International Architecture & Design Magazine. Winter 2011

INTERNATIONAL SMART IDEA: AN EFFICIENT MOUNTAIN CABIN
ARCHITECTURE SPECIAL: VENICE BIENNALE OF ARCHITECTURE 2010
& DESIGN TRÈS CHIC: FASHION’S INFLUENCE ON HOME
WINTER 2011 | CANADIAN EDITION
BIG IDEAS
+ BIG SPACES:
OUTSIZED SPLENDOUR
IN QUEBEC, COLORADO,
AND LIMA, PERU
BIG PLANS:
‘WE’RE BUILDING OUR
DREAM HOUSE’
[ PART 1 IN A SERIES ]
BIG STYLE:
CALVIN KLEIN
DESIGNER’S
NYC CONDO
Cover Sotheby's IAD winter 2011.indd 33 15/11/10 4:18 PM

Inside Front Cover – Left Hand Page
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Inside Front Cover – Right Hand Page

Client: Audi File Name: AUDI-1587-F-IFC-RHP_IAD Page: 1 Production Artist(s): DS
Publication(s)/Description: International Architecture & Design – Inside Front Cover – Right Hand Page (DPS) First Ins. Date: Dec. 6, 2010
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1st Ad Spread – Left Hand Page
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CONTENTS INTERNATIONAL ARCHITECTURE & DESIGN
WINTER 2011
IN EVERY ISSUE
14 | F RO M TH E E D ITO R
A tale of two ideas
17 | D E S I G N P H I LE
What’s new: Books about art and architecture;

this winter’s gallery exhibitions; two home
collections from fashion designers; and three
current looks in fabrics. Plus, a survey of the
great designs of the past 150 years and an
appreciation of artist Doris McCarthy at 100.
FEATURES
3 6 | F RO M TH E G RO U N D U P
28
Dream Building
Last spring, a couple in Saint John, N.B.,
purchased a rugged property with a view of the
58 Bay of Fundy. Now, they’re building a house on
52 it—and IA&D is reporting on their progress.
Part 1: The Site
By Suzanne Robicheau
4 0 | CO M M E N T
Imagine...
An examination of the Big Issues was offered up
in the 2010 Venice Biennale of Architecture.
Ultimately, it was about what architects do best:
the imagining of a better world. 34
By John Bentley Mays
22
44 | ARCHITECTURE
Natural Wonder
Minimalism, in all its quiet drama, is the
perfect, harmonious response to the splendour
of living in the foothills of Mont Saint-Hilaire.
By Lisa Fitterman
52 | P H OTO E S SAY
All the Right Angles

A modern jigsaw of glass and concrete, boxes
and cut-outs forms a clifftop home from which
to commune with the sea.
By Dali Castro
COVER PHOTOGRAPH
UNDINE PRÖHL
10 INTERNATIONAL ARCHITECTURE & DESIGN
Contents_pp10-12.indd 10 11/15/10 10:23 AM

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N° D’ANNONCE : CHS-VAR-M-13344-10-A DATE D’INSERTION : NOVEMBRE
PUBLICATION : INT ARCH. & DESIGN
CONTENTS INTERNATIONAL ARCHITECTURE & DESIGN
WINTER 2011
5 8 | I N TE R I O R D E S I G N
Master Class
Calvin Klein designer Francisco Costa’s
New York home is a heady lesson in marrying
traditional and modern design.
By Deborah Fulsang
70 | A R C H I T E C T U R E
Not Thinking Straight

In 1963, architect Charles Deaton began his
dream job building a spectacular modern family
getaway. Now a design-architect team—his
daughter and her husband—have completed
the task.
By Alex Bozikovic
80 | ARCHITECTURE
Take Shelter
A unique mountain cabin packs plenty of living
36 space into its small footprint and then packs up
easily when its owner heads back to city life.
106
80
10 2 | F LOO R P L A N S
44
A closer look at the houses in this issue
10 4 | I N D E X
Where to find the architects, designers,

products, and manufacturers in this issue
10 6 | G R AC E N OTE
Glass House on the Rocks
28
Contents_pp10-12.indd 12 11/15/10 10:23 AM

10200_CLOVE_ARCHI.indd 1 16/11/10 17:04:06
FROM THE EDITOR
A tale of two big ideas

T he great thing about the Big Idea is
that it could be a success even if it
doesn’t work out the way you’d planned
it. Given a little space and air, ideas—
original, smart, even half-baked ones—tend
to take on independent life. They may grow in
ways unforeseen. They move off in unexpected
The house remained semi-built, semi-used, for
over 30 years. He died more than a decade ago,
but his idea, it turns out, is alive and well. His
daughter, Charlee Deaton, an interior designer,
and her husband, Nicholas Antonopoulos, an
architect, finished a few years ago what Deaton
had started. You can see the breathtaking result
to be built. Then there was the sobering scrutiny
of dream-filled blueprints to be reorganized and
redrawn after the always sobering review of the
numbers on a budget printout.
In this winter issue of IA&D, you’ll be privy
to the game plan – the first steps on the path to
building a dream house. We plan to keep you
directions. They sometimes beget other ideas. in “Not Thinking Straight,” on page 70. posted on the progress of the project over the
When an idea seems too out-there to be The excitement of a new idea can also be conta- months, to see where this Big Idea takes them,
credible, some people tear ahead on it anyway. gious. That’s why, when International Architec- and to find out what insights can be gleaned
Maybe they can’t help themselves. Surely some- ture & Design writer Suzanne Robicheau told us from the inevitable bumps along the way.
one told architect Charles Deaton, back in the about the new house that Saint John architects There are, after all, a lot of houses out there. It
’60s, that his dream house was, well, an unnec- Monica Adair and Stephen Kopp were designing would have been easier for our friends in New
essary idea. It was large and expensive, and for their clients, we decided to show up with a Brunswick to just find themselves a good real
strange-looking, and it addressed issues that camera. Not to photograph the house (it isn’t built estate agent. Too late, though; a potentially great
he saw but that most people had never even yet), but to capture, essentially, the birth and then idea seems to have them in its grip.
considered. Deaton forged ahead, though (it was the growth, of an idea – from enthusiastic people
the ’60s), took on what turned out to be more talking around the table in an architect’s office, Carolyn Kennedy
than he could handle – and never finished it. to the starry-eyed contemplation of the soggy Editor
ground (it was November) where the house was
Robert Moore and Judith Mackin are

standing on the site of the dream
BRUCE MACNEIL
home they plan to build in downtown

Saint John, N.B. The view from their
future home: the Bay of Fundy.
From the Editor_pg14.indd 14 15/11/10 4:56 PM

INTERNATIONAL
ARCHITECTURE
& DESIGN
WINTER 2011, NO. 10

EDITOR
Carolyn Kennedy
ART DIRECTION
Jacques Pilon Design Communications
EDITOR-AT-LARGE
Kelvin Browne
CONTRIBUTING EDITORS
Dali Castro, Joy Ferguson, Deborah Aldcorn,
Geri Savits-Fine
CONTRIBUTORS
Alex Bozikovic, Dali Castro, Shawna Cohen,
Kathleen Dore, Lisa Fitterman, Deborah Fulsang,
Colin Howes, Jean-François Jaussaud, Bruce MacNeil,
John Bentley Mays, Steve Montpetit, Undine Pröhl,
Suzanne Robicheau, Leslie Young
EDITORIAL INTERN
Lili Milborne
PUBLICATION DIRECTOR +D]HOWRQ/DQHV6KRSSLQJ&HQWUH

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Geoffrey Dawe 7RURQWR
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International Architecture & Design Magazine is published by GLP,
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WINTER 2011 15
Masthead_pg15.indd 15 11/16/10 9:42 AM

Quad_Terri_BossBottledNight_Ad:Layout 1 21/09/10 12:42 PM Page 1
BOSS BOTTLED. NIGHT. THE NEW FRAGRANCE FOR MEN

FEATURING RYAN REYNOLDS
NEWS
DESIGNPHILE GOODS
GADGETS
PEOPLE
PLACES
MILESTONE
ART IN FASHION
The 150-year history of a design house offers an illustrated tour
of some of the enduring styles of the 19th and 20th centuries.
By Leslie Young
By the time you mark your 150th birthday, you’ve piled up

a lot of memories. At Sanderson, the pioneer English
purveyor of wall coverings and fabrics, in-house designers
saluted their firm’s 15 decades in business by delving into
the past—the company’s voluminous archive of historic
textiles, embroideries, prints, and wallpapers. The archive
yielded printing blocks with samples that date from the
Renaissance and mid-19th-century French and Japanese
DE S IG N S OF TH E TI M E S 1860 1879 1882 ›

