Style: a matte, of g'rave Importance? Form follows fiction: three on the back is better Ireland: a World of Possibilities $5.00. The Journal of the

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1 The Journal of the Ontano. Assoiation of Arhitets.' l Volume 6 Number I Spring 1998 $5.00 Style: a matte, of g'rave Importane? f Form follows fition: three on the bak is better Ireland: a World of Possibilities I

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3 Pe s et' President's Message -1!! 0 of II fl tl II Netwo,-k Response Style lntemational People & Praties Pratie Environment Regulatory Framework Ontario Plaes In this issue "Arhiteture is... 'the greatest oneivable work of art beause it represents diffiulties annulled, resoures ombined, labour, ourage and patiene."' from TronsaVanti Skethes by Henry james, quoted by Ellen Eve Frank in Uterary Arhiteture (Berkeley and Los Angeles, Co(: University of California Press, 1979) With this issue, we start the new year of Perspetives in style. Or, more aurately, we start the new year with "Style" in Perspetives. The feature artile is still several pages away, so before you get there, it might be a good idea to jot down what you think of when you hear the word. In "Style: A Personal journey," you'll find out what the word means to three prominent arhitets and three equally prominent interior designers and how, if at all, it affets their work In 'What Style! What Style?" you an test your definidon against what many others have said on the subjet. "Style Wars: On the Home Front" is a personal reetion by intern Brad Culver, taking a progmatk look at the meaning of style as it applies to the home-building biz. Exhibiting a style and expertise that ore unique, arhitet Henry Sears and his assoiates have had the opportunity to showase their skills for afield. In the International olumn, Catherine Tanner outlines another aspet of the speializodon and gfobalizodon of arhitetural pratie. In our other regular olumns, john Bobaljik, in Pratie, turns "form follows funtion" inside out. Elisabeth Ohi, in Environment. offers a synopsis of the Humane Village Conferene from an environmentalist's standpoint and Dinshaw Kongo, in Regulatory Framework, examines the "Effet of Building Code Issues on Unique Industrial Proess Failities." Finally, drawing on his postgraduate studies in philosophy as muh as his undergraduate arhitetural eduadon, fan Ellingham ontemplates a well-known but little appreiated Toronto neighbourhood from whih arhitets, planners and builders may draw inspiradon. So grab your Chiago Manual of Style, pull on your stylish Italianstyle loafers, kik bak in your Colonial-style sofa, and spend the next little while reading our "Style" issue in some sort of style. Perspeves is the offiial journal of the Ontario Assoiation of Arhitets and is published quarterly. Artiles from Perspetives may be r epmdued with appmpriate redit and written permission. Copyright 1998 Published Spring, Summer, Autumn and Winter in 1998 by: Omniom Publiations In. 5 I 2 King Street East, Suite 300 Tomnto, Ontar io M5A I M I (416) Omniom Publiations In. is a publisher of pmfessional assoiation and speialty onsumer magazines. EDITORIAL COMM ITIEE Stephen Pope, Chair Cliffor d Harvey Rimes Mor timer Alan Seymour Alexander Tempor ale ADM INISTRATOR, COMMUN ICATIONS Maria Wubben EDITOR Gordon S. Grie DESIGN Wil liam Tibbles, Ralph Tibbles Tibbles, Bird & Company ADVERTISING Tel: (416) PUB LISHER Rihar d Soren The Ontario Assoiation of Arhitets is an open and responsive professional assoiation of members whih regulates, supports, represents and promotes the pr atie and appreiation of arhiteture in the inter est of all Ontarians. The Assoiation was founded in I 889 and its primary mle is to ser ve and protet the publi interest through administration of the Arhitets At, and thmugh leadership of the profession in Ontario. For fu r ther information ontat the Administrator, Communiations Ontar io Assoiation of Arhitets (OM) I I I Moatfield Dr ive Toronto, Ontar io M3B 3L6 Te l: (4 16) Fax: (4 16) To reognize environmental onerns and promote envir-onmental responsibi lities, this journal is printed on reyled paper with vegetable dye ink and an be reyled. COVER PHOTOS: Clokwise from top left: - Rihard Meier-'s Getty Center Los Angeles, photo: S. Franes/ESTO. - Ydessa Hendeles Gallery.Tomnto, photo; Design Arhive/Robert Burley. - CIBC Commere Court Renewal, Tomnto, photo: Balthazar Korab K/HB. - Fusion, Tomnto, photo: David Whittaker COVER BACKGROUND: Collins Barr aks, Ireland. Photo: Offie of Publ i Works II

4 o "' "'.. Q, V> > v Q,. "- II I om ple,ed ood honooed to hove been eleted President of the OAA for The profession of a1 hiteture ontinues to hange and grow signifiantly. In antiipation of this growth, OAA Counil will be working throughout the year to 1 espond to hanges and to set a positive diretion, balaning the onerns of arhitets, arhiteture and the publi. To keep up-to-date on the hanges in the profession, I enourage you to read and partiipate in Perspetives -the journal of the OAA. It keeps us informed about the profession, the OAA and arhiteture in Ontario and throughout the world. It is a vehile to elebrate our aomplishments, disuss the issues of the day amongst olleagues and it ont1 ibutes to the publi image of the profession. In 1998 Counil will be using the OAA Review Report to guide its understanding of the various ways arhitets a1 e pratising within the profession and how the OAA, as an assoiation, must evolve to remain relevant to its members and t he publi, as we enter the 21st entury. Report reommendations for disussion inlude: The need to allow for more "flexibility to the business of arhitetural praties and inome streams", while ontinuing to rely more upon the individual arhitet to be responsible for providing quality a1 hitetural servies. We will be finding new ways to implement these business imperatives while respeting the publi interest. Continuing professional development - ruial to suess in meeting these new hallenges and opportunities in an entrepreneurial and ompetenyfoused manner. The publiation of a relevant shedule of fees to better 1 eflet the diversity of servies arhitets provide, and the adoption of the shedule by publi agenies and orporations. A ontemporary membership model that distinguishes levels and types of servie to the publi and aknowledges the broader base of arhitets' ativities. In order for any of the reommendations to have effet on the pratie of arhiteture, the ontinuing partiipation of all members is ritial. On a positive note, last fall it was noted that "business is bak" and arhitets are busy, one again. However, to take advantage of these growing opportunities for the profession, a1-hitets must reognize that the ways of doing business today are different than those approahes followed just a few years ago and w ill ontinue to hange based on meeting lient needs as they evolve. This is the ever-hanging state of business, whatever business you p1 atie. It promises to be an inte1 esting yea1 for a1-hitets in Ontario!

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6 .. " > u " "- Design Exhange toapril 19 Permanent Colletion On display in the DX Exhibition Hall and Resou1 e Centre, the olletion inludes a survey of Canadian hai1 s from the 1940s to the present and the personal desk of John C. Parkin (designed by the arhitet). Peter Cardew: Ordinary Buildings The travelling exhibit of photographs, drawings and models of this Vanouver arhitet's sign ifiant work is organized by the Emily Carr Institute of Art and Design in Vanouve1 to june 5 Student Design Days High Shool fairs ontinue with dates set for April 3, May 22 and June 5, 1998 May 25 to Otober 18 Shifting Gears: Green Transportation for the 21st Century Viable transportation alternatives ontributed by designe1 s, manufaturers, engineers and arhitets a1 e displayed and disussed. june 8 to 10 Environmental Design Seminars and Envirofest: A joint presentation of DX and the OM Semina1 s all eady sheduled inlude: Ene1 gy-effiient Renovation, Regenerated Ene1 gy, Reuse of Mate1 ials and Healthy Materials, and Environmental Landsaping. Otober I 3 and I 4 Communiations in Motion DX takes a look at the national and international development of graphi design, from medieval typography to omputer graphis. ARIDO Awards Clifford Edwin Atkinson of Atkinson + Design In. has been honoured as 1997 Designe1 of the Year by the Assoiation of Registered Interior Designers of Ontario (ARIDO).The award was presented in reognition of Mr. Atkinson's work in the interior restoration of the exeutive areas and publi spaes of the Canada Life Building (see People and P1 aties, Perspetives, Winter 1997). RICHVALE YORK BLOCK INC. Order Desk: Fax: Offie: The Elevated Wetlands More than a few people in Toronto have been wondering what is going on beside the Don Valley Parkway north of Don Mills Road. The answer is: the onst1 ution of a unique publi a1 t pmjet designed by artist Noel Harding. "The Elevated Wetlands" is a funtioning sulpture designed to demonstrate the natural proess of phytoremediation and draw attention to the importane of the va lley eosystem. With support from the Ontario Arts Counil's Venture Fund, it was developed by the artist with researh ollabo1 ation through the Unive1 sities of Lethbridge, Calgary and Guelph, the NOVA Resea1-h Centre and the National Resea1 h Counil of Canada. Wetlands naturally purify water through plant transpiration and by providing the right environment for miro-organisms that thrive on hydroarbons and other pollutants. Partiular types of vegetation, ommonly found in wetlands, have a natural ability to 1 emove pollutants from the environment A seletion of those plants, shrubs and trees will be grown in the sulptural planters. Waste plasti will substitute for soil to sustain plant growth. Plasti bottles, reyled resins, auto fluff, polystyrene, filter barriers, geomembranes and geo-textiles are all used in the work. The proess wi ll purify wate1 from the Don River. A solar powered pump wil l lift polluted wate1 into the raised plasti plante1 s. There, the waste plasti materials will funtion as a mehanial filte1 and the plants as biologial filters removing wastes, toxins and other impu rities before the water flows bak into the river. The design of the hydroponi system is a opyright tehnology developed by Noel Harding. Three of the plasti ontainer strutu 1 es were ereted last fall. They are proteted with "Jewel Stone",

7 "the Elevated Wetlands" a watero.based white ement + aryl i polymer stuo whih is often used on swimming pools. Three more wi ll be installed and planted in spring to be ready for inaugur-ation in summer "The Elevated Wetlands" is a projet of the Plastis + Ar-t initiative of the Canadian Plastis lndustr y Assoiation. Cameron Ridsda/e, OM, FRAIC, RIBA More Reading Under the heading "Ar-hitetural Styles," in the newest Canadian & World Enylopedia(''. Mihael MMordie's entr y ends with these words: "a r efined moder nism ontinues to provide the language and frame the themes of most important building in the 90s. An outstanding example is the 1993 Kithener City Hall (by the Tomnto firm Kuwabara, Payne, MKenna, Blumber-g)." In the newest release from the Contempor ar y Wor-ld Arh itets (CWA) series, entitled simply Kuwabar a, Payne, MKenna, Blumberg, published by Rokport Publishers of Glouester Mass., all readers wi ll have the opportunity to onfirm MMordie's assessment. In fat, "refined modernism" doesn't ome lose to desribing the KPMB oeuvre. On page after page, an be found examples of what Detlef Mertins in his introdution refer s to as "its r ih assembly of sensory experienes, both hapti and opti." Partiularly satisfy ing are the projets in the last setion, "Private Realm." Here, in smaller spaes that many of us will never experiene first hand, the rih textures and war m olours an be appreiated for their ont ribution to the sense of sale. Exeptional images have been ontr-ibuted by a number of arhitetural photographers. Some of these images appear in the feature setion of this magazine. Firms featured in the CWA ser ies are seleted by a distinguished boar d that inludes Emilio Ambasz, Char les Gwathmey, Rihar d M e ier William Pedersen and Cesar Pelli. It is a notable distintion for KPMB to have been inluded among the small but aomp lished international group seleted for publiation in the CWA series. (I) The 1998 Canadian & World Enylopedia Copyright 1997 by MClelland & Stewart In. = "PATTERNED» - CONCRETE PATIERNED CONCRETE ONTARIO INC. (A member of The TRIL'.CON Conrete Finishing Co. ltd.) 835 Supertest Road, North York Toronto, Ontario M3J 2M9 Call lor your nearest liensed Contrator {416) ,64-\ \ www. H 1 i:: F"ARC H \ m M CA,LL FOR A FR,E W-ORKING DEMO., v > u v 0. v 0..

