Posts tagged canada

Linear House / Patkau Architects | ArchDoc

325 days

by mr926 in Uncategorized

© James DowArchitects: Patkau Architects Location: Salt Spring Island, British Columbia, Canada Lead Designers: John Patkau, Patricia Patkau, Peter Suter Team: Greg Boothroyd, Christina Gray, Steffen Knab, Hiro Kurozumi, Renee Martin Structural: Read Jones Christoffersen Ltd. Contractor: Spratt Emanuel Engineering Ltd. Project year: 2006 – 2009 Photographs: James Dow © James DowLinear House is located on a sixteen acre farm on Salt Spring Island, an island in the Strait of Georgia between Vancouver Island and the mainland of British Columbia, Canada. The property is bisected from east to west by a long row of mature Douglas fir trees. There is a gentle slope falling across the site from south to north. The south half of the site contains an orchard; the north half a hay field. There was an existing cottage on the property which has been sold and relocated to a neighbouring property. The existing barn, garage and studio buildings remain.floor planThe row of Douglas fir trees is unusually situated, bisecting the farm. The trees themselves are textural, old, torn and windswept. They hold your attention and make you realize duration, existence over many years. They have a kind of old heart. The impulse to site the new house along and next to this venerable presence was both intuitive and immediate.© James DowThe new house slips into the narrow space between the line of fir trees to the north and orchard to the south. It extends 276 feet in a straight line along the south side of the fir trees. One side of the house faces the line of fir trees and water view beyond, on the opposite side a continuous covered walkway edges the adjacent fruit orchard. The orchard has been made more regular with additional fruit trees so that the clarity of the juxtaposition between the cultural landscape of fruit trees to the south, and the line of native fir trees to the north of the new house, is reinforced. The full extent of the house is never directly experienced from the exterior. That experience is of a dark stealth-like figure sliding in and out behind the screens of trees on either side. At a parting of the trees on either side the length of the house is subdivided into a principal dwelling and guest quarters by a breezeway.© James DowThe exterior rain screen of the house (walls, soffits, parapets, and ‘fins’) is clad in charcoal-coloured fibre-cement panels which render the house almost invisible when seen against the dark green foliage of the firs. Interiors are described by a luminous inner lining made of translucent acrylic panels. In order to minimize cut panels, these translucent sheets establish the dimensional module for the project. Over forty fixed and operable acrylic skylights bring sunlight into the roof and wall assemblies during the day causing the interior liner to glow softly and irregularly. At night, fluorescent lights mounted within the skylight openings turn the entire interior into a luminous field. Areas within this overall luminous surround are subdivided and defined by the insertion of reinforced concrete fireplace masses and wood cabinet-like service spaces. Large glazed openings extending up to 78 feet and 28 foot cantilevered roof canopies at either end of the house are supported by a pair of 6 foot deep composite wood beams on each long building face. The numerous top hung sliding aluminum glazed door panels are suspended from these beams. Panels are fully retractable so that during the prolonged fair weather of Salt Spring Island the house can be transformed into an open-air pavilion, more shelter than ‘proper’ house.#gallery-1 {margin: auto;}#gallery-1 .gallery-item {float: left;margin-top: 10px;text-align: center;width: 33%;}#gallery-1 img {border: 2px solid #cfcfcf;}#gallery-1 .gallery-caption {margin-left: 0;}

: © James Dow

: © James Dow

: © James Dow

: © James Dow

: © James Dow

: © James Dow

: © James Dow

: © James Dow

: © James Dow

: © James Dow

: © James Dow

: © James Dow

: © James Dow

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: reflected ceiling plan

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* Location to be used only as a reference. It could indicate city/country but not exact address.