Arthur Sanderson starts Adapting to changing Sanderson’s death leaves
styles to the Arts and Crafts movement, along with ’50s
his firm in London as tastes and the increasing his young sons—John,
Festival and Pop prints. Using modern printing an importer of French demand for wallpaper, Arthur, and Harold—in
techniques to enhance Sanderson’s classic patterns, the wallpaper. Later, he Sanderson sets up a factory charge of the business,
designers then produced a celebratory collection—nine produces his own papers. in Chiswick. The company now named Arthur
printed fabrics, two embroideries, and nine wallpapers. begins the shift from hand- Sanderson & Sons, which
Innovation plays a major role in Sanderson’s success. printing to the use of a continues to prosper.
As well, the longevity of the firm—which was granted the surface printing machine.
royal warrant in 1924 and continues to supply design
services to the Queen and the British royal palaces—can be
attributed to its ability to deliver products across the
spectrum of the interior decor market. Through its
Sanderson Options books, the design house was the first to
introduce coordinated fabrics and wallpaper, presenting
customers with colour and pattern schemes they might not
have conceived of on their own. The books tripled its
business in the 1980s, yet did not even dent the company’s
solid relationship with its luxury-market clientele.
Over the years, Sanderson has been able to keep
production of all of its fabrics, wallpapers, and bed
linens in the U.K., from the initial design concept to
the manufacturing process—this through some
challenging times that included several changes of
ownership, expansions and acquisitions, and a fire that SQUIRREL AND DOVE
destroyed the firm’s premises and records. Much like This elegant Arts and Crafts pattern
its vintage anniversary collection, which offers a fresh dates back to the 1890s. Its modern
take on beloved original patterns, the Sanderson studio version includes embroidered
nesting birds and squirrels.
proves that good design withstands the test of time.
WINTER 2 011 17
DPSanderson pp17.indd 17 17/11/10 11:17 AM

DESIGNPHILE MILESTONE
EARLY TULIPS
Released in 1929, the original
pattern showed vividly coloured
tulip heads in a textural print.
The update has toned-down hues
with a soft watercolour ambience.
TREE POPPY
The 1920s Tree Poppy design
featured large poppies intertwined
with branches—an Art Deco style
considered avant-garde for the era.
The pattern has been simplified for
the Centenary Collection.
First quarter,
1899 1902–1903 20th century 1928 1930
The company joins Wall An extension to the Sanderson takes over A fire at the Chiswick The Sanderson factory
Paper Manufacturers Chiswick factory is several highly regarded factory destroys part of the relocates to a custom-
Ltd., which soon controls designed by C.F.A. Voysey, wallpaper and paint premises, including some built, state-of-the-art site
98 percent of wallpaper a renowned Arts and businesses, such as Charles equipment and records. in Perivale, U.K., touted
manufacturing in England. Crafts architect. Knowles and Messrs. in the press as “the finest
Casson & Co., and Jeffrey & wallpaper mill in the world.”
Co., which printed patterns
created by famous 19th-
century designers Walter
Crane, Owen Jones, and
William Morris. Sanderson
continues to compile
an archive collection of
samples of every fabric it
has printed from 1921 to
the present time.
ROSLYN
Created by famed artist William
Turner in 1910, Roslyn is among
PRIMAVERA
Sanderson’s most enduring
This striking pattern woven in
designs. Except for new colours,
metallic gold, fuchsia, orange, and
the original tree motif with tiny
cobalt features stylized leaves,
flowers on trellises has not been
fruit, and flowers.
altered for the update.
DPSanderson pp17-19.indd 18 17/11/10 10:44 AM

PALLADIO SUNFLOWER
The sunflower motif in this
circa-1961 design was created
with the distinctive etched CONCORD
cross-hatching found in vintage Optical geometrics energizethis
botanical prints. 1964 op art-inspired design,
updated in current colours such as
EGLANTINE charcoal with silver.
In 1957 Sanderson introduced
Eglantine, and it captured the
romance of roses in a loose
painterly style typical of French
florals. The original pink and taupe
scheme has been reintroduced
along with three new colour
combinations.
Second
World War 1960 2000 2003 2010
Expansion is halted; To celebrate its 100th Sanderson of Berners Street Three weeks after going into Sanderson—the oldest
Sanderson’s factories anniversary, Sanderson is now the Sanderson Hotel, receivership, the company surviving English brand
produce war works such expands the Uxbridge classified as an English is purchased by Walker name in its field—marks its
as aircraft camouflage and factory, rebuilds its heritage building “of more Greenbank PLC. 150th anniversary. —Staff
provide silkscreening on contemporary showroom on than special interest.”
Red Cross haversacks. Berners Street in London,
and launches its wallpaper
Centenary Collection.
WEYBRIDGE
This linen floral pattern is typical
of Sanderson’s 1970s prints, and its
rose bouquet design was popular
SWALLOWS into the 1980s.
Stylized elegance defined the
patterns of the 1930s, and is
conveyed in this serene print
featuring swallows in flight.
SICILIAN LIONS
The pattern of lions in the 1956
print is reminiscent of medieval
heraldic motifs. For the update,
the collection employs a loose
contemporary style.
WINTER 2 011 19
DPSanderson pp17-19.indd 19 15/11/10 4:55 PM

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By Shawna Cohen
ALEXANDER
MCQUEEN:
BOY WONDER
Men
Mention the name Alexander McQueen to any fashion
enth
enthusiast and you’re likely to hear about his brilliant
architectural designs, iconic skull patterns, towering
high-heeled footwear, or provocative runway shows that
fuse fashion with technology and theatrics—like the
time he had model Shalom Harlow stand on a revolving
platform while robots sprayed jets of paint onto her
pure white dress. “An artist who happened to work in
fashion” is how Christopher Sharp, co-founder and CEO
of The Rug Company, describes him. Sharp would know.
He collaborated with McQueen on one of the designer’s
final projects before his untimely death in February:
a six-piece collection of hand-knotted rugs with
accompanying cushions designed exclusively for
Sharp’s London-based company.
Like his ready-to-wear creations that were embraced
by trendsetters ranging from Lady Gaga to Kate Moss,
McQueen’s home collection has an element of fantasy.
His striking hummingbird rug, for instance—the image
originated in his spring 2009 collection—appears
three-dimensional, as if the jewel-toned birds are ready
to fly off into the night sky. The detail, notes Sharp, is
“almost photographic.” Another rug, woven from
Tibetan wool and silk, incorporates the designer’s
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DESIGNPHILE COLLECTIONS
trademark skull pattern—coveted by women around the