8 "' > u "' D.. Letters To the Editor: This may be of interest to your readers. My father had a long areer- with a few good inemas to his name: Leslie H. Kemp FRIBA, MRAIC (retired), former Brantford arhitet, OM member dies in England at 98. Leslie Kemp ompleted his arhitetural studies at the Arhitetural Assoiation in London, qualifying in He was involved in the design and onstrution of many inema houses in the UK inluding the first superinema in Britain in the Haymarket, and the Cinema House on Oxford Street, reeiver of the first "talking RUBBER FLOORING SYSTEMS AVAILABLE EXCLUSIVELY AT i;{;6 CALEDON TILES & CONSTRUCTION SPECIA LTIES LIMITED TEL: FAX: NORA (6672) A Division of A&M Wood Speialty In. Deorative Stone Naturally Formed Naturally Unique for Featured Landsaping Piees, Natural Sulptures, and Zen Gardens 358 Eagle Street North, Box Cambridge, Ontari o N3H 5M2 Tel: Fax: pitures." In 1947, he was approahed by the Rank Organization and went to Canada to ontrol the building of 20 inemas aross the ountry The Odeon Carlton was the largest of the group. After ompletion of the assignment, he travelled extensively in Canada and the USA, then started his pratie in Brontford, where he remained until his return to England in He leaves his daughter Susanne Helyar of Shoftesbury, England, his son Anthony, on arhitet in Toronto, four grandhildren and five greatgrandhildren. Anthony Kemp, OM, MRAIC, Toronto To the Editor: I was pleased to see a piee on the majesti Vitoria museum in Perspetives, Summer It is a building rih in memories for many, both young and old. Whi le newer museums, partiularly the Museum of Civilization in Hull, have an exiting aur-a of their own, the Vitor-ia's mystique is endowed with histor-y and myth.the Suffrage Legislation, for example, was passed there in the spring of 19 18, when the Parl iament Buildings were in the midst of reonstrution. (The fire that destroyed the first Parliament Buildings was in February 1916, not 1915 as stated in the artile.) It is also said that the Vitoria is one of Ottawa's most haunted sites, whether as a r-esult of the suiide of its arhitet or due to enbalmed spirits in some of its artifats. I was surprised that Mr Pope made no mention of the Vitoria's arhitet, David Ewart, who was a prominent arhitet in turn-of-the-entury Ottawa. What I thought most engaging about Mr. Pope's ar-tile was that he took the per-spetive of memory and meaning rather- than simply ar-hitetural desription, evoking in me my own str-ong feelings of mystery and antiipation that arise whenever I enter the Vitoria Museum. Vanessa Reid, Montreal To the Editor: We read with interest the artiled entitled "Small Plans" in the Winter 1997 Perspetives, in par - tiular the setion desribing the Winston & Holmes retail shop in Toronto. We wish to larify that Quadrangle Arhitets Limited designed the Winston & Holmes stor-e, inluding the interior-s, fixtur-es and frttings. Roger du Toit Ar-hitets Ltd. was the designer- of the renovations and additions to the base bu ilding. The stor-y gives the ertoneous impression that du To it Arhitets was responsible for the entire projet. We would appreiate your larifying this point to your readers, as we are sure that du To it Arh itets would wish to ensure that proper redit is given for- the projet. Leslie M. J<Jein, Quadrangle Arhitets Limited, Toronto "Un Bel Di" So says the liene plate in the lower right hand orner of the arhitetural rendering to promote the new Canadian Opera House. In fat, several fine days were antiipated in the proess of building the new Toronto landmark. But, as in Madama Butterfly (to Cio-Cio-San's great regret), things don't always wor-k out as planned. Sine the offiial notie in Marh of the plan to build the entre, the pr-oess has faltered. The winning arhitetural team was to have been announed in September. On November 18, we found out that internal problems had resulted in the loss of a $20-million donation. On Deember 2, with sti ll no announement, we lear-ned that the Canadian Opera Company (COC) had taken a $400,000 loss on a sheme to raise money through a lottery. Sine then, we have also learned that General Manager Elaine Calder has resigned. W hy an't new opera houses be built? One is too easily rem inded of the Millenium Commission fiaso that killed the oper-a house in Cardiff, and the fate of pr-evious attempts in our- own ity. In London, a $400- million r-enovation to Covent Garden is endangered by biker-ing that has fored the resignation of the entire board of the Royal Opera House. At time of writing, we assume that the projet is sti ll on. The newlyappointed General Diretor Rihard Bradshaw has onfirmed as muh, but the COC has yet to announe whih of the five ar-hitetural firms under onsideration w ill be seleted for-the projet.

9 Take advantage of the speial group rates available under this plan. A member servie of the Ontario Assoiation of Arhitets A loss of inome aused by a ritial illness in a family an be a soure of unneeded hardship and despah: More and more, and at younger ages, Canadians are fored to deal with a ritial illness suh as a heart attak, stroke or ane1; whih alters their whole lives. Medial advanes and greater self-awareness means many are now surviving these serious illnesses, but few reover from the finanial burden. In addition to loss of inome, expenses suh as the mortgage, ar payments, household bills and hildren's eduation will ontinue to mount. That's why the Seaboard Life Medial Crisis Reove1y Plan is speifially designed to deal with these non-medial expenses. You ollet the benefit if you survive for 30 days after first being diagnosed with one of the overed illnesses or injuries. We an't do anything about the emotional strife of a ritial illness, but we an free you from finanial worries so you an onentrate on getting well. S EABOARD LIFE MedialCrisi RECOVERY PLAN..., For more information, ontat Dennis Mumby toll-free at: SEABOA RD L l FE I l\su RA i\ 1CE CO II'A :'\1, - 'T:;' --;:- r ' Plan arranged by Dennis Mumby CLU, CFSB, RIB (Ont.), 55 Erb Street East, Suit 303, Waterloo, Ontario N2J 4K l-.?_1>(

10 Last Novembe r on the Saturday before Toronto's megaity mayoral vote, another momentous event ourted.the Ontar-io Assoiation of Arh itets and the Assoiation of Registered Interior Designers of Ontario staged their first ever offiial ollaboration: a panel disussion on the subjet of "style". The megaity vote may have a more profound effet on our day-to-day lives, but the panel disussion was a lot more fun and, in the opinion of some, a lot more auspiious. The event was sponsored by Perspetives. ARCHITECTS SHIRLEY BLUMBERG, Kuwabara Payne MKenna Blumberg Arhitets PAUL REUBER, Paul Reuber Arhitet Inorporated DON SCHMID, A). Diamond, Donald Shmitt and Company. Arhitets INTERIOR DESIGNERS NORMA KING, Norma King Design MARIAN MARSHALL, Marshall Cummings & Assoiates KEITH RUSHBROOK, II By IV Design Assoiates MODERATOR HOWARD COHEN, Cohen and Alter Inorporated and formerly. President of the Design Exhange A leture hall in the new Toronto Convention Centre. A November afternoon. The panelists and moderator sit at the front of the room, faing an audiene of about two dozen design professionals. The disussion begins with a brief omment from eah panelist Opening the disussion, Marian Marshall relaxes the atmosphere a bit by inviting the attendees to jot down a few wor-ds that onnote style to them. Marian pr-esents different notions of style that form an overall meaning of the word for her: individual style (Palladia, KPMB, Andree Putman, and others), orporate style (Yabu Pushelberg), style as fashion, and historial style (style as an indiator of a time period). Marian warns against onfusing style with taste or lass. Paul Reuber faes the arhitet's style-paranoia head-on. "Why are we unomfortable with style?" he asks and adds, in mok response, "Style? My work is not about style, it is above style, it is art." Paul's explanation of arhitetural uneasiness with the subjet dwe lls to a great extent on style as fashion: "As arhitets and designers, we like to think that we are dealing in the world of foreve We make only relevant things, harged with meaning, wit and beauty. We do not work in fashion, beause fashion is fikle. But, make no mistake, arhiteture is fashion. It is urrently fashionable to deorate buildings with the remains of dinosaur arasses. But, like hairstyles, arhitetural styles will eventually end up on the ash-heap of styles past." Paul offers the optimisti view that future generations may thank us for our devotion to fashion. Our study of history is assisted by an examination of past preoupations: "If history is unknown, then style may be the only lue." But he also warned of the dangers of following fashion: "There is nothing worse than being aught with "IN MATTERS OF GRAVE IMPORTANCE, STYLE, NOT SINCERITY, IS THE V ITAL THING." Frank Gehry's Guggenheim Museum, Bilbao.. 0. V>

11 something that has just gone out of style, like hula hoops or smelly leftovers in the fridge. We an only hope that future generations an see the world in the same light that we experiened and might be moved to say, 'I an see where that seemed like a good idea at the time."' Keith Rushbmok prefers to disuss style in the sense of manner of exeution or personal style. He notes that "Our lients ome to us for style... but we at II By IV are always trying not to have a style" - indiating that the idea of transending style is as important in the interior design profession as it is in arhiteture. Adds Rushbrook: 'To have style is to be pigeon-holed." Shirley Blumberg pursues the idea of style-aversion and ehos the feelings of many arhitets and designers. "In all the intense years of pratie many issues have preoupied us about the expression of our work, and style has not been one of them. Approahing the work from the point of view of style implies a premeditated aestheti whih immediately narrows the onversation about design. I think that we're more interested in generating ideas that differentiate projets."('! In her summation, Shirley warns against self-onsious onsiderations of style with the words of Swiss arhitet jaques Herzog: "You not only have to fight against the lihes of arhiteture, but against the lihes of your own ideas. Nothing is more boring or stupid than to wake up in the morning, nai'vely onfident in what you already know." (2) Norma King's pmtfolio inludes many examples of the most temporary sort of interior design: model suites. She is onsequently the panel member most experiened with the onept of style as fashion. In Norma's work, trends are important beause her interiors are frequently short-lived. But in the exeution of her work, Norma prefers to onsider style as a manner of exeution. "Style is about great taste. The great style makers have tremendous intuition and tremendous onfidene. They just sense what is right for the projet." Don Shmitt adopts an indiret approah. Comparing two buildings, both art galleries, Don desribes the elements whih, in one building, onstitute the style that the other laks. Clearly, it is style as a manner of exeution with a deided aversion to style as deoration. Fot Don, a prerequisite of style is that it "give presene in the learest and most straight-forwat d way... Style does not have to do with applique or elaboration." Don felt that the Ydessa Hendeles Gallery, by Lett/Smith Arhitets aomplishes this to an exeptional degree, while the exhibition galleries at the Art Gallery of Ontario _(AGO) are haraterized by "endless elaboration, overly sweet details, omplexity, sugar-high followed by the rash... of disappointment.".: - The same room. A few minutes later. HOWARD (addressing the panel). If we saw your work, ould we reognize it as your style? KEITH. There are ertain projets that people know us for, espeially the most flamboyant - night lubs and things like that - but when you show them some of our offie or retail work, they find it shoking that it has ome from the same firm. DON (speaking more generally). As you mature as a designer, the personality of the individual inevitably emerges in an authenti t ather than an applied way. DON's use of the word "inevitably" hints that perhaps there is something inesapable about style, but SHIRLEY, while onurring, introdues the more arhiteturally aeptable word "voabulary." SHIRLEY When you put our photographs together, there's no question that it's a family of work and that thre is some ommon voabulary.' 3 l With referene to reognizable style, NORMA asks the other panelists how they feel about the work of :>SCARWILDE "VINCE LOMBARDI'S PHILOSOPHY: STYLE ISN'T EVERYTHING. IT'S THE ONLY THING." OSHKOSH AD,g il' 13 "-", "' " - 8 e e "' vi g ' " <0 ] - 1? <( - 0 a:

12 Rihard Meier, whose Getty Center in Los Angeles is being prepared for its Deember 16 opening. DON (drawing a distintion between voabulary and style). There's learly, through all his work, a onsisteny of voabulat y. The piees he uses and how he puts them together are within a very onstrained palette. Art galleries seem to fous the disussion of style. Pursuing the subjet begun with disussion of the Ydesso Hendeles and the AGO and now arried forward with the Getty Centet; HOWARD asks for omments on the Guggenheim Museum in Bilbao by Frank Gehry, refering to Herbert Mushomp 's New York Times review. I'! DON. One of the great buildings of the twentieth entury. What he's done is to slowly master a voabulary and develop the skill and working methods to let an inredibly personal and very strong approah emerge in a way that is not worn on his sleeve and that is not applied in the first instane, but really emerges from working through the projet. MARIAN. The most organi thing I've seen in years. Highly original. I don't think there's a Gehry style but that partiular building has amazing style. At this point, the disussion has learly shifted to style as a manner of exeution but the words "voabulary" and "style" hove been suffiiendy bandied that HOWARD is urious to know the differene between them. AN UNIDENTIFIED BUT ASTUTE AUDIENCE MEMBER. When you're designing, you're thinking in terms of voabulary. After it's built, someone omes along and says: "That's style." MARIAN. So voabulary omes first and style is the 1 esult of good voabulat-y? DON. Meier's work shares a ommon voabulary. Only some of the buildings have style. PAUL. Everyone li kes "voabulary" beause it suggests omplexity and intelligene. Style suggests, perhaps, intuition but when all's said and done, you'll be ategorized not for your voabulary but for your style. HOWARD's next hallenge to the panel is to have them omment on how the style of the spaes that they have reated might affet the way they are used. KEITH. We spend a lot of t ime up front finding out how a lient intends to use the spae. As an example of style and a ontroversy surrounding it, HOWARD refers to a Globe and Mail review of the intervention in Commere Court, by Zeidler Roberts Partnership, Arhitets, in whih the reviewer has taken a negative view of the addition beause it is unsympatheti to "I. M. Pei's style." HOWARD. It's an inredible disset vie to the publi's understanding of design if you're supposed to rejet it beause some reviewer doesn't like one style fitting with another. As a final question, HOWARD asks the panel if they think that there is a Toronto style. NORMA. No. KEITH. I think the ity has a definite style. There's really something going on in this ity. MARIAN. We are a osmopolitan ity. Our style is eleti. PAUL. Toronto is developing a style of its own. It's a "distint soiety" of tenaious multi-ethni urbanism and it's also an experiment. I'm very optimisti. SHIRLEY Toronto is like an adolesent ity. I think we're in quite a remarkable period. Also, beause we live at the southern edge of Canada, we're eleti: our work is drawn from many sout-es and so are our workers. Our ommitment to publi spae shows the kind of soial and ultural agenda we have. DON. We tend to be too self-depreating. There is a very powerful and distint ulture that is emerging from the design ommunity in Toronto. Our ity ombines eonomi strength with an inred ible soial onsiene. HOWARD. We started with a disussion of aesthetis, but our disussion on style has involved, by way of definition, many words: design onsious, soial onsiene, distint, admired, grounded, adolesent, eleti, multi-ultural, remarkable, optimisti, tenaious, tolerant, publi, and very urban. "TRY ING TO ADD STYLE IS LIKE ADD ING A TOUP WILLIA M ZINSS ER " PROPERLY UNDERSTOOD STYLE IS NOT A SED j UJ UJ l E :g " 3; <!: ::; " 8 g, e,5? 0 e 6:;; '3 0 - "5.s,.!' :::;:,g :r:.9-1 E u *

13 ... a.-...,... The panel has not served up a lear definition of style. During the ourse of the disussion, different definitions of the word are employed and sometimes hanged without notie, inseurities about it are addressed both diretly and indiretly, and several ways of approahing the subjet are explored. In the end, one impmtant onept emerges: fo1 designers, style is an extremely personal journey Note: The photographs that aompany this artile and the artile following hove been submitted by the panel partiipants at our invitation, to help support (or possibly refute) the points mode during the disussion. They ore, at the very least, exellent examples of urrent arhitetural and interior design pratie, whether or not you on impute any style to them. The photographs of the Getty Center, the Ydesso Hendeles Gallery and Commere Court hove been ontributed by the arhitets. The photographs of the Guggenheim Museum in Bilbao, hove been submitted by the Guggenheim Foundotion.< 5 > Gordon S. Grie, OAA, MRAIC Style. What a great word. Meaningful and meaningless at the same time. We an't preisely define it but we a ll strive to ahieve it. Books are written about it, magazines devoted to it, and those we admire have it. We at Perspetives had intended to bring some authority to the disussion of style as it relates to arh itetural pratie. We hoped that "Style Wars," (the original title for t his feature) would expose the whole nasty business of prevailing arhitetural styles. Is Post Modern dead? Did it eve1 atually exist? What about Deonst1 utivism? Whe1 e is it going, or has it all eady gone? Alas, most arhitets don't want to talk about style. Their reasons are solid enough. Style is not an appropriate preoupation for ontemporary arhitets. Good arhiteture transends style. There are many important onside1 ations to be add1 essed in working through an arhitetural solution and style is not one of them. Any subjet so gingerly evaded must be wo1 th examining, so we hit the books (and magazines) and even onvened a panel disussion. 1 '> Our disoveries were surprising: I.The meaning of the word is onfusing and so slippery that at t imes, it hanges impereptibly even during the ourse of a single sentene. 2. Although arhitets and designers may avoid using the word "style," the othe1 inhabitants of this planet (inluding arhitetural lients and arhitetu1 al uitis) want to talk about it all the time. 3. Al-hitets will disuss style, but only if they an replae "style" with other words. What follows is an assault on the mountain of information and misinformation on the subjet of style as it applies to arhiteture. "Style is t he visual synthesis of the elements, tehniques, syntax, inspiration, expression, and basi purpose. It is omplex and diffiult to desribe with larity." Donis A Dondis, A Primer ofvisua/ Uteray (Cambridge, Mass.: MIT Press, 1973) "Style, in the broadest sense of all, is onsiousness." Guy Kettelhak, quoting Quentin Crisp in The Wit and Wisdom of Quentin Crisp (NewYor k Harper and Row Publishers, 1984), p. 3 In my favourite ditionarfll, there are 34 definitions of "style"that an be distilled to four definitions that are relevant to arhiteture and design, and one that isn't. First, the one that isn't. Defi nition 19b< 8 >, "A partiula1 manne1 of life or behaviour," is the one most often enountered in popula1 speeh and most UCTIVE DECORATION ADDED TO A FUNCTIONAL STRUCTURE; IT IS THE ESSENCE OF A WORK OF ART." EVELYN WAUGH G- "Vi v.o 13 g 2 o> UJ! eo a: :3t 8 J1. e >2 ] 'o 6> vi. e :f '3 l : '&! - : \.> _v, ::::-

14 frequently onfused w ith the word's more onrete meanings. It is irrelevant to our disussion beause it is pu1 ely subjetive. Advertise1 s love it sine it an mean anything and always sounds good. Certainly, Jakie Kennedy had style, but so, in his way, did Ghengis Khan. Few arhitets or designers would objet to the word "style" being app lied to them in this ontext. But ask a designer about the syle of his or her work and a different response an be expeted: evasion, obfu sation or embarrassed silene. Why a1 e arhitets so troubled by a word that othe1 artists a1 e happy to disuss openly? To begin to understand this, we an isolate the four definit io ns of style that best apply to arhiteture: (i) Historial or Geographi Style (definition 2 1 ): "The manner in whih a wo1 k of art is exeuted, regarded as harateristi of [the individual artist or of his J time and plae." (ii) Style as Deoration (definition 14): "Those features of literary omposition whih belong to form and expression rather than to the substane of the thought or matter expressed." - see also "stylize" - "to onform (an artisti representation) to the 1 ules of a onventional style; to onventionalize.'' (iii) Style as Fashion (definition 25): "A partiular mode of fashion or ostume." (24b) "In style- splendidl y, showil y, aording to fashionable requirements." (iv) Manner of Exeution/Personal Style (defin ition I 3) "A writer's mode of expression onsidered in regard to leamess, effetiveness, beauty and the like." (definition 23) "Manner of exeuting a task or performing an ation or operation." Many of the OED definitions of"style" refer to writing and literature, but have been expanded by metaphor to inlude other art forms (the seond definition is a good example).there is a ve1 y good reason fo1 this. The Latin word "stilus" originally referred to a writing instrument, just as it does (with the spelling erroneously modified by medieval sholars) today. By extension, it ame to mean a method of wl iting.( J( IDJ Style is basi to the art of writing. As in some other art forms, it is the point of departure and to some degree the framework within whih the reative at takes plae.there are many analogies between lite1 ature and arhiteture, partiularly in the realm of arhitetural appreiation. In her book Literary Arhiteture, Ellen Eve Frank desribes the wo1 k of four autho1 s for whom literature is often an analogue for arhiteture. "Arhiteture... may stimulate reall of t he past by its style or harater: And as a reord, it may be read muh as literatu1 e is."(' 'l "Arhitets expliitly intended buildings to be symboli, to stimulate trains of assoiation, to be read."(' 2 l "Robert Harbison reads arhiteture as one would read poetry - for meaning."(ijj In arhitetural design as well, refuge is frequently sought in literary terms. The variety and prevale ne of these te1 ms is astonishing when one onsiders the enormous differenes between the reative produt of a writer and t hat of an arhitet. In an interview with Barbaralee Diamonstein in Amerian Arhiteture Now, Mihael Graves makes frequent referenes to literary terms in referring to his work (ital is mine). re: Snyderman House: " I thought that by using a standard language, I ould then put the poeti language against it and the ont1 ast of the two would be worthwhile. H oweve 1 it was one of those bui ldings that had very few readers."(' 4 l In the book's seond volume, an even stronger onnetion between a1 hitetural investigation and language is made by Jaquelin Robertson, referring to his partner, Peter Eisenmann: "His work was of an entirely different nature, investigating at a very deep level, ertain entral issues that related to struture - partiularly the struture of language, semantis - to arhitetural issues. Both of us were interested in linguisti philosophy:"( 15 l "THE ACHIEVEMENT OF A STYLE IS TO MAKE THE ENVIRONMENT RELEVANT TO DIFFERENT ASPECTS OF LIFE" KURT ROWLAND 8 e >2 l 0."! e. (j 8 5 e E >2 0 u g & :l' "STYLEI I I Ill