180 Queen West / KPMB Architects with Stone McQuire Vogt Architects | ArchDoc

325 days

by mr926 in Uncategorized

© Eduard HueberOne Eighty Queen West is a commercial property located on a site at the northwest edge of downtown Toronto’s financial district area and adjacent to the city’s “legal district” to the east (Osgoode Hall, the Ontario Courts Building, Old and New City Halls). The site also stands immediately adjacent to a historic legal monument: Campbell House, originally the home of William Campbell, first chief justice of Ontario and at the threshold to the Queen Street West retail strip and the residential neighbourhoods to the north. The land is part of the Canada Life lands. Along with an environmental agenda, the project design was driven in the first instance by its obligation to address this confluence of distinct urban conditions. Architect: Kuwabara Payne McKenna Blumberg (KPMB) Architects with Stone McQuire Vogt Architects Location: 180 Queen Street West, Toronto, Ontario, Canada Project Area: 270,809 sqf Project Year: 2007 Photographs: Tom Arban, Eduard Hueber© Eduard HueberThe development team for the project was responsible for the Canada Life Lands initiative of the 1990s and managed the first phase of its implementation at 180A Simcoe Street. This latter structure was the first step in the fulfillment of a long term development masterplan authored by Urban Strategies, intended to create an ensemble of mid-scale buildings and major public open spaces surrounding and celebrating the historic Canada Life building at 330 University Avenue, a Toronto landmark. The One Eighty Queen West site was initially a minor part of the masterplan strategy and had been zoned in anticipation of a low to mid scale hotel / commercial project. However, because of its size and ready availability, this site became pivotal to the developer’s desire to retain their 330 University Avenue tenant, the Federal Court, while accommodating this important occupant’s need to find a new home in which they could grow over the next 20 years.elevationThe design combines a seven-storey podium base with an eight storey tower above. A double height floor at the tower base sets back from the upper floors on the south and west sides creating a break that mitigates the impact of the upper mass at street level. The design of the building at 77.5 meters in height, incorporates an arcaded set back at grade along the east side of the building, and responds to a Bylaw requirement for a through-block interior passage at mid-block.sectionEach façade has been designed to provide a unique expression specifically related to its adjacent context. The east façade facing University Avenue has been detailed to suggest stone-faced pilasters alternating with punched windows emulating the scale, vertical expression, and rhythms of the historic Canada Life building at 330 University Avenue. This facade is capped by a projecting cornice that will be illuminated in the evening by a coloured lighting system programmed to respond to the landmark weather-indicating Canada Life beacon. Small retail shops occupy the west portion of the Queen Street frontage, extending the existing scale and rhythm of Queen Street storefronts to the west. A larger retail space at the northeast corner of the building creates a leasable space with access to the arcade on Simcoe Street for outdoor seating. The lobbies are enclosed with floor to ceiling glazing at street level. Canopies along the Queen and Simcoe Street frontages extend the weather protection offered by the arcade.© Tom ArbanCanopies at grade extend the ceiling planes of the public lobbies outside the building. A series of sun-shading projections on the south side of the building reduce cooling loads while providing a strong play of light and shade to enrich the façade. Balconies at the east and west elevations mediate between differing façade treatments on the building.© Tom ArbanAn important motivation that drove the choice of enclosure systems was the desire to reflect core values of the Canadian justice system and the Federal Courts as the intended anchor tenant. The positive concept of transparency in the judicial system was reflected in the choice of clear glass for all glazing systems. At the same time the permanence and durability of the judicial system are reflected in the robust solidity of the precast concrete cladding and the traditional forms of the punched windows. The obvious conflict between clear glazing and energy goals was addressed by the use of screen printed ceramic frit shading patterns on glazing units, a feature that creates a signature feature of the building’s appearance.© Tom ArbanKuwabara Payne McKenna Blumberg Architects was also responsible for the first tenant fit-up project within the building. The Federal Judicial Center occupies the lower 7 stories of the building and was constructed to meet the new LEED Commercial Interior (CI) standards. Further fit-up work on the eighth through eleventh floors for Public Works and Government Services Canada should commence design in the near future and is also slated to meet the LEED CI design criteria. This project provides many precedents for green design in high-rise development and tenant fit-up.planProject Team: Thomas Payne, Partner-in-Charge; Chris Couse, Senior Associate; Kevin Thomas, Project Architect; Luigi LaRocca, Goran Milosevic, Franziska Cape, Rita Kiriakis, Katya Marshall, Thom Seto, John Agnidis, Aaron Letki, Chris Wegner, Clemetine Chang, Richard Wong, John Allen Structural and Building Envelope: Yolles Partnership Inc. Mechanical Engineer: The Mitchell Partnership Electrical Engineer: Mulvey & Banani International Inc. Urban Design: Urban Strategies Traffic: LEA Consulting Ltd. Code: Leber Rubes Inc. Elevators: Solucore Elevator Solutions with Soberman Engineering Floor Area Analysis: Extreme Measures Wind Study: RWDI LEED Consultant: Halsall#gallery-1 {margin: auto;}#gallery-1 .gallery-item {float: left;margin-top: 10px;text-align: center;width: 33%;}#gallery-1 img {border: 2px solid #cfcfcf;}#gallery-1 .gallery-caption {margin-left: 0;}

: © Eduard Hueber

: © Eduard Hueber

: © Eduard Hueber

: © Eduard Hueber

: © Tom Arban

: © Eduard Hueber

: © Tom Arban

: © Tom Arban

: © Tom Arban

: © Tom Arban

: © Tom Arban

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: plan

* Location to be used only as a reference. It could indicate city/country but not exact address.

canada kpmb architects office buildings ontario selected stone mcquire vogt architects toronto