world, his skull scarves have come to symbolize the
McQueen brand—in silver grey juxtaposed against a
striking white background. Two tapestry cushions depict
the same skulls, one in simple but statement-making
black and white, the other in gold metallic thread.
It is McQueen’s attention to detail that partially accounts
for the collection’s astonishing three-year design and
production period. (Collections usually take around six
months to turn around.) “McQueen really took his time,”
recalls Sharp. “There were periods where he’d send us
one design; then we wouldn’t hear from him for a couple
of months; then something else would come through.”
Even now, with the design process complete, each rug
takes between six and eight months to produce—double
the normal time—because of the fine knotting involved
and, according to Sharp, the scarcity of weavers skilled in VIRGINIA JOHNSON:
this type of intense work. And, much like most popular
runway pieces, there’s a waiting list for the rugs.
Sharp and his wife, Suzanne, who is co-founder and
RAW TALENT
creative director of The Rug Company, approached The merino wool shawls by Toronto textile designer
McQueen first because they considered him to be “an Virginia Johnson are staples among the fashion set.
extraordinary talent.” They had already collaborated with Colourful and bold with nature-inspired prints, they’re
a range of highly regarded fashion designers, including equally as chic thrown over a holiday party dress as they are
Marni, Diane von Furstenberg, Paul Smith, and Vivienne useful for cosying up on the couch with a good book. Her
Westwood. “The criteria is that they need to bring some new collection of bedding—duvet covers, quilts, and
value to a collection, something new,” explains Sharp. (High pillowcases, plus crib sets—offers that same mix of style
on his wish list of future collaborators is menswear designer and comfort, and, with typical Johnson panache, the
Tom Ford.) “There are lots of big-name fashion designers patterns are breezy and whimsical, featuring leaves,
who have approached us and we’ve said, ‘Great, show us flowers, ducks, even Dalmatian spots. “I live in the city,
your idea.’ And we end up telling them, ‘It’s wonderful, but so I love any bit of nature and greenery that I can have
we’ve already got that covered.’ ” In other instances, it can around my home,” says Johnson, who came up with the
be a more natural—and surprising—match. There was the bedding idea while renovating a house.
time, in 2007, that Sharp noticed a package on his desk that Johnson began her fashion career as an accessories designer for Helmut
contained “absolutely fantastic” rug designs displayed on Lang—a label known for its stark minimalism—which is surprising, given the
wooden boards. He assumed they had come from a student vibrant colour palettes in all of her creations, including the bedding collection
at the prestigious Central Saint Martins College of Art and in sunshine yellow, teal, and light blue. She also illustrated a series of books
Design, until he spotted a note from Hungarian-born and stationery for fashion designer Kate Spade. But it’s her eponymous line of
ceramic artist Eva Zeisel. “She was 102 years old when clothing and accessories, sold in more than 100 stores worldwide, that reflects
she sent them to us!” says Sharp. (Zeisel ultimately her love of nature and the influence of her extensive travels.
launched a collection for The Rug Company in 2009.) On a recent trip to Jaipur, for example, her interest was piqued by the
For McQueen, the process was long and intense, but the ancient Indian technique of block printing, and she has since become an
final product illustrates his rare ability to transform simple expert, using it to create her bedding line. Patterns are hand-carved into wood
materials into breathtaking works of art. And, just like his blocks, which are then pressed onto cloth laid out on large padded tables.
graphic-print gowns and New Age–meets–Victorian “It gives a much more organic, irregular feel,” she explains. “There’s more
accessories, the rugs are guaranteed to inject just the right texture, more character.” This natural “rawness” is perhaps what makes
amount of drama—and beauty—into a room. Johnson’s work, particularly her most recent collection, so appealing.
Designs by Alexander McQueen for The Rug Company are Ironic how something so labour-intensive can look like it was thrown
available in Canada exclusively at Avenue Road. together on a whim. But then again, isn’t that what real style is all about?
Virginia Johnson bedding is available at virginiajohnson.com.

Toronto textile designer Virginia
Johnson’s new
bedding collection features bloc
k-printed quilts, duvets,
and pillowcases treated to her sign
ature bold colours
and nature-inspired patterns.
WINTER 2011 25

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DESIGNPHILE NEW IN FABRICS
LIVING IN COLOUR
It’s easier to add bright colour when
you mix it with neutral accents.
By Leslie Young
Bright colours, which have been used for many seasons as mere
accents to warm up neutral spaces, are claiming the limelight. Now
it’s about pairing them with muted tones to create unexpected looks
that are at once sophisticated and bold. Combinations such as
fuchsia and beige or turquoise and grey make an eye-popping
statement without overpowering a room. The key is to begin with a
neutral base—creamy white walls, for instance, or a simple grey
rug—and then introduce more vibrant pieces like floral curtains or
a bright-hued sofa in a rich cut-velvet upholstery.
Designers Guild Moyka in

01. Through Primavera.
Robert Allen at Home

Sunscape in colour
Tropic.
Designers
Guild Morelli
in 01. Through
Primavera.
DesignPhile_Fabrics pp 28-31.indd 28 11/12/10 3:36 PM

Above and left: All fabrics from
Designers Guild Zephirine
Winter 2010 collection.
Through Primavera.
WINTER 2011 29
DesignPhile_Fabrics pp 28-31.indd 29 11/12/10 3:38 PM

DESIGNPHILE NEW IN FABRICS
DREAM WEAVES
The irregular dyes and patterns in ikat fabrics add
spontaneity to a decorating scheme.
The distinctive look of ikat—which involves an ancient method of

creating patterns by tie-dyeing the yarn before weaving—adds a
welcome energy to our homes as well as on the fashion runways.
Thanks to a resurgence of this weaving technique, we’re seeing more
options than ever before, from dazzling colour combinations to
intricate patterns that appear refreshingly raw. A stylish alternative to
damask, ikat offers a touch of the exotic to any room, whether on a
chair, rug, throw pillow, or lampshade. The multi-hued fabric has
been around for centuries, but when viewed on a jewel-toned sofa, it
can’t help but appear refreshingly modern and remarkably chic. —L.Y.
Oscar de la Renta Kublai Khan, in

Blue/Red or Red/Gold (shown on
cushion, left). Through Lee Jofa.
Bermingham Adras Silk

ikat in B152. Through
Lee Jofa.
DesignPhile_Fabrics pp 28-31.indd 30 11/16/10 9:27 AM

TAKE A
SHINE TO IT
Subtle sheens and shiny textures
create glamour in the everyday.
World-renowned artist Robert Kuo, whose work is on display at the

National Museum of History in Taipei and at deluxe international
hotels, has launched a fabric collection for S. Harris based on his
metal and lacquer work. Kuo has managed to capture the shimmer
and architectural feel of his art, applying it to a wide range of fabrics,
from velvet to linen to silk. His nature-inspired patterns are simple
and timeless, yet they add extraordinary interest and texture to any
piece, be it drapery or a chair. The discreet lustre brings a touch of
formality to an already sophisticated space. Sheen has the rare
Pollack Silk Grille in Ice.
ability to turn plain fabric into something truly special. —L.Y.
Through Primavera.
S. Harris/Robert Kuo fabrics, from left:

Pleats I in Cream, Silk Clouds in Breeze,
Dragon Swirl in Shale, Silk Clouds in Cream.
Through Bilbrough.
Manuel Canovas Ronda in

Aqua. Through Primavera.
A
WINTER 2 011 31
DesignPhile_Fabrics pp 28-31.indd 31 11/16/10 10:36 AM

DESIGNPHILE EXHIBITIONS
Frankfurt Kitchen, the kitchen and kitchen

THE MUNDANE AND appliances became a status symbol in the West
following the Second World War. When develop-
THE MAGNIFICENT ments in technology and plastic paved the way

for more advanced appliances, Cold War Ameri-
Current shows at the galleries offer investigations of ca saw the new technology as a celebration of the
life at every level, from the space claimed by the modern wealth and plenty afforded by a capitalist society.
kitchen to the lavish lost world of India’s maharajas. Today, kitchen innovations tend to be celebrated
for their ability to save time in a society in which
both spouses work and mealtimes
Counter Space: Design are more rushed. Although a lot of
and the Modern Kitchen focus is put on the kitchen in a cul-
(to Mar. 14) Museum of Modern Art, tural context, the more human
New York experience of the kitchen on every-
day life is not ignored. The kitchen
Since the beginning of the 20th century and the is the stage for plenty of family
birth of the modern kitchen, opinions have interaction and is associated with
differed widely on what a kitchen is. Whether a strong emotional experiences,
symbol of status or domestic servitude, a place both positive and negative.
for experimentation and creation, or a tool for —Colin Howes
efficiency and simplicity, the kitchen is arguably
the most culturally significant area in the mod- 19th-Century French
ern household. With the presentation of “Coun- Photographs from
ter Space: Design and the Modern Kitchen,” the the National Gallery
Museum of Modern Art in New York has created of Canada
a lively conversation about the evolution of the (to Mar. 20) Montreal Museum
kitchen since the early 1900s, in the context of of Fine Arts
This exhibition highlights approxi-

mately 80 works by major photo-
graphers in France from 1840 to
1900—Édouard Baldus, Maxime
du Camp, J. B. Greene, Gustave
Left: A reconstruction of the 1926 Frankfurt Kitchen, by Margarete Le Gray, and Nadar—as well as
Schütte-Lihotzky, at the MoMa exhibition “Counter Space.”
Above, from top: French Military Manoeuvres, Camp de Châlons: several examples of Eugène Atget’s
The Guard behind a Breastwork, 3 Oct. 1857, by Gustave Le Gray; work from the early 20th century.
Arles: Porte des Châtaignes, 1852, by Charles Nègre. The era’s various photographic
National Gallery of Canada
techniques and innovations are
also featured, including daguerreo-
social and political change throughout the 20th types, salted paper prints and albumen silver
century. The 1926 Frankfurt Kitchen is show- prints, and photogravures. —Lili Milborne
cased as a socialist answer to the economic strug-
gles in Germany after the First World War and Everything Everyday
was designed by Margarete Schütte-Lihotzky (to Jan. 23) Vancouver Art Gallery
with the intention of creating an affordable, effi-
cient work area. The design was based on a series Only in the past 50 years—with the emergence
of time-motion studies and interviews conducted of pop culture, found objects, autobiographical
by Schütte-Lihotzky to maximize efficiency and narrative, and blogs—has quotidian life become
reduce the domestic workload on women. In a common subject in art. This exhibition is orga-
contrast to the socialist roots behind the nized around three themes: Everyday Actions,
DPExhibitions pp32-33.indd 32 11/15/10 10:54 AM