15 The omparison of arhiteture with literature in terms of style would be just a quaint anomaly if it weren't for one urious fat: when the word "style" is introdued into a disussion of arhiteture, the words "language," and "voabulary" spontaneously appear in its plae and the disussion ontinues as though nothing has hanged. In literature, language and voabulary are parts of style, not substitutes for it. Why are at hitets so keen to limit the disussion? As we wi ll disovet; the answer may lie in the fat that the definition of"style" applied to literature is different from the more perniious defin itions that are generally understood to apply to arhiteture. Literary style has dignity. Arhitetural style should but doesn't. "The great styles of the past allowed for the simultaneous exerise of both t hought and feel ing. The mathematial onvolut ions and spatial interpenet rations of the Baroque orresponded as muh to the rising sientifi spirit of the age as to its desire for a religion set in mystery." "Bernini didn't know he was Baroque." Kurt Rowland, A History of the Modem Movement (NYC: Van Nostrand Reinhold Co ) p. 7 Barbaralee Diamonstein, Arhiteture Now II, quoting Robert Venturi (p. 234) Chartres Cathedral is a Got hi building. The Canadian parliament bui ld ings in Ottawa are built in a Gothi Style. The differene is that the athedral's builders had no knowledge of"gothi Style;" they simply built in the best way they knew how. Christopher Alexander al ls this an "unselfonsious ulture, [in whih] there is little thought about arhiteture or design as suh. There is a right way to make buildings and a wrong way." < 16 > As arhitetural styles areted through history, there beame more and more right and wrong ways to make bui ldings. During the eleti Vitorian era, as John Ruskin noted, styles abounded: "A day never passes without... o ur arhitets being a lled upon t o be original, and to invent a new style... We want no new style of arhitetut e... It does not matter one marble splinter whether we have an o ld or new arhiteture." (I7J For Ruskin, the most odious "new style" was the Crystal Palae of 185 I, "the fi rst major esape from historial styles in arhiteture." < 18 > Today's arhitets must somet imes think that the last 150 years have ollapsed on them. Client s, laking Ruskin's erudition, frequent ly request that arhitets build in a partiular historial or geographi style, without any onsideration of the larger impliations of the style, or of the tehnial or geographial ontext. Some of our mot e afflu ent suburbs are rammed w ith suh buildings. In the best ases, the result is harmonious and evoative. In the worst ases, to borrow from Kurt Rowland's desription of the end of t he Vitorian era: "A visually sensitive arhitet and a visual ly sensitive observer had beome rarities... People were dependent on style as a rude means of ommuniation in whih feelings were indued by onsious and even verbal means rather than aroused by true experiene."< 19 > "Form fo llows funtion." Louis Sullivan, 1895, inter olio "Paul Rudolph's build ing at Yale and that dingy ex-shool of dentistry at Penn seem to suggest... that form not only does not neessarily fo llow funtion, but that it may, in fat, be the mortal enemy of the latter." Peter Blake, Form Follows Fiaso (Toronto: Uttle, Brown and Company. 1977), p. 16 If historial and geographial style represents the first IS AN ASPIRATION SHARED BY EVERYONE CONCERNED WITH MAKING THEIR MARK ON THE CONTEMPORARY SCENE." JOCASTAtNNEs 8,!? w ' e $,!? 6 w { ue "" "' w"".g "'8 a. 0. «f \.). " ::E 0!' a. 1i «J:.. ::E 8 of I.3

16 bete nair in the arhitetural style menagerie, the seond beast is even more frightening: style as deoration. In this definition, style is t he result of g1-atuitous ornamentation - things added onto the pul-est form of an objet or struture. Peter Behl-ens's Berlin Turbine Fatory of 1908 has been al led "the manifesto of funtional arhiteture."(20l It signalled the end of the long and glorious reign of deorative design in whih the Vitorian era had revelled. In 19 19, Walte1- Gropius amalgamated the Arts and Crafts shool and the al-hitetul-e department at the Hohshule fik Bildende Kunst in Weima1 to form the Staatlihes Bauhaus. In 1926, the shool moved from Weimar to Dessau, where their new headquarters allowed them to further explo1-e thei1- ideas of modern a1-hitetu1 e:" funtionality, eonomy... and the risp elegane of mahine-produed objets."' 2 'l The effet of the Bauhaus and its alumni, many of whom migrated to the United States, was profound. The dotrine of funtion over form was formalized and ingrained in the minds of suessive generations of a1-hitetural students and graduates. The idea itself was not new ("as old as the first pot that was eve1 made to hold water"' 22 >), but its reign over the design professions has been firm and long-lasting. Arhitets today who avoid the 1 ule "fol-m follows funtion" do so frequently at thei1- own peril; the response of ritis and design intelletuals an be swift and me1-iless. When it omes to disussions of style, it is lea1- that the Bauhaus tradition lives on. Style as ornament is the pel-version that purists in all design fields appear to detest the most. In the words of Augustus Pugin: "'There should be no featul-es about a building whih are not neessary for onveniene, onstl-ution, or propriety... The smallest detail should... serve a purpose."'' 2 'l Adolf Loos put it more suintly: "ornament is tantamount to rime."ch> "Therefore, when we build, let us think that we build forever: Let it not be for present delight, nor for present use alone." john Ruskin, The Seven Lamps of Arhiteture -The Lamp of Memory. X, p "Style sells things from tea ups to soap operas." joasta I nne Deorators' Diretory of Style, (London: Marshall Cavendish Books Ltd., 1987), p. 6 A woman I one knew had been man ied to a abinetmake! One night, in "one of his moods", he brought an axe into the dining room and redued the mahogany dining table to firewood. Frustration was the ause. One a fine abinetmaker, building furniture to last for generations he was now, through eonomi neessity, a builder of stage sets whose average lifespan may have been a few weeks. The value of permanene and durability had been eroded for him and he required that his fami ly share in his eduation. Ars brevis vita Iongo. Impermanene is possibly life's hal-shest reality. In an arhitet's aree1 the demolition of a building that he or she has reated is a sobering milestone. It's not the arhitet's fault property values hange, zoning hanges, a building's usefulness hanges, fashion hanges. Buildings don't last foreve1 But we (and our insurers) prefer to believe that they do. A little battel-ed perhaps, but the Parthenon is still there. Fashion is fleeting; arh iteture is not Designing with urrent design trends is just pessimisti. When "style" means "fashion", impermanene is implied. Oh, what the hek, a little piee of steel skeleton over the door won't hurt anyone. "AN ART STYLE IS THE SIGNATURE OF A PARTICULAR MAN AND A WINDOW ONTO THE AGE IN WHICH HE MADE IT." "' J! J! l :z: E E 1 >" z -e j ::2 ::2 - E '2

17 :... : -.. o : -," : ' -, o I P -ER s'ro N A. L:-,S T y\ E - THE A:R' H 'l T e..t u R E I 0..., A./ "Think of the wi llful forms of our own limelight-bound arhitets. The individual, sine his livelihood depends on the reputation he ahieves, is anxious to distinguish himself from his fellow arhitets, to make innovations, and to be a star." Christopher Alexander. No tes on the Synthesis of Form, p. 57 The last definition of style is also the most pervasive: style as a manner of exeution or personal style. Everybody has a personal style whether they want it or not. There are people whose determined efforts to avoid style has reated an endearing style all its own. As we wi ll see, it is an important element in other art forms, allowing artists in those disiplines, unlike at-hitets, to disuss style openly and proudly. But, in a1-hiteture to intentional ly inflit your style on your work, in Shirley Blumberg words, "implies a premeditated aestheti whih immediately narrows the onversation about design." "Th us, the artist is born prisoner of a style - whih, howeve1; ensures his fi-eedom from the world of appearanes:' Andre Mah aux,the Voies of Silene, (NYC: Doubleday & Co., 1953), p. 315 "Style is a way of beginning things that w ill make things that happen later neessary." Mike Niholls, in onversation with james Lipton; Inside the Ator's Studio; broadast on Bravo, 1997 Arhiteure, painting and sulpture are essentially stati or non-linear; able to be appreiated from multiple viewpoints in almost any order. Literature, poet ry. drama, film, and dane, are linear art forms, presented in a prearranged sequene. An important differene is that the non- li near arts allow for many points of view, in almost any sequene. In linear forms, the travel is rigidly ontrolled and, with few exeptions, one-diretional (one not mally reads a book fmm beginning to end). In t he lineat art fo1 ms, the audiene must be somehow prope lled through the expet iene, and not give up half-way. "Style" is the propellant. In musi, style an be equated to interpretation. It is never a problem that many musiians start out sounding, or trying to sound, like other musiians. It takes time to develop a style. "To have a sound and style that are unmistakably your own is a prerequisite of greatness in jazz. Het e, as is often the ase in jazz, an appat ent paradox is at work: to sound like themselves, musiians begin by trying to sound like someone else."l' 5 > In dane, style takes on layet s of meaning. "All horeogt aphers try to invent new styles and even if a traditional style is used, rather than merely rearranging the presribed ontent, the horeographer wi ll pmbably take elements from the traditional style and embrae them within a style more relevant to the horeographer's own time."!"> In film, as the Mike Niho lls quotation makes leat; style is an essential ingredient, but the1 e are qualities of film-m aki ng that onnet it mot e d it etly to other ati fmms. "The pmblem is to manipulate and shoot unstylized reality in suh a way that the result has style. This is a proposition no less legitimate and no less diffiu lt than any pmposition in the older arts."l' 7 > "It might be said that a film, alled into being by a ooperative effort in whih all ontributions have the same degree of permanene, is the nearest modern equivalent of a medieval athedral." 1 '"> In writing too, as has been pointed out, style is the BRU CE CHATWIN "AN EXCESS OF DECORATION IS TO BE AVOIDED... STRIVE AFTER CHASTITY OF STYLE." ARTHU RSCHOPEN HAUER