TIFF Bell Lightbox / KPMB Architects | ArchDoc

325 days

by mr926 in Uncategorized

© Maris MezulisThe winning competition design for the Bell Lightbox and Festival Tower was conceived on an epic scale to create a city of cinema within the city that hosts one of the most important annual film festivals. It was also designed to reflect the heterogeneity and openness that characterizes Toronto. Located in the heart of the city’s media and entertainment district, the architecture of the Bell Lightbox at the corner of King and John Streets injects energy into the precinct. Architect: Kuwabara Payne McKenna Blumberg (KPMB) Architects Location: Toronto, Ontario, Canada Project Team: Bruce Kuwabara, Design partner; Shirley Blumberg, Partner-in-Charge; Luigi LaRocca, Senior Associate; Matthew Wilson, Project Architect; Matt Krivosudsky, Bruno Weber, Brent Wagler, Glenn MacMullin, Andrea Macaroun, Rita Kiriakis, Lilly Liakus, Carolyn Lee, David Poloway ,Tyler Sharp, Debra Fabricus, Claudio Venier, Thom Seto, Walter Gaudet, Krista Clark, Clementine Chang, Winston Chong, Carla Munoz, Elizabeth Paden, Bill Colaco, Nicko Elliot, Norm Li. Architect of Record: Kirkor Architects & Planners Project Area: 547,000 sqf Project Year: 2010 Photographs: Maris Mezulis, Tom Arban, Mehrdad Tavakkolian© Maris MezulisThe Bell Lightbox, a horizontal, 5-story podium building, establishes its cultural image on the streetscape while the 42-story point tower, set back on John Street, commands the skyline. The two elements formally relate in the simple proportions of the volumes, common materials, and quality of detailing. The transition between the two occurs at the point where the roof of the Bell Lightbox meets the base of the Tower. The form and expression of the condominium tower creates a clean, contemporary figure with an illuminated light box at its top to enrich Toronto’s evolving skyline.© Tom ArbanThe King Street elevation is a composition of projecting volumes and surfaces contained within a continuous loop of movement that begins with the street level canopy and then rises to the upper levels to culminate at the stepped roof. The canopy, with its metal soffits and LED lights, enhances the arrival experience. Extended sequences of horizontal montages of clear, fritted and translucent glass panels animate the upper surfaces and in project the silhouettes of people moving within to the street.© Tom ArbanInside the Lightbox, the design acts as a framework for human action and imagination in which the solidity of architecture and the ephemerality of the medium of film are fused. The flexible plan is based on the tradition of industrial loft buildings. Within this framework, the volumes of the cinema theaters (ranging from 80 to 550 seats) and spaces for gathering, display and production are arranged to promote movement and visual connectivity. A three-story central atrium features a red framed glass window into the master control booth. The architectural volumes of the five cinemas are expressed as black zinc clad buildings within the building, and the spaces between act as interior streets along which visitors are oriented. The cinema interiors are dark, unadorned and enclosed to focus the attention between viewers and film.sectionThe main entrance leads directly to the main escalator, ramps and stairs which together weave a fluid sequence of movement to the cinemas above. On the fourth and fifth levels administrative and production spaces, library and archives are organized around a second, light-filled atrium. A generous café and restaurant, operated by Oliver Bonacini, occupy the first two levels of the corner at King and John. At street level, Canteen is wrapped by an outdoor café terrace. On the second level, Luma is integrated with the Blackberry Lounge.© Tom ArbanThe design culminates in the monumentally-scaled stepped roof. Inspired by the stepped roof of the Villa Malaparte in Capri featured in Jean Luc Godard’s 1963 Contempt, this major new outdoor public space encapsulates the fusion of architecture and film.© Tom Arban© Tom Arban© Tom Arban© Tom Arban© Tom Arban© Mehrdad TavakkolianStructural Engineer: Jablonsky, Ast and Partners Mechanical and Electrical Engineer: Leipciger Kaminker Mitelman Landscape Architect: NAK Design Group Life Safety: Leber Rubes Inc Cost: Helyar & Associates Acoustic: Aercoustics Engineering Ltd & Valcoustics Canada Ltd. A/V: Brian Arnott Associates Theater: Peter Smith Architect Inc. Wind Study: RWDI Consulting Engineers Transportation: Marshall Macklin Monaghan Lighting: Pivotal Lighting Group Signage: Gottschalk + Ash#gallery-1 {margin: auto;}#gallery-1 .gallery-item {float: left;margin-top: 10px;text-align: center;width: 33%;}#gallery-1 img {border: 2px solid #cfcfcf;}#gallery-1 .gallery-caption {margin-left: 0;}