focused on those simple, sometimes mindless 20th-century American photography in this
IN BRIEF exhibition of 115 photographs compiled from
tasks we perform regularly; Everyday Objects,
which takes ordinary items as art subjects; the museum’s collection. It includes Alfred
At Work: Hesse, Goodwin, Martin Stieglitz’s famous portraits of Georgia
and Everyday Encounters, which examines the
(to Jan. 2) Art Gallery of Ontario O’Keeffe, Edward Steichen’s 1904 coloured
common interactions that occur in daily life. Three diverse artists are brought together photographs of the Flatiron building, and Paul
Managing to avoid the banal, the artists offer through an exploration of their dedicated and Strand’s pioneering abstract images drawn
provocative, poetic interpretations of the mun- powerful work ethic in studio. from New York City street life.
dane—Arabella Campbell, Hadley+Maxwell,
LAIWAN, Mona Hatoum, Gathie Falk, Ruth Barb Hunt
Scheuing, Khan Lee, Euan Macdonald, (Dec. 10, 2010–Feb. 20, 2011) The Rooms,
St. John’s, Newfoundland and Labrador
Aganetha Dyck, Diane Borsato, Gabriel Orozco,
Through her textile-based installations, artist
James Welling, and others. —Lili Milborne
Barb Hunt immerses herself in themes of
mourning, human conflict, and memory. She
uses camouflage fabric in her work as she
presents the consequences of war balanced by
Notebook 62, 1972–1976, by Betty Goodwin. empathy for individuals, including soldiers.
Photo: Craig Boyko, Art Gallery of Ontario.
© 2010 Gaétan Charbonneau Perceptions of Promise:
Biotechnology, Society and Art
Arboretum (Jan. 4–Mar. 20) Glenbow Museum, Calgary
(to Jan. 9) This exhibition offers a fascinating glimpse
Art Gallery of Nova Scotia, Halifax into a unique collaboration. In response
With the loan of Arthur Lismer’s painting to a workshop that gathered a group of
The Star of India: Rolls-Royce 40/50 HP
Sumach Pattern, Georgian Bay and a international biomedical scientists and
Phantom II All-Weather Cabriolet Chassis companion small study on board from the scholars, a wide range of provocative
188PY Engine ZN15. Courtesy of RM Auctions. McMichael Collection, this exhibition allows sculptural works and drawings were created
Photo: Tom Wood visitors to further examine the subject for by artists who found inspiration in technology
which the Group of Seven is so renowned and science to further the discourse on
—one that has come to symbolize what complex issues such as stem cell research.
Maharaja: The Splendour we perceive as the Canadian North.
of India’s Royal Courts Ken Lum
(to Apr. 3) Art Gallery of Ontario, Toronto The Artistic Furniture of Charles Rohlfs (Feb. 12–July 3) Vancouver Art Gallery
(to Jan. 23) The Metropolitan The work of this celebrated Vancouver artist,
If Star of India conjures for you visions of Museum of Art, New York including recent projects being exhibited for
Bollywood or perhaps a priceless gemstone, Featuring 50 pieces of “artistic furniture” and the first time in North America, is highlighted
think again. At the lavish spectacle that is various objects produced by the workshop of in a cohesive exhibition that encapsulates his
Arts and Crafts artist Charles Rohlfs in Buffalo, career as a conceptual artist and portraitist.
the Maharaja exhibit at the AGO, Star of India
N.Y., this scholarly exhibit also reveals new
refers to the legendary Rolls-Royce Phantom II
research that shows his success in Europe as theravenscall.ca
custom-built in 1934 for His Highness Thakore well as in America and chronicles his impact Bill Reid Gallery of Northwest
Sahib Dharmendrasinhji Lakhajiraj of Rajkot. on other 20th-century furniture designers. Coast Art, Vancouver
There are indeed extravagant jewellery pieces This comprehensive website dedicated to
showcased, alongside finely crafted weaponry, thelivingeffect Canadian artist Bill Reid shares a visual feast
among the more than 200 elaborate works that (to Jan. 30) The Ottawa Art Gallery of more than 200 of his Haida-influenced
were commissioned for the maharajas of India Pioneer robotic artist Norman White’s work works—including bronze sculptures and gold,
serves as a point of departure for exploring the silver, and argillite jewellery—presented within
between the 18th century and the mid-1900s. Of
essence of life and the ability of robots to the rich context of his personal and creative
special note is a life-sized statue of a bejewelled
connect us to one other and to the journey.
elephant, the silver carriage of the Maharaj of carbon-based universe where we live. —Lili Milborne
Bhavnagar, and the spectacular 1,000-carat
necklace of 2,930 diamonds for the Maharaja Stieglitz, Steichen, Strand
Georgia O’Keeffe, 1918,
of Patiala. Also on display is a collection of (to Apr. 10) The Metropolitan platinum print, by Alfred
magnificent paintings, thrones, and tapestries. Museum of Art, New York Stieglitz. The Metropolitan
View the work of three giants of Museum of Art
—Colin Howes
WINTER 2011 33
DPExhibitions pp32-33.indd 33 11/16/10 3:00 PM

DESIGNPHILE APPRECIATION
SOLO
TRAVELLER
A painter of evocative expressions
of place, Doris McCarthy has also
always been an explorer.
A t the Doris McCarthy Gallery, on the east

campus of the University of Toronto,
resides a collection of more than 1,500 works by
contemporary artists—Ian Carr-Harris, Sandra
Meigs, and many other familiar names in the Top: Lakescape Horizon (Winter
Horizon), 1969, oil on canvas,
Canadian art scene—alongside the paintings of 76 x 122 cm; courtesy of the
McCarthy herself. artist. Centre: Rhythms of
The gallery also houses the artist’s personal Georgian Bay (Georgian Bay
Landscape in Reds), 1966, oil
archives—sketches, notebooks, and photo- on canvas, 61 x 76 cm. Bottom:
graphs of McCarthy camping, canoeing, and October Gold, 1969, oil on panel,
painting from the 1930s and ’40s onward; in 61 x 76 cm; courtesy of the artist.
Paintings by Doris McCarthy
one such she is perched near an iceberg, the
(above); portrait by Ken Jones.
better to appreciate her subject. Described by
Erin Peck, the gallery’s exhibitions coordina-
tor, as “a repository for all things Doris,” the When she retired from
gallery reflects a deep respect for this contem- teaching in 1972, McCarthy
porary painter, now in her 101st year, who has had her first taste of the Arctic.
worked for many decades in and around the The “iceberg fantasies”—as she calls the large- representational, expressions of the place, and
neighbourhood, in between her extensive trav- scale canvases—that emerged from her were composed by McCarthy to give pleasure to
els around the world. numerous northern excursions capture a palpa- the viewer.
Born in 1910 in Calgary, Doris McCarthy ble spirituality and garnered her a full member- Over the next two decades she continued to
moved with her family to Toronto, where she ship at the prestigious Royal Canadian Academy travel—north, west, east, and even to the Antarc-
was taught by Group of Seven member Arthur of Arts. Characterized by confident lines and sim- tic—keeping a schedule and painting at a pace
Lismer and other artists at the epicentre of the plified shapes, those paintings are evocative, not that was surprising for someone of her age. In
movement that was shaking up the Canadian art 1986, she was honoured as a
world of the 1920s. She aspired to paint the member of the Order of Canada.
spirituality in nature, not just scenery—an Recalls McCarthy in her first
approach to art that put her in step with her book, A Fool in Paradise: “We were
contemporaries and informed her landscape following the example of Canada’s
painting for the next 80 years. leading artists and discovering that
McCarthy taught art at Toronto’s Central Tech- while travel was good in itself, the
nical School for 40 years—a job that allowed her best way to experience the places
to finance summer painting adventures. Mostly we went [to] was to paint them.
she travelled with other women artists, though “Painting demands a concentra-
she also took a year-long sabbatical, travelling solo tion and sensibility that grows into
through Asia, the Middle East, and Europe. It was an intimacy with the country,
a remarkable feat for a woman in the first half of greatly intensifying your aware-
the 20th century, yet none of her three published ness of it. You come to know it
memoirs mention it as unusual. “McCarthy instead of just seeing it.”
never identified as a feminist,” Peck says. —Kathleen Dore
DesignPhile_Doris-Books pp34-35.indd 34 11/15/10 10:20 AM