18 loom upon whih the sto1 y is woven. "You will reah fo1 gaudy similes and tinselled adjetives as if'style' were something you ould buy in a style sto1 e... The1 e is no style store; style is organi to the pe1 son doing the writing."< 29 l "I would say that the style is the subjet itself." <Jo) In the visual a1 ts, a onise explanation of style is offered by Irving Lavin: "Style -the 'visual ness' of the visual arts - is, afte1 all, the key issue in the legitimization of art histo1 y as an autonomous field of enquiry."' 3 'l If you're wondering what all this has to do with arhitetu1 e, you may be forgetting that arhitetu1 e is, among othe1 things, an art - possibly the "the greatest oneivable work of ari:"< 32 l and that style is a part of art. whethe1 in the mind of the reator or the eye of the beholder and whethe1 or not either of them wishes it to be. By onsidering othe1 art forms, it is just possible that arhitets may ome to aept style as a subjet to be aknowledged and disussed. "In its pmper sense, as a oordinator of thought and feeling, style p1 esupposes not only a visually sensitive arhitet, but also a visually sensitive observer:" Kurt Rowland, A History of the Modem Move men" p.b It's lea1 that in the a1 t and pratie of arhiteture there is already enough to think about. Conerns of style may only se1 ve to amplify the obstrution to a lear funtional design solution. But. we also know that elements of style, used with wisdom and experiene, an ommuniate a sentiment from the arhitet to the user/observer that funtional exp1 ession an not. It is also apparent that. to a surprising deg1 ee, style is present in our reative output whether 01 not we intend it. Good arhiteture transends style; but it an also be said that style an sometimes transend mere a1 hiteture. Style as deoration, style as indiator of time or plae, and style as fashion are overworked onepts. We are 1 ight to be mistrustful of the word "style" when it is used in these senses. But the design professions may not be totally blameless in perpetuating these ideas of style. Far too many people - lients of arhitets, users of buildings among them - believe that style is what design is all about and, to a degree, they are indulged in this misoneption. After all, arhitets are only human. To paraphrase the late Toronto arhitet Harry Kohi:"You put in a fi1 m pith for aesthetis, then get on with the job." Style as manner of exeution is another matter: "Creative style", "style of thinking", "manner of approah", "personality"- all it what you like - attempts to avoid it or to loak it in more respetable jargon are futile and ounter-produtive. All designers have style and should be glad to advertise it. If, as an arhitet, you an withstand the onslaught of style-razed would-be-lients and reate a body of work that is unique, well-regarded, funtional and enduring, you have defined style in the only terms that matter: your own. Gordon Grie is editor of Perspetives Brad Culver We're in the residential design business. We hate to make generalizations but, aording to our very unsientifi sul-veys, it appea1 s that more people prefer houses that a1 e "familiar" and "expeted "to those that are "unfamiliar". In other words, given a hoie between a new house that looks like a baronial stone astle and one that's a flat-roofed glass box, most folks, no matter how rih or sophistiated, would rather have the astle. "EVERY SYLE,IN FACT, CREATES ITS OWN UNIVERSE" ANDRE MALRAUX "STYLE IS FOR THE WRITER AS FOR THE PA INTER, A QUESTION, i "- 21 "" g "' " -! a B "', 0 2 : >-" < E 0! - "'

19 W hether you live in an o ld established neighbourhood or in a new subdivision, if there's a new house being built on your street, one t hing is probably for ertain: it ain't a "modern" house. ' 33 l If you look through most arhitetural magazines or onsult lists of arhitetural design award winners, you 'll see that most published ho uses are "modern". Yet, the majority of housing lients and most house buyers don't want modern, they want "traditional". W hy do l ients want houses that don't win design awards? We know of many arhitets and designers who have designed beautiful "historiist" houses. Even if it is not your "style preferene," yo u an't help but admire the use of sale and materials in any beautifully designed "traditional ly styled" house. We say: Reward t he skill, not the style. Give 'em a design award! Another mystery to us is: arhitet's "i ndividual style" - those distintive ho uses that tell us plenty about the arhitets but not a lot about t he lients, the owners, t heir fami lies, or pot ential resale values. We've been in the ho using biz for a long time and to be honest, we haven't yet met a Patkau, Makay-Lyons or Meier house that we haven't admit ed. All different styles, but we adm it e t hem all. Doesn't Patkau ever do a good old-fas hioned "Tudor"? Won't Meier ever design a Nova Sot ia saltbox? W hy not? What's the big deal abo ut "individual style"? We're not so worried about style. Our own portfo li o is an eleti mix of many experiments and ideas. We like our houses to be "lient speifi" in style. Form may fo llow funtion, but fo r us, "style" follows our lients' dreams, ambitions, memories, budgets and neighbourhoods. We like "styles." We like lients, ne ighbourhood ues and neighbourhood fabri. We like responding t o t he site. Styles hange and reyle. We're not design ph i losophy hardliners. We believe t hat arhitetural "styles" should reflet many things, inluding the times. Brad Culver is on intern arhitet in Toronto. His firm is Culver + Henderson Building Design In. NOT OF TECHNIQUE BUT OF VISION MARCEL PROUST ( I) Put another way, "If the manufature of an objet, the building of a house, must be preeded by a vision of its style,... style is the dr ess rather than the soul of the environment. We onentrate on manners rather than on harater:"- Kurt Rowland, A History of the Modern Movement (NYC: Van Nostr and Reinhold Co., 1973), p. 7 (2) Rober t Venturi quotes Jean Labatut referring to this phenomenon as "'r eative fo r-getfulness'... to forget yo ur previous theories and your preoneptions.'' - Barbaralee Diamonstein. Amerian Arhiteture Now II ( NYC: Rizzoli,l985), p. 232 (3) In an analogy to literature, designers hoose the word "voabulary" as being distint from "style.'"'voabulary" possibly refers to the piees you use and "style" to the way you use them. In literature, as in ar-hiteture, voabulary (or dition) is an element of style, so the use of the wor d "voabular-y" does not avoid a disussion of style, but merely postpones it For designer s, "voabulary" is the prefer able word beause it sounds objetive. is easily divisible and needs to be explained. ( 4) Herbert Mushamp, The Mirale in Bilbao, NYTM Sept. 7, 1997 (5) See redits aompanying photographs (6) See Style - A Personal Journey (7) james A.H. Murray et al, ed., The Compat Edition of the Oxford English Ditionary (London: Oxford University Press, 1971) Vol. II, p (8) Ibid. Numbers given in the text orrespond to definition number s in the OED. (9) Eri Partridge, Origins: A Short Etymologial Ditionary of Modern English (NYC: Greenwih House, 1983) (I 0) In The Amerian Language, (New York: Alfred A Knopf, 1938), p. 384, H. L. Menken desribes an attempt by Noah Webster to reform the spelling to "stile". Many ofwebster's spelling reforms were suessful; this one wasn't. (I I) Ellen Eve Frank, Literary Arhiteture (Berkeley and Los Angeles, Cal.: Univer sity of California Press, 1979) p. 246 ( 12) Ibid., 257 ( I 3) Robert Harbison, The Buil the Unbuilt and the Unbuildable (Cambridge Mass.: The MIT Press, 1994) from the bak over blurb by Nany Levinson, Arhitetural Reor d ( 14) Barbaralee Diamonstein, Amerian Arhiteture Now (NYC: Rizzoli, 1980) quoting Mihael Graves, p. 49 ( 15) Barbaralee Diamonstein, Amerian Arhiteture Now II (NYC: Rizzol i, 1985) quoting Jaquelin Robertson, p. 73 ( 16) Christopher Alexander Notes on the Synthesis of Form (Cambridge, Mass: Harvard University Press, 1964) p. 33 ( 17) John Ruskin, The Seven Lamps of Arhiteture (London: Cassell and Company; 1909) The Lamp of Obediene. IV, p. 28 I ( 18) Nikolaus Pevsner. The Soures of Modern Arhiteture and Design (NYC: Praeger Publisher s, 1973) p. I I ( 19) Rowland, 7 (20) Gerd Hatje, ed., Enylopaedia of Modern Arhiteture (London: Thames & Hudson, 1963) p. 14 (2 1) Vittorio Magnago Lampugnani, ed., Enylopedia of 20th Century Arhiteture (NYC: Harry N. Abrams In., 1983) p. 36 (22) Donis A Dondis, A Primer of Visual Literay (Cambridge, Mass.: MIT Press, 1973)p "In De oratore, Ciero soliits ar hiteture as one of the many analogues for orator y, demonstrati ng that 'the things possessing the most uti lity also have the greatest amount of dignit(' Frank, p. 249 (23) Pevsner. 9, iting Augustus Pugin - The True Priniples of Pointed or Christian Arhiteture (24) Gillo Dorfles, Kitsh, The World of Bad Taste (NYC: Universe Books, 1973) p. 262 (25) Geoff Dyer. But Beautiful, (NYC: North Point Press, 1996) p. 187 (26) Jaqueline M. Smith-Autard, Dane Composition (London: A & C Blak Ltd., 1992) p. 81 (27) Erwin Panofsky, Three Essays on Style (Cambridge, Mass.: The MIT Press, 1995) p. 122 (28) Ibid., I 19 (29) VVIIiam Zinsser; On Writing Well (NYC: Harper Co llins Publishers, 1976) p.20 (30) Nir ad Chaudhuri, "My Hundredth Year;" Granto 57, Spring, 1997 (3 I) Panofsky, 3, Introdution by lr ving Lavin (32) Frank, 214, iting Henry James, Transadanti Skethes (33) "The one style that is notably absent from the market is Modern. The same people who are perfetly happy to fill their open-plan interior s with Bauhaus knok-offs have r esisted ontemporar-y design when it omes to the exterior of their homes." - Witold Rybzynski, Arhitetur-e; August,

20 rd Gordon Grie, OM, MRAIC with notes supplied by Catharine Tonner, B. Arh., OM "". u Q. Henr y Sears spent the first week of January 1997 dir eting a galler y design session at the Adler Planetarium in Chiago and attending a meeting for the new Ojibwe Cultur al Centre on Manitoulin Island. The seond week found him in Dublin starting up a pr-ojet with the National Museum of Ireland; the thir d in his offie in Tomnto; and the fourth in Vanouver on the faility upgr ade for the Vanouver Museum and Paifi Spae Center He ended the month in Albany at the New Yor k State Museum. This energeti shedule demonstr ates both Henry's passion for his wor k, and the need to ast a bmad geogr aphi net when you have a speialized pratie. Henr y is prinipal of Sears & Russell Arhitets Ltd., whih inludes both arhitetural and onsulting praties, eah foused on pr-oviding planning and design servies to museums and ultural failities aross Canada, the United St ates and now Europe. A medium-sized fir m with a pr-ofessional staff that inludes arhitets, interpretive planners, exhibit designers and industrial designers, Sear s & Russell earns about half of its r evenues from wor k in the United States. The fir m's fir st projet outside Nor th Ameria was the development of a Master Plan for the National Museum of lr eland. "It was an honour to have been seleted, but the pr-oess is still somewhat of a myster y," says Henry Unlike Jonathan Kearns of Kearns Manini Arhitets In., whose Belfast Dokyar-ds pr-oposal was featur ed in last autumn's Per-spetives, Henry has no previous ontats with Ireland and speaks no Gaeli. The firm submitted a detailed proposal to a "Ter ms of Refer ene" whih had been ir-ulated to a number of inter-nationally known museum speialists, "And then, one day, we r eeived a ontr at in the mail. Typially, we would have attended an interview, but it is ver y gr atifying to have been seleted on the basis of our r eputation. The seletion pr-oess also onfirmed our sense that Canadian pr-ofessionals ar e, in gener al, highly r egarded both in t he US and over seas." The pr-ojet itself was even more intriguing. The National Museum of Ireland (NMI), founded in 1877, is the sole institution harged with the preservation and exhibition of the histor y of Ireland thmugh artifats. Overr-owding had limited the opportunities for exhibiting, pr eser ving and managing the Museum's important olletions. In 1993, the lr ish Gover nment deided to develop Collins BarTaks, a large,. soon-to-be-

