimed
revitalization project by architects Greig & Steph-
enson. The gentle and clever architectural trans-
formations, at once both contemporary and in
keeping with the Victorian fabric, maintain and
embrace the overall controlled disorder of the
place that so perfectly defines its uniqueness in
the city of London.
The train viaduct currently being constructed
through the market is the result of growing pres-
sure on the commuter train network at London
Bridge. Since it was first evoked in the late 1980s,
the project has met with persistent opposition
from local residents and local authorities who
have focused on the loss of character to the place,
the planned demolition of about 20 heritage-
listed buildings, and the potential threat to mar-
ket activities themselves. The project, designed
by architects Jestico + Whiles and scheduled to be
completed in 2012, will see new glass-and-steel
structures erected where buildings and canopies
had to be demolished.
Even in the face of seemingly inevitable infra-
structure, the demolition of heritage is a tragedy
that deserves vehement opposition. Yet, one may
wonder when—if at all—such evolved, hetero-
geneous places should be fixed. Borough Market
is a strong reminder that these spaces are less the
product of a single, homogeneous regeneration
project than the result of a juxtaposition of dis-
tinctive elements over time. The success of indi-
vidual projects depends, therefore, on the respect
they owe to the orderly chaos that is in many ways
the heritage of the site. ca
An architectural graduate of the University of Water-
loo, Thomas-Bernard Kenniff is currently a PhD
candidate at the Bartlett School of Architecture,
University College London.
The best tile installation system
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Bentall Capital Building Plaza,

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Developed by Arthur Erickson in 1968, the plaza and water elements in
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CirCle reply Card 23

 KOHLER: As I See It, #92 in a series

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SUITE: FountainheadTM — toilet,

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ARTIST: Mark Holthusen

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