BOOKS
DRAWING
CONCLUSIONS
Reading an architect through his sketches
and delving into an overlooked season
son
in Canadian art history.
Sketches: From Here and There

by A.J. Diamond, Douglas & McIntyre
144 pages, 80 colour illustrations, $45
Jack Diamond is one of Canada’s most decorated d

architects, and you would hardly know that from
reading this new book. An unusual collection of
reminiscences, Sketches gathers his recollec-
tions and visual renderings of some of the cru-
cial places in his life. There’s Durban, South
Africa, where he grew up feeling like an out-
sider—small, artistic, and Jewish, “a minority
of one”—and the little town of Piet Retief, Painters Eleven:
Pain
where he was born and spent memorable The Wild
W Ones of Canadian Art
vacations with his grandparents. But what dominates ates the book by Iris Nowell, Douglas & McIntyre
are his drawings, which depict architecture and landscapes across the 364 pages, 297 colour illustrations, $85
world. There’s rainy, stony London, where he arrived in 1956 to work on
his master’s degree; and some of the places he’s been since then—rural In Painters Eleven: The Wild Ones of Canadian Art, author Iris Nowell
England, Jerusalem, Venice, Provence, Laos, Mustique, Rhode Island. brings to life the turbulent rise of an often overlooked period of Canadian
It’s a dizzying tour, the highlights of 60 years distilled on the page. The art history – Abstract Expressionism. In an alliance reminiscent of the
drawings are technically strong but unexceptional as artwork. What’s Group of Seven, 11 abstract expressionist artists—Jack Bush, Oscar
interesting is the way Diamond paints like an architect, his eye reducing Cahén, Hortense Gordon, Tom Hodgson, Alexandra Luke, Jock Macdon-
buildings and landscapes to solids and voids, planes and volumes. A ald, Ray Mead, Kazuo Nakamura, William Ronald, Harold Town, and
rural cottage in Dorset, England, and its shrubbery appear as solid and Walter Yarwood—banded together in 1953 and launched their first group
rectilinear as Diamond’s own modernist brick buildings. He paints the exhibition in 1954, which opened to harsh critical response. The Painters
old city of Edinburgh and a row of arches at Durham Cathedral as equal- Eleven gradually garnered acclaim from both critics and collectors, and
ly massive and monumental. All this provides some implicit hints at his although they disbanded in 1960, several in the group became icons of
aesthetic. The great modernist architect Louis Kahn, Diamond’s teacher contemporary Canadian art. Since then, their works have been displayed
at the University of Pennsylvania in the 1960s, would have approved. at major international art galleries and are avidly sought by public institu-
Yet, Kahn and Philadelphia are never mentioned. Likewise, the city of tions as well as corporate and private collectors.
Toronto, where Diamond moved 46 years ago, merits just a few pages. Expertly researched by Nowell, an acclaimed biographer with extensive
His own buildings are nearly absent, except Jerusalem’s city hall and the knowledge of the Canadian art world and personal ties with the group,
Israeli Ministry of Foreign Affairs. True, the architecture has been well Painters Eleven is an intimate look at a previously unexplored subject mat-
covered elsewhere. Still, the book is an odd gesture for an architect so ter. The book features some 290 reproductions of their works, bringing
deeply identified with his profession and with Toronto, where he’s made readers and art lovers face to face with one of the most colourful periods
a major contribution to the design scene and its thinking about its his- of art history in Canada. “How they lived their lives, I discovered, was
toric buildings. Sketches leaves the impression that at age 78, Diamond their art,” says Nowell, whose interviews with the artists’ spouses and
feels the dry heat of the veld and the rich mists of London—in short, the lovers reveal new insights. Bush, the only member of the group with a
places and experiences of his early years—more deeply than anything notable international reputation, inspires Nowell’s best essay, enriched
that came later. Which is the case for many of us. —Alex Bozikovic through excerpts from his personal diary. —Lili Milborne
WINTER 2011 35
DesignPhile_Doris-Books pp34-35.indd 35 11/15/10 10:20 AM

FROM THE GROUND UP
Dream Building
Last spring, Judith Mackin and Robert Moore purchased a rugged
property with a view of the Bay of Fundy in downtown Saint John.
Now, they’re building a house on it—and IA&D is reporting on
their progress, every step of the journey.
By Suzanne Robicheau
Photography by Bruce MacNeil
[ Part 1: THE SITE ]
A couple walk into a pub in downtown Saint John. It is a foggy afternoon—nothing

new for this part of the world—and they are here to relax and raise a glass to the
über-urban reno that won their 3,000-square-foot century house a segment
in the HGTV show Original Home Tour. But for Robert Moore, a poet and
professor of English at the University of New Brunswick, and his partner, Judith Mackin,
owner and president of marketing company Punch Productions, this day of celebration takes
an unexpected turn. They go for a stroll, climb a hill—and before they have descended, they
IA&D will follow Judith Mackin and
Robert Moore as they go through the
process of designing and building their
house. In this issue, we’re exploring the
genesis of their project. Next issue, we’ll
peer over their shoulders as they dissect
two sets of blueprints and decide which
one will become their new home.
decide to build a house on its peak.
New Brunswick pp36-39.indd 36 11/16/10 10:27 AM

Saint John, N.B.
Robert Moore and Judith Mackin (left) did not pick the
easiest property (above) on which to build. Its steep pitch,
rocky terrain, and access challenges will all have an effect
on their home’s design possibilities—and the bottom line.
But the beauty of the site and its views drew them in.
The hill is a steep, rock-strewn slope in [ THE ARCHITECTS ]

the core of Saint John. Why the abandoned
2½-acre property has eluded development for The Acre Collective is an art, design, and
decades remains a mystery. Not only is it the architecture practice based in Saint John.
largest infill lot downtown, it has a 90-degree Co-founded by architects Monica Adair and
view of the city. Above it is the historic Stephen Kopp (above), both graduates of the
mansion of the founder of Red Rose Tea; to University of Toronto, the Acre was included in
the west, cruise ships in the Bay of Fundy and last year’s Twenty + Change, an exhibition
the Carleton Martello Tower, a 30-foot-high program that showcases emerging Canadian
fortress erected during the War of 1812; to the east, the towering stack of an oil refin- architects and designers. Adair and Kopp were
ery and other reminders of heavy industry; and to the south, an urban panorama that also the 2010 recipients of the Gerald Sheff
captures everything, from the tallest office tower to the cross atop the Cathedral of the Visiting Professorship in Architecture at McGill
Immaculate Conception. University in Montreal.
When Moore and Mackin reached the top of the hill, it was Moore who declared, “I The firm’s signature sense of playfulness is
want to build a house here.” True, the drywall dust had barely settled from the renova- nowhere more apparent than in their award-
tion of their current home. How then to explain this turnabout? It was the potential the winning design for a public art installation at
couple immediately saw: to build something brand new from the ground up—without the new Saint John Transit Operations Centre.
renovating. They had always lived in “old, cold houses,” Mackin says, and they’d always At 90 metres long, the sculpture is comprised
tried (successfully, it must be noted) to negotiate their admiration for clean modern of 85 aluminum panels that juxtapose the vivid
lines and contemporary styles within a respectful treatment of traditional architecture. colours of street signs to reinterpret the
A typical example of their skill at marrying the two is the sleek moulded-plastic patio language of the road. The red and gold of stop
set by prolific designer Philippe Starck that now sits easily in their century-old home. signs and yield signs add an element of colour
But something about the “radical topography,” as Moore describes it, of this big green to the often-foggy city of Saint John. Better still,
space in the heart of the city inspired them with the idea of creating a house that was bold, because the artwork is made of the same
uncompromising, and new. material as street signs, at night it reflects
They purchased the property. Next, they hired the Acre Collective, a Saint John–based the light. —S.R.
WINTER 2 011 37
New Brunswick pp36-39.indd 37 11/16/10 10:27 AM