21 deommissioned military installation within the entre of Dublin, as a national museum faility. Sears & Russell Consultants was r etained by the museum to pr-epare an overall plan for this transfor-mation, in the form of a Funtional Brief. The or-iginal buildings at Collins Barraks were onstruted between I 70 I and The site is lar ge - about 56,000 square metres in area - and ontains a total floor area in the historial buildings of some 25,000 squar-e metres. The overa ll appearane is of handsome substantial lassial str-utures for-ming attr-ative open squares, whih provide a strong sense of visual order. The histori ambiane provides a starti ng point for a potentially dramati and attr-ative new museum faility. "The hallenge," in Henry Sear-s's wor ds, "was to inorporate the tehn ially demanding requirements of a ontemporary museum into the existing histori ontext appropriately and sensitively. The Master Plan needed to respond to the histori qualities of the site, wh ile st ill making the kind of interventions whih will enable the omplex to oper-ate effetively as a museu m." The hallenge for Henry and projet manager Catharine Tanner also inluded a gruelling ten months of air travel, a fu ll day eah way. largely on weekends. Subsequently Sears & Russell has been retained to pr epar e both an Exhibit Strategy for Collins Bar-raks, and a separate Funtional Brief for the Irish Folklife Division of the National Museum. Like many arhitetural fir-ms in the nineties, Sears and Russ.el has developed a very speialized expertise. In order to develop and promote that exper tise, it is neessary to appeal to a global market "Nineteen ninety-seven has been very interesting, and may well have been a pivotal year for Sears & Russell," r eflets Henry. Working in Ireland seems to have opened a world of possibi lities for the firm." Catherine Tanner is an assoiate with Sears & Russell Arhitets Limited and Sears & Russell Consultants Limited Gordon Grie is editor of Per-spetives. Top left: One of the doorways to the east range of building in Connolly Square at Collins Barraks. Left: Part way through their work on Collins Barraks, Sears & Russell were retained to develop a Funtional Brief for Turlough Pork House near Costlebar in County Mayo in the west of Ireland Turiough Park House is a pituresque ountry estate whih will be restored and redeveloped to exhibit and house the Irish Foiklife olletion of the National Museum of ireland. Below: A historial drawing of

22 and environmentally onsious way. All strutural wood is either- r-elaimed or- an end-use (wood/hip) produt, glazing is triple low-e argon-filled, and the fir-eplae is a sealed wood-burning unit suitable for- R2000 onstrution. Fauets, toilets and applianes were seleted for extra-low onsumption harateristis. [also] a hallenge for ar-hitets." These hallenges, stated in Phillip Carter's letter to Perspetives, is one whih has been handsomely satisfied in two reent Car-negie library renovations by the firm Phillip H. Carter Arhitet. Bond Street house, blok model. Zok Ghonim Arhitet/Planner Going Up The latest produt oftoronto firm Zak Ghanim, Arhitet/Planner, the playfullydesigned houses at I and 3 Bond Ave. have been said to "appear to be falling down" (Pat Brennan, New in Homes, The Toronto Star, November 29, 1997). In fad, they are just going up and, if you were near a television set in the early morning hours of January 5, 8 and I 0, and tuned into Home and Garden TV, you would have had the opportunity of seeing the onstrution take plae. More segments are planned to further doument the er-etion of these two unusual homes. On the Go Chamberlain Arhitet Servies Limited of Burlington urrently has two projets on the go at Pearson Internatio nal Air-port. One of these projets is the new Crash/Fire/Resue Faility loated at the north end of the airport. The other is the new Air Traffi Control Tower Complex, with onsultants Arhitedura of Vanouver, B.C. Aviation faility design is one of Chamberlain speialties. Currently, master plans are being developed for Hamilton International Airport and Waterloo Airport. Carnegie Libraries "One of the problems with Carnegie Libraries is the diffiulty in making their entranes, and thus the library, barrier-free. A seond issue with small-town libraries is a ritial lak of funds. To ahieve a modern library while respeting the integrity of the older struture is Above right: 'The Beah", Ellis+ Pastore Arhitets In. Right & below: Compbellford Seymour Library. interior and exterior. Phillip H. Corter Arhitet. Bottom: The Toby and Henry Bottle Development Centre, Reih and Peth Arhitets in. "" Welome Perspetives is happy to welome Mar-ia Wubben, the OM's new Administrator, Communiations. Maria's bakgr-ound in working with arhitets and in marketing will ertainly prove to be a geat asset to the OAA. Readers will see the benefit of her ounsel in this and future issues of Perspetives. Welome aboard, Maria! > a. 0.. Northwoods Energy Conservation "The Beah," a single family residene reently designed by Ellis + Pastore Arhitets In., of Sault Ste. Marie ombines rugged materials in an aesthetially pleasing, energy effiient

23 _ In the Campbel lfo rd Seymour Library, a new barrier-fr ee entrane was installed on the fianking street, while the more lassial existing front entrane, "largely destroyed by renovations," was restored to provide a front door to the ommunity rooms. In the ase of the Woodstok Publi Library, an "odd agglomeration" of strutures had greatly enumbered one of Ontario's finest Carnegie libraries. A 25,000-squarefoot addition was required, but a onstrution budget of $ 1.8 million was all that was available. The solution involved some demolition, some alteration, and a areful response to the arhitetural quality of the existing building. The projet was ompleted for an average of $72 per square foot for new and renovated floor spae, thereby meeting the library's tight budget Developmental Centre The first of its kind in Canada, The Toby and Henry Battle Development Centre for developmentally hallenged adults has reently been ompleted by Reih and Peth Arhitets In. The building is designed as a flexible she ll for the development of programmes to suit the lients and provide failities to assist in health, welfare, and self-esteem in the ommunity. The Reena Foundation, developers of the projet, is a pioneer in developing new approahes in residential ar e for lients and families. No Projet Too Small Taking the idea of small projets (Perspetives, W i nter 1997) to a logial extreme, St. Catharines' 2M Arhitets (M ihael Mir yneh and Luigi Marantonio) have won the Ba ll 's Falls "For the Birds" design ompetition with the 500 I Bird Plaza, a high-rise bir d house and garden appliane. The entr ies were judged by humans and, aording to the judges, attrativeness to birds was not a onsideration. Florida Award Eberhard Zeidler and Mike Nelson of the Zeidler Roberts Partnersh ip Arhitets oftoronto were in West Palm Beah, Florida, in Deember to reeive the Florida Design Arts Award for the The Raymond F. Kravis Center for the Performing Ar ts. In Future Issues Summer 1998 Design Awards Issue - submission deadline: Feb. 13, 1998 Fall Smart Arhiteture: "intelligent" buildings in an intelligent ontext - submission deadline: june I 2, 1998 Winter Arhitetural Digressions: new roles for arhitets in Ontario - submission deadline: Aug. 28, 1998 Speialists in Constrution Management Ltd.lll1 512 Rae King Bros. St. E._, #103 Toronto, Ontano Tel. (416) Fax (416) A St4tued. ahd s v H4tattau- /M-'8 ahd eue.te SAi!?A Ail S7U7YltJ Tel: (416) Fax: (4 16) Take a look! web.idiret.om/-saraha/1 For over I 0 years, Arhitets and Designers have seleted the award winning MiniCAD. MiniCAD 7 lets you reate everything from working drawings to lient presentations, materials lists, and ost estimates. Order diret from PaXar Tehnologies MiniCAD 7: The only thing small is the D1..,tnlmtd 111 C.m.ul.t h) t'.oxao 'teduuotugies Cmt Dtehl Graphsoft In l'hnu- 1)() 474 XIJ7S - l.t\ 2sii 47-1 X97(l SIJII\\,m. tur Julf,} "(',\I> l'lllk...,tnn l notl p.t\.tr0tnmtltllll o: t l llt!macinldsh:windo\vs. The standard of raftsm Heather& L is a multi-disiplinary reprodution of exten orary roofing. ship for more than 70 years. of speialists in historial restoration, sheet metal omamen as well as slate, bo

24 00 "' "' Cl. "' " > Form follows fition: "three on the bak is better" John Boboljik "Form follows funtio n." Louis Sullivan, 189 5, et. a/. On the fit"st day of lasses in my fifth year, the design studio pmfessor stmde into the mom and without so muh as a "Hello, lass, my name is... " or "I tt"ust you all had a good summe.. " Ol" any othet" petfuntory aademi greeting, began the yeat" with, "If you should design a building in this lass and a sign is needed to show where the fmnt door is, you will fail this ourse!" His point was: a fmnt door should funtion as a fmnt door. If we didn't agt-ee, he would be happy to show us the exit doot His dissertation had a profound effet on us. Years later I an still hear the eho of his wot"ds.the front door is not merely the portal through whih one passes from the exteriot" to the interior (and vie versa), separating the defensible spae fmm publi spae, but SPEC ONE() SPI&III&AIIOM SIRVI&IS INC. "Quality speifiation servies, serving Arhitets in Toronto and surrounding area. n David W. Pinkney Rsw, es President Tel.: 519,83H341 Fax: 519,833, dpinkney@mgl.a Website: dpinkney 3 Erinwood Drive, Erin, Ontario NOB 1TO an element that is to be explored - "a elebt-ation of entt"ane" my business partnet- alled it. Apart from its appearane, what takes plae in the spae immediately inside the entry? In a residene, fot- example, whet-e do the outer oats, boots, hats, gloves and keys go? Is thet-e "milling spae?" What at-e the views into the house fi"om th is point? Does it pmvide a sense of seurity, and so on. All this fot-"just the doot"" and all the rest of the building yet to design! In "fot-m follows funtion," the expetations of"funtion" an generally be measut-ed in some aeptable manner (fm in a fan, lumens of light or defletion of a beam). "Form," on the other hand is pretty subjetive. I reall taking a tout- of the revolutionat-y At-t and Arhiteture building at Yale one homeoming weekend in the early '60s. The toutguide (a senior student following a sript) explained that the dutwot-k and plumbing, by being exposed and not hidden behind walls and eilings, wet"e expressions of honesty and were CHECKMATE PHOTOGRAPHIC Colour & Monohrome plotting from Autoad,Pholoshop, lllustrator,q uark,andcoreldraw. Largeformatolourdisplayposters. Coloursanningsenieforlargeoriginals. Colourop)ing, originalsuptoj6"wbyanylength. Traditional high quality, b & w photographi reprodution TEL:(416) FAX:(416) robertj@the-wire.om Call for your free opy of our trade atalogue on bath & kithen fixtures & aessories. (416) ext elt @elte.om BROADLOOM, _,,.._.,"""'""'" & CusroM DESIGN RuGs, SUMMERHILL HARDWARE, LINENS, FuRNmJRE & AESSoruES, LIGHTING, GINGER'S BAlli & KITCHEN FIXTURES AND BOliilQUE thet-efot"e "beautiful"! About half of the audiene, mainly pat"ents and alumni, nodded in ovine agt"eement (farm follows funtion) but the othet- half was disturbed by this logi. A voie from the bak of the rowd asked our guide whethet" this line of reasoning extended to other things. For example, was it to be onsidered beautiful to see the innat"ds of an animal one they wet"e not hidden behind the skin? A red-faed senior tout- guide stammered something Ol" other (obviously not in his st-ipt), but the point had been made. "Beautiful" is a subjetive word. In the marriage of fot-m and funtion, not all of the hildt-en are ute. Muh more t"eently, "form follows funtion" reared its head in a onversation I had with an elderly homeowner who was about to have her house re-roofed. She had obtained a quotation from a mofetwho made sevet"al reommendations regat"di ng a variety of options (new sheathing, types of shingles, et.) To her enquiry about mof ventilation, the roofer stated that he ould install one vent in the front of the house and one at the rear (the house was a semi-detahed with gables front and reat-) but his preferene was to plae tht-ee vents in the t"eat" gable and none in the front. This, he said, would look a lot better! The homeowner's instints told het" that something was not right, even though an "expert" (whose expet"tise in this ase ought to have dwelt more on funtion and less on form) told her othetwise. She knew fmm experiene that in generating ross ventilation, opening two windows in the same wall of a mom did not funtion nearly as well as opening windows in opposite walls. Fut"ther refletion suggested that if thet"e were a need for vents at all, thet"e must be some way of determining what size the vents should be to do what they were supposed to do. Full mat"ks for good thinking! She tout-ed the neighbourhood on foot and by ar (Fot-d follows funtion) looking at other houses to see what they had done. She also alled on the muniipal building depat"tment to enquit-e if they ould shed any light on her roofet-'s proposal t"egard ing the venting of the atti spae. Of out"se they ould, and both form and funtion were onsidered. You don't have to be an expet-t to know that things should work properly. In front doot-s, roof vents, dutwork, or anything else, let fot-m follow funtion or funtion follow fot"m. Don't settle fot" less than both.