FROM THE GROUND UP
design practice led by architects Monica Adair and

Stephen Kopp. “We didn’t interview any other archi-
tects,” notes Moore, since Mackin had worked with
the Acre previously on two commercial projects—a
patio wine bar attached to a heritage building and a
public art installation—both award-winning efforts.
“She knew their work and she trusted them.”
The design process began last June at a meeting
with Adair, Kopp, and Acre member John LeRoux,
a Fredericton architect and author of Building New
Brunswick, the seminal book on the province’s archi-
tecture. Sustained in equal parts by enthusiasm,
Timbits, and sparkling water, the architects and their
clients worked long hours to determine the require-
ments for the house. Then the team developed a
program that includes bedrooms, bathrooms, living
space, a home office for Mackin, and a 400-square-
foot garage/workshop and studio for Moore.
A month later, at the first schematic design meet-
ing, the clients revisited some of the room sizes, and
proposed some new ideas for design and materials.
But one thing remained constant: they wanted to
build on the top of the hill. Faced with development
costs as steep as that hill, however, the architects
suggested pragmatism: step back and take another
look at the site. Given the “intensity” of the land-
scape—the steep rock, access concerns, and service [ THE NEIGHBOURHOOD ]
routes—Kopp suggested they explore all the options.
“Now we have to consider the site as a whole and be Saint John is located on the north shore of Atlantic Canada’s Bay of Fundy. In
open to the issues and opportunities inherent in a the era of tall ships and trading known as the Golden Age of Sail, its location, at
number of different designs.” the mouth of the 700-kilometre Saint John River, made it one of the most affluent
Mackin and Moore left that meeting with two cities in North America. Thanks to the Great Fire of 1877—which consumed more
design concepts in hand: “The Belvedere,” a two-level than 1,600 buildings—by the late 1880s Saint John was also one of the most modern.
house to be built exactly where they first envisioned Suddenly presented with a clean slate for urban design, the city witnessed a race
it, at the top of the site; and “Into the Wild,” a novel among its wealthy merchants and shipowners to rebuild something bigger and better
approach that has a 1½-storey house built midway than what they had lost in the fire. It was “out with the old and in with the new” as
up the site and a separate cottage/studio perched on they competed for the services of renowned builders, masons, craftsmen, and
the peak. The next step will be their decision, after architects, as well as for prized materials like Honduran mahogany and Italian
weighing the merits of each design scheme against marble. As a result, Saint John now has more than 2,000 heritage buildings, of which
the practicalities of building and the realities of a 800 are concentrated in the 20-block Trinity Royal district, comprising one of the best
budget. It’s a decision that will have to be made soon: collections of turn-of-the-20th-century architecture in Canada.
construction is slated to begin in the spring. Add to the mix some stalwart survivors of the Great Fire—what the locals call
The couple may be new to the house-building “pre-fire” buildings, such as Wellington Row’s Second Empire Jellybean row houses,
process, but they appreciate good design and have Union Street’s 1810 Loyalist House, and the Greek Revival Gillis Residence—and
already decided that they want an award-winning Trinity Royal is just the ticket for architourists, those intrepid travellers who plan their
house. “People don’t expect to be inspired by the itineraries around interesting architecture. For Judith Mackin and Robert Moore,
location of a city house,” Mackin says. “We’re already long-time supporters of the careful preservation of the downtown core, building on a
inspired by this land, and we want to put a house on it site that straddles the streets of the city’s struggling south end and the upscale
that shows there’s more to urban design than gutting enclave of Mount Pleasant reinforces their commitment to revitalize, rather than rip
and renovating century homes. We can build.” • out, Saint John’s heritage area. —S.R.
New Brunswick pp36-39.indd 38 15/11/10 4:41 PM

Saint John, N.B.
THEY LEFT THE

MEETING WITH
TWO DESIGN
CONCEPTS IN
HAND. THEY HAVE
TO MAKE THEIR
DECISION SOON.
WINTER 2 011 39
New Brunswick pp36-39.indd 39 15/11/10 4:42 PM

COMMENT
Imagine...
The Big Issues—the environment, cities that work, public space—
were reflected in 2010’s Venice Biennale of Architecture. Ultimately, it
was about what architects do best: the imagining of a better world.
By John Bentley Mays
I n 1872, John Ruskin surveyed the Italianate

suburban villas, factories, pubs, and other
edifices built in London during the mid-Victo-
rian craze for everything Venetian and was
appalled. It was his majestic work The Stones of
Venice (1851–1853) that had inadvertently helped
set alight the city’s popular architectural passion.
Picking up on Ruskin’s mea culpa, the British
pavilion’s artistic directors at the 2010 Venice Bien-
nale of Architecture—the London-based firm of
muf architecture/art—gave it a wry twist. They
named the U.K.’s venerable little neoclassical
temple Villa Frankenstein. The muf team then
set about inserting into this building a collage-like
ISTOCKPHOTO.COM © DAMIR SPANIC
“Accursed Frankenstein monsters,” he described installation that resembled, at least at first glance,
them, “of, indirectly, my own making.” the mad scientist’s stitched-together creature.
JBM Architecture pp40-42.indd 40 11/12/10 3:43 PM

The exhibition included an array of the art historian and social critic’s
notebooks from around 1850, in which he meticulously sketched the medieval
Venetian architectural details, façade treatments, and other discrete elements of the
cityscape he loved and admired. Alongside Ruskin’s works were displayed arresting
images by the amateur Venetian photographer Alvio Gavagnin. During a 30-year
period in the latter half of the 20th century, Gavagnin made more than 10,000
pictures of the vernacular architecture in his city’s working-class neighbourhoods,
places little frequented by cultural tourists.
To all these, muf added, of all things, a fully operational reproduction of Venetian
marshland, renewed with lagoon water and complete with tiny crabs. And squeezed
into the palm court of the pavilion was a 1:10 scale wooden model of a section of
London’s new Olympic Stadium. This ruggedly handsome artifact—called the
Stadium of Close Looking—was used during the Biennale for children’s drawing
classes, and for scholarly gatherings of researchers busy with the Venetian lagoon’s
delicate endangered ecological systems, human and natural.
If the content of Villa Frankenstein seemed at first to be a forced Frankenstein-ian But did the multi-faceted show in Villa Fran-
assemblage of this and that—some art with an architectural slant, some things that kenstein accurately mirror the situation in
weren’t art at all—the show gradually revealed to the patient visitor the thread of which contemporary architects find themselves
meaning that held everything together. That thread, or theme, was “close looking.” working? The answer is yes.
The Ruskin notations and Gavagnin photos were the wonderful outcomes of mind- Here’s why. Architecture is certainly not now,
ful observation. In the theatre-like stadium fragment, the kids who came to draw got if it ever was, a “pure” art merely concerned with
valuable lessons in the careful scrutiny of objects. And the marsh vignette encouraged form and shape, geometry, and structure. The
visitors to look beyond the obvious masterpieces of Venetian building design and art, environmental movement that sprang to life
and give fair, generous regard to the total environ- in the 1960s; new understandings of the city
ment, the subtle drowned landscape, from which as a fluid, vastly complex organism; boundary-
the island city surfaced centuries ago. smashing experiments in the visual and literary
Then, the muf pavilion did commemorate an arts; the rise and spread of the Internet; natural
important architectural value: Ruskin’s belief catastrophes—all these and other forces have
that close looking, especially as embodied in combined in recent decades to teach architects,
drawing, was the key to good design. “The and the rest of us, that no man or woman, and
greatest thing a human soul ever does in this no art, is an island. Advanced architects every-
world,” he wrote, “is to see something, and tell where are now talking to and collaborating with
what it saw in a plain way…. To see clearly is climate scientists; filmmakers, painters, sculp-
poetry, philosophy, and religion, all in one.” tors, and photographers; biologists and cyber-
Ruskin’s enormous influence, along with netics engineers; economists and geographers;
long-standing tradition, guaranteed that draw- industrial and even fashion designers.
ing would enjoy a crucial place in architectural Viewed from the high overlook demanded by
education and practice almost up to the present the new ecological consciousness of our time,
day, although computers have now displaced muf’s ambitious program of documentation,
paper, pencil, and ink from many studios. scientific congresses, and education in Venice
was just one very good example of the “Franken-
stein monster” (though not in Ruskin’s pejora-
WILL THE NEW ARCHITECTURE OF PEACE, tive sense) that architecture is becoming.
SO RICHLY EXAMPLED IN THE 2010 The entire 2010 Biennale, not just Villa Fran-
kenstein, celebrated this avant-garde notion
VENICE BIENNALE, PREVAIL AT LAST? of the architect’s vocation by showcasing the
new buildings, master plans, and speculative
projects brought about by cross-fertilization.
Festival director Kazuyo Sejima—who operates
the distinguished Japanese firm SANAA with
WINTER 2 011 41