25 Buyer's Guide and Trade _Index Aessories Columns Elte Carpets & Home,Tomnto Colonial Pillar s In., Stoney Creek Aoustial Engineers Computer/Network Consultants Valoustis Canada Ltd., Rihmond Hill Martin Carrera,Toronto Arhitetural Firms Conrete Blol< PBK Ar hitets, Toronto Rihvale York Blok In., Gormley Arhitetural Glass, Art Glass Constrution Management Sarah Hall Studio,Toronto Rae Bmthers Ltd.,Tomnto Arhitetural Sheet Metal, Roof & Restoration Contrators Heather & Little Ltd.,Toronto Auto Repair Jeremy's Auto Repair Ltd.,Toronto Autoad Courses Southern Alberta Institute oftehnology Calgary.AB Arhitetural Design Software Advaned Relational Tehonology Coeur d'alene, ID... 7 CAD Paxar/Diehl Graphsoft,Vitoria, BC CAD Solutions Autodesk Canada In., Hamilton Critial Illness Insurane Seaboard Life lnsur ane Company Vanouver, BC Deorative Stone Canadian Natural Stoneworks, Cambr idge... 8 Finanial Planners Midland Walwyn Capitalln.,Tomnto Flooring Guildraft Floors, Toronto Information Systems AMR Information Systems ln.,tomnto Metal Ceiling Systems Bevel Stamping Co. Ltd., Downsview Mutual Funds Fidelity Investments, Toronto....S Non-Shrinl< Grout Rovoan In., Etobioke Patterned Conrete & Conrete Finishing Patterned Conrete Ontar io Ltd. North York Photographi Servies Chekmate Photo Centre Ltd., Toronto Roofing IKO, Brampton Roofing Shingles Canada Speialty Produts, Sarborough... 2 Rubber Flooring Systems Caledon Tiles & Constrution Ltd., Brampton... 8 Sanning Servies Mission Consultants, North York Speifiation Writing Servie Spe One Speifiations Servies In., Erin Windows Ander sen Windows, N orth York Window Manufaturer Windoworld Industries In. Newmarket Windows NT 4.0 Professional Consultant System Installation Network Administration (interoperability with Novell) Network with Windows 95/98 (lient/server) Seurity MS Internet Information Server (lis) system intallation Contat Martin Carrera (416) or jarrera@globalserve.net RESIDENTIAL AND COMMERCIAL FLOORING The best deal... The best servie... GUILDCRAFT FLOORS 702 WESTON RD. TORONTO, ON M6N 3R2 PHONE (416) FAX (416) Clean, European styling. Open-ended design versatility. Combine them wi th the performane advantage of solid upvc-resistane to salt air orrosion, energy effiieny and low maintenane. Than add a host of thoughtful design featu res. Together, they make Windoworld's Tilt & Tum system a perfet hoie for replaement or prime installation in ommerial and residential projets. For more information all us Today. \\C Windoworld Industries In. Manufaturers of Duality Arhitetural Doors, Windows & Solari ums Ste llar Drive, Unit 7, Newmarket, Ontario L3Y 788 Tel: (905) lnwatts: Fax: (905) " > u "

26 On The Humane Village By Elisabeth Ohi, B.E.S., B.Arh., O.A.A. While The Humane Village posed a hallenge for- us all, it did not offer- the r-eassur-ane of speifi solutions for- the design of the material wor-ld in the oming year-s. Instead, it suggested that it was up to our- imaginations to reate the solutions r-equi red for the futur-e and to design the onnetion of the present with this future, r-ather than allow the solutions of default to guide us as the industrial effets of effiieny and monetary profit had in the past As expr-essed by the speakers, the problem is a mater-ial one but the under-lying solution does not exist solely as a mater-ial reation. Aording to author Paul Hawken, our- urr-ent 4l!!NG tt a Mission Group Company Large format sanning and raster to vetor onversion Autoad drafting, 30 modeling and rendering Sanning, indexing, bakup and retrieval systems Drawing, douments and images management solutions Phone: (416) Ext. 28 Fax: (416) sanning@missionin.om eonomy is based on the lineartake-and-makewaste system of industr-ialism whih falsely por-tr-ays effiieny. It is based upon using mor-e resour-es to pr-odue mor-e mahines, using fewer- people in or-der- to pr-odue profit, ther-eby der-easing the value of human labour identity and self esteem. Aording to the laws of ther-modynamis, it is less than one perent effiient and ninety-three per- ent of the r-esoures ar-e wasted. In a wor-ld wher-e we are losi ng our- soial str-utures and natur-al resour-es, we need to str-ive for a wor-ld whih uses ninety-five per ent less of ourr-esou res and mor-e people. Rabbi Mihael Ler-ner pointed out that this r-eates, in effet, two onfliting for-es in our- daily lives: COLONIAL PILLAR INC. A Tradition of Quality Visit one of our authorized dealers Stoney Creek, On Tel: (905) Love and Solidar-ity vs. Domination and Control. In the market soiety, we jostle for position, manipulating and dominating our- fellow wor-ker-s, selling our-selves and seeking appr-oval from employer-s. In our- searh for monetar-y suess, we lose touh with our- spir-it and our r-elationships with family and friends. As the saredness of love and fr-iendship reedes, we ar-e left with a feeling of inseurity, but we ar-e lead to believe that money and power will buy us more time for the spirit, more appeal; that our- unhappiness is due to a lak of money and is aused by other-s. In essene, we are sold a vision of the wor-ld whih states that we should be looking out fat- our-selves r-ather than ar-ing for eah other and the envir-onment Marilyn Waring desuibed the dangers of reating heavy-handed limits, definitions and border-lines to solutions whih require subtle omplexity. In or-der- to pr-eser-ve t he r-esoures that we have, inluding those whih we may take for- gr-anted, we must listen to and r-ely upon the experiene of all. For sustainability to ou nothing should be edited from the equation pr-ovided by the deisions and solutions in the wor-ld of eonomis, inluding elements, im. Miroso!t' ; I Mien bo a. "' FINANCIAL MANAGEMENT SYSTEMS WILL BE UNVEILING IN THE NEXT TWO YEARS, READ THIS. It's easy to see why Sema4 has always been the industry's leading finanial/projet management system. Now, with version 8.0, we're giving the ompetition something new to work towards. A true 32-bit appliation, v8.0 is our most advaned offering ever. It's year 2,000 ready and features a dramatially improved interfae. Not to mention a host of exlusive features like the ability to reate ustom menus from any part of the program and view and edit time and expenses by projet in one sreen. Sema4 vb.o-it's good news for everyone but our ompetition. To see how it an work for your business, all PAGEL HIGH QUALITY GROUTS Pre-mixed Non-shrink Self-leveling Cement based Great flowability Controlled expansion Very high early and final strengths More than 25 years of international experiene Finally available in Canada from A ROVOCAN INC. For further information please all: Roland Voegele Tel/Fax: (416) Cellular: (416)

27 eosystems and all other fator-s neessary to all life on ear-th. Author- Hazel Hender-son, told us that the pr-oblem is not the lak of wealth but its distribution. Our ut-rent world trade pr-aties do not onsidersoial and envir-onmental osts. She suggested solutions suh as taxing ompanies based on waste and pollution, and reating global standar-ds and odes of ondut in an inreasingly global eonomy. Sh.e alled forinreasing standards and the r-edesign of poliies so that only the most ethial ompanies would have the advantage. I had attended the onfer-ene expeting the usual onrete solutions for sustainable design, but it quikly beame lear- that this was not the purpose of this onfer-ene. Instead, it enour-aged us to hange our attitude toward the way in whih we live and design. We have more than enough knowledge, tehnology, material and exper-iene for- sustainable design. What we need is a r-everene for not just our- natural r-esoures, but for- our human r-esoures aswell. Quoting Alber-t Einstein, Chief Or-en Lyons said, "no problem an be solved by the onsiousness that o-eated it."the envir-onment is us and we ar-e par-t of it. We must stop looking at one another as ommodities to be exploited. We must r-espet our-selves. We must be ueative, positive, our-ageous and generous. Elisabeth Ohi is a prinipal of the (irm E.R. Ohi ArhiteC In Saab 42 Jeremy's. Auto Repair Ltd. European & Japanese Speialist 261 Queen St. E. at Sherbourne Toronto PBK Arhitets In. and Cohrane Brook Planning & Urban Design are pleased to announe the opening of their new offies in Toronto. I PBK ARCHITECTS Tel1416) Fax 1416) COCHRANE BROOK Tel: 1416) Fax 1416) P.O. Box 200, Suite 618, 555 Rihmond Street West Toronto, ON M5V 381 tm!ifi *'*-ii(:w--j Canada Ltd- Sound solutions to aoustial hallenges Arhitetural aoustis Noise and vibration measurement and ontrol Environmental aoustis Sound system design AutoCad by Correspondene AutoCAD Operator Certifiate AutoCAD-LT AutoCAD 2 D AutoCAD 3D AutoLISP MiroStation 3D Studio For a FREE brohure write or all: ACET Department, SAlT Avenue NW Calgary, AB T2M OL4 Phone: (403) Fax: (403) add@sait.ab.a SOUTHERN ALBERTA INSTITUTE OF TECHNOLOGY... from imagination to reation Bevel inti 1Ui&tGlJIZ7fi1Zil%i61 dlv. of BEVEL STAMPING CO. LTD. 111 Oakdale Road Toronto (Downsview), Ontario M3N 1 W2 Canada PHONE: (416) FAX: (416) "' "' "'.. ru a.