COMMENT
her business partner, Ryue Nishizawa—invited

nations and the nearly 50 architects, artists,
offices, and project teams in the centrepiece
exhibition to respond to the overall title of the
event, “People Meet in Architecture.” Behind
this bland-sounding motto stood Sejima’s
strong intention: to open up spaces in Venice
for remarkable instances of contemporary place-
making and city-building for real people—not
SOME OF THE WORLD’S MOST VIVID, FERTILE
the genderless, neutral abstractions of statistics, ARCHITECTURAL MINDS ARE THINKING HARD
polls, and too much modern town planning;
but men and women with sexualities, histories, ABOUT WHAT MATTERS—THE SPARING OF
many levels of expertise, and myriad kinds of
inheritance and memory.
THE EARTH, THE CREATION OF LIVABLE CITIES,
To this end, Sejima hoped, in her catalogue THE MAKING OF BUILDINGS THAT SHELTER
essay, that the central exhibition would be “an
experience of architectural possibilities; about BEAUTIFULLY OUR FRAGILE HUMANITY.
an architecture created by different approaches,
expressing new ways of living.”
And so it became such an experience. Take, for example, the A retrospective installation of the work of the noted
sensitive scheme devised by the London collective Architecture Brazilian architect Lina Bo Bardi brought to Venice spontane-
Research Unit (ARU) for Saemangeum Island City in South Korea. ous, deft designs and descriptions for small places of temporary
Built on land reclaimed from the Yellow Sea, this huge new town dwelling—a bar, a concrete staircase—and playful gear for popu-
is the work of many hands: architects, economists, environmental- lar Brazilian festivals. (Among Bardi’s acknow-ledged sources
ists, specialists in renewable energy, among others. The goal is to were Le Corbusier and the painter Yves Klein.) Other participants
“generate a poetic landscape” with “good public spaces” along the fabricated expansive site-specific installations—they would not
shoreline and the waterways that penetrate the city, while avoid- look out of place in the Biennale of Art—that illustrated their
ing the traditional modernist concentrations of “single functional comprehension of space and movement. Many other teams and
zones…such as bed-towns, business parks, or self-contained tourist individuals interrogated the topics that keenly interest architects
resorts,” says ARU. “Dense urban districts where people live and nowadays. In haunting, very still images of modernist residen-
work,” the collective contends, “will coexist with the beauty of the tial interiors, for instance, Italian photographer Luisa Lambri
open landscape of farm fields, lakes, and mountains.” portrayed the floor-to-ceiling glass wall as a fraught zone of
While most participants in Sejima’s curated show displayed contest between culture and nature, the human will to dominate,
fine artistic rigour, high imagination, and a holistic sensibil- and the natural environment around us—the ancient war that
ity—and often an attractive sense of humour—few worked on advanced contemporary architecture is at pains to end.
canvases as spacious as Saemangeum. Some just showed excel- Will the new architecture of peace, so richly exampled in the
lent conceptual drawings for small projects, well-crafted models 2010 Venice Biennale, prevail at last? Or will the provocative ideas
of houses or other minor structures, computer-generated docu- launched there run aground on the stony realities of the real-
mentation of imaginary worlds, spaces, cities, and buildings. estate market and the lagging world economy?
I don’t have answers to these questions. Nobody does. But
Kazuyo Sejima’s architecture exhibition—the world’s first big one
since the financial crash of 2008—made one thing clear. In a time
of widespread distress in the design business, of frightened clients
and investors, of cash-strapped public agencies, some of the world’s
most vivid, fertile architectural minds are thinking hard about what
matters—the sparing of the earth, the creation of livable cities for
the millions, the making of buildings that shelter beautifully our
fragile humanity. Venice taught us that these minds, if they can
survive the current downturn, will be ready with fresh visions when
the economic prospects for architecture brighten once again. •

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ARCHITECTURE
Blouin Tardif pp44-51.indd 44 11/11/10 1:19 PM

Montreal, Que.
The envelope of the house—walls, roof, windows, and

floors—is at least 25 percent more efficient than required by
the energy and building codes in the province of Quebec. The
layout and dimensions of the windows maximize the use of
passive solar energy, and heat is conserved naturally in the
massive concrete foundation. Inside, concrete floors absorb
heat and then release it throughout the house.
NATURAL
WONDER MINIMALISM, IN ALL ITS QUIET DRAMA,
IS THE PERFECT, HARMONIOUS RESPONSE TO THE SPLENDOUR OF
LIVING IN THE WOODED FOOTHILLS OF MONT SAINT-HILAIRE.
BY LISA FITTERMAN
PHOTOGRAPHY BY STEVE MONTPETIT
WINTER 2 011 45

ARCHITECTURE
“In winter, the sun provides passive solar heating,

but as of June 21, no direct sunlight comes into the
house,” says architect Alexandre Blouin. Motorized
solar blinds are recessed in the ceiling; their fabric
absorbs heat and helps keep the home cool. The
concrete floor was designed to look like large slabs.
Blinds, Altex. Sofa, William. Vases, Maison Corbeil.
‘OUR BIGGEST CHALLENGE WAS

TO SET THE HOUSE SO THAT IT
SEEMS ALONE, PRIVATE, AND
PART OF THE LAND.’

Montreal, Que.
Right: The upper-level catwalk and wall of

shelving are an intriguing update on the
traditional bookshelf-lined study; the staircase’s
open risers and glass panels contribute with a
look reminiscent of a library ladder.
Bottom: The windows in the tiny reading room
frame the view of the mountains.
U nderstated and organic, the house on the hill stands apart from its more conven-
tional neighbours. Sitting near the highest point of a road that arcs through a
suburban development south of Montreal, the home offers a public face that seems
closed and mysterious, with narrow windows, and an entrance hidden at the side.
Enter and you are in another world—one with high ceilings and soaring windows
that look out onto an ever-changing landscape as far as the eye can see. It is green
and brown, deep red and fierce gold, charcoal and white. It can be cloudless and
tranquil, or thunderously dark, at once a place to reflect, wonder, and entertain.
Built on the lower slopes of Mont Saint-Hilaire, the 3,700-square-foot home is the
full-time residence of a professional couple and their teenage daughter. Outdoor
enthusiasts who work in the area, they fell in love with the vast half-acre tract of
land—the last in the development that was zoned residential before the forest and
trails begin in earnest. Two years after buying the land, the couple hired the Montreal
firm of Blouin Tardif Architecture Environnement to help them build a house that,
rather than attempt to tame nature, would work in perfect harmony with it.
“They wanted a space that was contemporary, with forms that were very simple and
pure to reflect the land, and they wanted a space where they could come home from
work and host a large party or simply strap on their snowshoes and go tromping in
WINTER 2 011 47

ARCHITECTURE
At the end of the kitchen, a floor-to-ceiling window Opposite: The dining room shares a fireplace with the
could be momentarily mistaken for a landscape wall living room. Here, a massive table and tall-back chairs
mural. Two 12’ lengths of counters suggest this is a dominate; a light fixture is the only decorative touch
kitchen where real cooks work. A minimum of upper in this streamlined setting. Unusually, the concrete
cabinetry contributes to the open feeling. Blouin floors are left uncovered through most of the house;
used stained mirror, which is brighter than sanded the radiant heating renders rugs unneeded.
glass, for the backsplash. Cabinetry designed by
Blouin Tardif Architecture Environnement.