28 Effet of Building Code Issues on Unique Industrial Proess Failities Din show Kongo B. Arh., OM, MRA/C, FCSC Bakground In Table A, the uttent Ontario Building Code (OBC) addresses a dest iption of major oupanies under Gmup F industrial oupanies. In Appendix A, "Explanatot y Matet ial fot the Ontat io Building Code 1990" examples of majot oupany lassifiations desribed in the above table at e identified. However, this listing does not addt ess vet y low fit e load and vet y low oupant load industt ial proessing failities, inluding water and sewage tt eatment, whih have unique hat atet istis and unique stt utures. Even though thet e is a lause in the OBC ( Speial and Unusual Stt utures) whih refet s to unique strutut es, an interpt etation of what these unique and unusual strutut es t ept esent is not defined anywhet e and is left to the diso etion of building offiials. Fut thet the building offiials have no diretion as to whih setions of the building ode apply and in whih setions they have disretionat y powet s. Strit enfot ement of the building ode, whih is wt itten pt imat ily fot stt utures identified in Appendix A fot Gmup F oupanies, imposes t estt itions on these unique stt utut es - t estt itions whih are often questionable, as desribed below. A numbet of ode-related t estt itions (or intet pt etations of ode t equit ements) at e often at odds with what has been regarded as suessful and appmpriate past pt atie. Histot-ial t eot ds of many existing failities whih have been designed and built with featut es that may not be pet mitted undet un ent ode t equirements, have demonstt ated exellent safety t eot ds time and again. Thet efot e, there exists the potential to ahieve signifiant inrease in design flexibility and to 1 edue the taxpayet s' burden while, at the same time, maintaining an appmpt iate level of safety in these strutut es. Issues The following are some of the odet elated issues that designet s of suh fai lities ontinue to fae: Detet minatio ns of building at ea often inlude spae oupied by vet y lat ge water- or wastewater-filled onrete tanks ot lat ge unoupied pmess at eas, et., with very sma ll omponents fot administration offies 01 onventional oupanies. lnot pot ating suh entities fot put-poses of detet mining the total building at ea is inappmpt iate in many ases. It is impot tant to note that the genet al publi does not even have aess to pmess at eas in watet and wastewate1 failities; only the operations and maintenane staff do. These staff members at e thomughly familiar with the plant layout and exiting failities. Travel distane restritions appliable to onventional oupanies appeat onemus in very low fit e load industt ial and watet and wastewatet pmess failities. Considet ation ould be given to egress ti me, oupant load and typial physial apabilities of wot ket s in suh failities. Referene may be made to other odes, pat tiulat ly NFPA I 0 I, whih have onsiderably more genemus allowanes. Interonneted float spae t estt itions at e sometimes based on equating servie floors and platfot ms to float assemblies whih need to be fi re separations.this is often not ahievable beause of the type of IN T R 0 D U C IN G N Ei'l IU N D 0 1'1 SUP P 0 R T F R 0 N THE ANDERSEN C 0 NNE R CIA L 6 R 0 Up',' HE 'S A L 0 CAL ANDERSEN" SALES REPRESENTATIVE DEDICATED TO PROVIDING HANDS-ON PROJECT MANAGEMENT AND ON-SITE ASSISTANCE FOR COMMERCIAL PROJECTS IN AND AROUND TORONTO. HE'S AN EX PER IE N C ED 1 1 N D 0 I 'I EXPERT C 0 M M I T TED T 0 HELPING Y 0 U I'll T H 0 N E- 0 N- 0 N E SUp p 0 R T IN A TINELY NANNER. [ALL NARK DEPAUL AT OR, FOR PRODUCT INFORMATION, VISIT OUR WEBSITE: 00 " "' ANDERSEN COMMEROAL GROUP '" > u "- ANDERSEN IS A REGISTERED TRADEMARK OF ANDERSEN [ORPORATION.[OPYRIGHT ALL RIGHTS RESERVED A

29 equipment used in et tain pmess failities. Even if suh assemblies at e onventional strutural floor assemblies, t he need to fire-separate from level to level appears questionable in view of the vet y low fi re load and vet y low oupant load. Aess to exits fmm multiple servie mezzanines, platforms, et. is often handled very stringently by building offiials.the very low or inft equent oupany and vet y low fire load suggest mot e flexible ode requirements would be appropriate. Servie tunnels used by piping, dut work and other servie elements in addition to pedestrian tt avel need to be speifially addt essed fot industrial oupanies and wat e t and wastewatet pmess failities. With very low fire loads, the requirements for distane to exits should be reviewed. The onsideration as to whether a tunnel between two supet stt utut es reates one building should be reviewed as well. Often suh pmess buildings onneted by servie tunnels are equated by some building offiials to offie and ondominium towers onneted by undet-gmund shopping arades. Fire department aess t equirements applying to higher fi re load and higher oupant load buildings are sometimes unduly onemus in being applied to these very low fi t e load industrial and proess oupanies. Requirements for multiple aess panels by t he fire depatiment are also sometimes regarded as unneessat-y and should be reviewed. Clat-ifiation in the OBC of speial allowanes for vet y low oupant and fit e load industrial and pmess oupanies whih would permit signifiantly inreased travel distane ompared to othet oupanies. Multi-level spaes without fire separations in pmess failities. Assessment of risk assoiated with liberalization of t he Building Code by examining historial reords of sim ilar existing fa il ities. CatTy o ut a ost benefit analysis. Examine Ontario's experiene within t he building ode assessment framework. Possible Results lno ease in design flexib ility. Lessening of expenditure due to unneessary building features. Avoidane of unneessary and often repetitive negotiations with building offiials, saving time and money fot both designers and muniipal offiials. A win-win situation for all onerned inluding the taxpayers who fund most of the infrastruture failities to whih these issues apply suh as watet and wastewatet- plants. Members interested in helping to pursue the above solutions should ontat Lynn So-eawn at the OAA. Dinshaw Kanga is President and Chief Arhitet at Gore & Storrie Building Design Servies In. in North York. Suggested Solutions The Housing Development and Building Branh of t he Ministry of Muniipal Affairs and Housing has shown a wi llingness to reate a task gmup to examine t his genet al issue. Suh a task group ould inlude the fo llowing gmups or assoiations: Ontario Assoiation of Arhitets; The Professional Engineers of Ontat-io and/or the Consulting Engineet s of Ontat io; Firms diretly engaged in the design of affeted failities; Ministry of Labour; Amerian Water Works Assoiation (AWWA); Watet Envimnment Assoiation of Ontario (WEAO); Ontario Hydm; Manufaturers with low fit e load failities of unusual onfiguration. The task group ould addt ess among othet things t he fo llowing items:.. a. v>

30 lf) 0 lf) lf) (l) v L_ ro o Q) u ian Ellingham, B.Arh., MBA, M.Phil., OAA, MRAIC The ities of Ontario ar'e fil led with many hidden and unappreiated speial plaes. Unfortunately, our, ar-bound existene means that many of us pass unseeing through our matur,e neighbourhoods. Through ativities assoiated with a reent eletion, I enounter,ed par,ts of the Lawrene Park area oftoronto on a house-by-house basis, and my previously favour,able impressions were reinfor,ed by what I saw. While many neighbour' hoods are the r,esult of unrefletive developer ativity, Lawr,ene Par,k should be of speial interest to arhitets, beause it is a suessful outome of a onsious design effort Careful planning at a range of sales resulted in a ommunity whih, after, eighty years, ontinues to fulfill the intent of its t'eator's. In the fir,st deade of this entury, Wilft'ed Din nik, pr,esident of the Standard Loan Company, adopted a vision of a low-density, almost pastoral, landsape of ottages, built on Tomnto's urban fr,inge, and wor,ked towards its implementation. Dinnik's development largely adhered to the gar,den ity onepts of Raymond Unwin and Ebenezer Howard. As suh, Dinnik's efforts in Lawrene Park are almost ontemporaneous with those at Lethworth Garden City ( 1904) and the Hampstead Garden Suburb ( 1906). As in the English gar,den ities, the Lawrene Park onept involved various sales of design, fmm the street and park layouts, through to details of individual houses. Landsaping was an important element, and was enouraged by the developer. A Br,itish engineer, Walter' Bmoke, was responsible for, the over,all layout of the str,eets and parks. A ompromise with Toronto's grid was ahieved, and resents and ui-de-sas were reated to reflet the natur,al land ontour-s. Unlike most previous Tomnto subdivisions, in whih waterourses wer,e bur,ied, streams formed the basis for parks. The firm of Chadwik and Bekett, Arhitets, was retained to design a series of model homes, plans of whih were made available to the purhasers of lots. A set of building standards was established, and Chadwik and Bekett, as Lawr-ene Par,k's "offiial arhitets", reviewed building plans to ensure onformane. Inevitably, r-eality did intrude on these ideals and the longer--term plans for the development were upset by the Fir-st World War Constrution virtually eased and the "offiial arhitet" role disappeared. In 1919 Standard Loan disappeared by merger and the remaining lots wer'e autioned off. After' an immediate post-war slump, onstr"ution r'esumed only to be suspended again for the duration of the Gr,eat Depr'ession and the Seond World War. Using the real estate agents' definition of Lawrene Park, the final easter-n setions were ompleted as late as the 1980s, and the results are not out of keeping with the original onepts. As one moves fmm west to east through Lawrene Park, one an note the various stages of development in twentieth entury Toronto. The original Edwar,dian houses show a variety of design inspirations and tend to avoid an expliit display of wealth. They inlude delightful renditions of English farm ottages, with prominent himneys, leaded glass windows, and sweeping roofs. These give way to less-ontmlled, but still individually-designed homes, and then to "builder'" houses of the 1920s. The long essation of development thmugh the 1930s and 1940s is obvious on many streets, where a house of 1929 stands next to one built twenty-five years later. CurTently, many of the 1950s homes are being replaed by larger houses, some of whih are the ostentatious Toronto mega-houses of the 1990s, while other's ar'e again, individualisti, ar,efully onsidered designs. Almost a hundred year's after its oneption, Lawr,ene Park an be seen as a suessful garden suburb. An artifat of its time, it has strong English or-igins that are still refleted in ongoing redevelopment Per'haps Dinnik's vision of pastoral landsapes was not ompletely realized; Lawrene Park is a fairly dense development, largely on fifty-foot lots. However; the variety of house designs, whih in the older' areas an verge on the quirky, and the intensity and individuality of landsaping mitigates the worst possib ilities of suburban development, ensuring that the presene of the motor ar does not dominate the streetsape. The delights of Lawr-ene Park exist at a range of sales. While one is passing through the tree-lined streets, the wide var-iety of house types frequently reveal themselves in unexpeted vistas. Many of the houses ar'e delights in themselves, to be aepted as r,efletions of their own part of the histor-y of the twentieth entur')l. Unfortunately, the delightful detail exhibited by many houses is pmbably best exper,iened by flyer deliverer's - and politial anvasser's. Ther'e are some lessons to be learned fmm Lawrene Park. For the arthitet or, planner; it suggests that real longterm value an be added to an urban envimnment through onsidered design. A well-oneived projet may have the apability of not only weathering the fortes of war eonomi depression, and hanging fashions, but may atually ome to full maturity beause of suh hanges in the environment ian Ellingham, is president of Elfield Development Strategies Ltd

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