Montreal, Que.
the woods,” says architect Alexandre Blouin. “In a sense, that was our biggest chal-
lenge: to set the house so that it seems alone, private, and part of the land; so that
you come in and forget that you’re in a suburb. The mountain is the star here, with
huge trees and boulders incorporated into the design.”
To that end, Blouin and his team decided to site the house away from the road,
partially hidden by maple, walnut, and birch trees. They anchored it on a concrete
base that follows the slope of the land, and they drew up two plans for the exterior
shell: the front (north) side, where privacy is paramount, and the south side, which
is more open to take advantage of the landscape and light.
This young firm considers the environmental aspect of all its projects, which range
from private residences to a food-storage facility for Sobeys in Trois-Rivières and a
luxurious spa in the Lanaudière region just north of Montreal. So it made sense to
choose poplar that had been torrefied, or roasted, at a high temperature for the home’s
exterior. Torrefaction turns standard woods such as pine and poplar into a product that
is chemical-free, rich in tone, and resistant to rot, insects, and water absorption. In this
case, the poplar was then treated with a stain that repels ultraviolet rays while giving it a
subtle, slightly weathered reddish-brown tint that blends in with the trees and terrain.
The façade of the house is a play of wood panels and windows, each fitting into the
other like a jigsaw puzzle; seen from certain vantage points, it seems that the trees
themselves are part of the structure. The roof hugs the house in the front, with a deep
overhang only at the entry to protect a visitor from inclement weather. At the back,
it offers more of a canopy, suspended over even the balconies and the patio, in order
to protect the interior from direct sunlight when the trees are still bare of leaves.
INSIDE, THERE IS
LITTLE TO DISTRACT
FROM THE NATURAL
SURROUNDINGS.
EVERYTHING IS
MINIMALIST.
WINTER 2 011 49

ARCHITECTURE
Inside, there is little to distract from the natural surroundings. Everything is minimalist,
with clean, sharp lines, a Zen colour scheme of charcoal, white, and brown, and substan-
tial custom-built furniture. A heavier hand might have made it seem cold or forbidding,
but Blouin and his clients have managed to strike an aesthetic balance that calms instead.
Follow the polished concrete floors through the short entry hall into the living room with
its 20-foot-high poplar ceiling, a wall of windows, and a sleek white sectional sofa. The
monumental dark-stained wood fireplace surround acts as a piece of sculpture and helps
define this dramatic space from the kitchen, dining area, and a small office beyond.
Throughout the rest of the house, the ceilings are lower, at nine feet, to lend a sense
of intimacy in a setting that would otherwise be overwhelming in its grandeur. In the
kitchen, a massive walnut butcher block, with bar stools along one side, distinguishes
the space, while the appliances—refrigerator, oven, and microwave—are built in flush
with the cabinetry. The stained-mirror backsplash is subtle, while a chalkboard, which
camouflages the only upper cabinet, offers a sense of whimsy with grocery lists and
messages. In the office, the outlines of a glass desk designed by Blouin’s firm disappear
into the ether, and anything atop it appears to be hovering in mid-air.
Stairs to the upper storey resemble a suspended ladder, albeit with a handrail and
glass panels. The stair leads to a catwalk lined with shelves displaying small pieces of
art, and books that can be carried around the corner to a spartan reading room. “This is
where you sit and read or look at the mountain,” Blouin says. “This is where you pause.”
The master bedroom, which faces south and
opens onto a small balcony, continues the Zen
scheme, for there is only a bed, flanked by tall
bookshelves with niche lighting, and the flat-
screen TV mounted on the opposite wall. The
suite also contains a walk-in closet and a serene
bathroom with a stall shower and deep bath.
Outside the windows, the neighbour’s roof
is barely visible. “That’s the benefit of build-
ing on a slope,” Blouin says. “It helps that the
property is huge, but with carefully considered
vantage points, you can feel like you’re alone in
the woods.”•
For floor plans, see page 102

Montreal, Que.
Blouin’s firm designed some of the furniture: the Opposite, bottom: In the master bedroom, tall wall This page: Despite their oversized dimensions,
desk and chair in the office (opposite, top), the niches stand in for bedside tables—and continue a double-sink walnut vanity on a quartz base, a
bookshelves, kitchen cabinetry, and the bathroom the seamless look—providing generous amounts of large mirrored square cabinet, and a deep
counter and vanity. “The idea was to work with a few storage and display space. Even the lighting is square-edged tub don’t interfere with the focal
materials—walnut, quartz, stained mirror,” he says. recessed, leaving all surfaces uninterrupted. point in the master ensuite: the view from joined
“This helped to achieve a simple, efficient design, Bed, Flou. corner windows. The absence of nearby neighbours
and a sense that the furniture fits in the house.” obviates the need for window coverings.
‘THE MOUNTAIN IS THE STAR HERE, WITH HUGE TREES

AND BOULDERS INCORPORATED INTO THE DESIGN.’
WINTER 2 011 51

PHOTO E SSAY
ALL
THE RIGHT
ANGLES
A MODERN JIGSAW OF GLASS
AND CONCRETE, BOXES AND
CUT-OUTS FORMS A CLIFFTOP
HOME FROM WHICH TO
COMMUNE WITH THE SEA.
TEXT BY DALI CASTRO
Peru pp52-57.indd 52 11/11/10 1:23 PM

Lima, Peru
Right: Glass boxes, steel framing, and white

concrete create a startlingly graphic cohesion of
textures. The central box shown here houses one
O
of the three master bedrooms. Pumaquiro slats
were used for the balcony floors as well as under
the roof overhangs, acting as adjustable blinds
to provide shade and ventilation.
Left: Green slate, brought down from the Andes,

offers contrast to the stark white of the exterior
cean and desert dominate in Punta Misterio, south
concrete walls and the rock mosaic. of Lima, but here, atop an imposing rock-and-sand bluff, the
vacation home for an extended family of 42 built by architect
Luis Longhi holds its own—a bold, confident design response
to the stark environment. Sculpted into the craggy cliff, the
house stacks sharply angled boxes on three levels, its exterior
clad in concrete, natural rock, and green slate.
Longhi’s architectural “intervention in nature”—as he
describes his design—orients all the rooms westward,
WINTER 2 011 53
Peru pp52-57.indd 53 11/11/10 1:24 PM

PHOTO E SSAY
toward the Pacific, affording panoramic vistas of the water and the neighbour-
ing rocky outcrops and lowland plains. It takes its cues from the surroundings,
proffering glass-enclosed living spaces, skylights, slivers of window, and balco-
nies that mitigate the boundaries between indoors and out. A recreational
infinity pool overlooks the narrow L-shaped lap pool below it and, further
down, a sheer drop to the sea. At the carport, in the rear, sand-garden roofs
that mimic the desert are stepped to emulate the mountains. The pièce de
résistance is the living-dining room—a “floating” glass box cantilevered off
the cliff and open to the ocean on three sides.
Steel and glass comprise the structural elements, and local stone, crafted into
mosaics for the flooring and cut-out walls, was used liberally on the terrace, where
it delineates the deck along the lap pool and carries through to the steps leading
Peru pp52-57.indd 54 11/11/10 1:24 PM

Lima, Peru
‘FOR ARCHITECTURE TO BE SUCCESSFUL, IT IS

FUNDAMENTAL TO LISTEN TO THE ENVIRONMENT AND
TO ESTABLISH A RELATIONSHIP WITH IT.’ —Luis Longhi, architect
Opposite, left: On the staircase, treads made of

richly coloured pumaquiro, a Peruvian hardwood
known to withstand the elements, are a warm
complement to the sheen of stainless steel
risers, banisters, and cable rails. The walls
alongside are clad in a mosaic of natural rock,
the same as that used on the terrace—part of the
harmonious blending of indoors and out.
Opposite, right: The cantilevered glass box, one

of Longhi’s favourite features, gives family
members in the dining room and sitting area a
three-sided westward view and the impression
that they are floating above the sea. It also
creates an intimate, sheltered zone in which to
congregate on the patio beneath it.
Left: The recreational infinity pool, which is

popular with the younger children, overlooks the
lap pool, where the grown-ups like to swim.
Below: The rock mosaic on the terrace walls and

floor carries through to the steps leading down
to the beach below—a mere five-minute stroll.
WINTER 2 011 55
Peru pp52-57.indd 55 11/11/10 1:24 PM

PHOTO E SSAY
Left: The magnificent views were what

prompted the clients’ purchase of the
property—as well as the architect’s
vision and design.
Bottom left and below: In the wine

cellar, pumaquiro and concrete built-in
shelves end at a rock wall, which is
actually the side of the bluff.
Opposite, left: Near the lap pool, carved

right into the cliff, is a powder room
with contemporary bathroom fixtures
and cavern-like walls. The sink sits on a
pedestal of solid concrete.
Opposite, right: At the carport, in the rear,

sand-garden roofs mimic the desert, for
now—the plan is to eventually use
drought-resistant plantings to help cool
the house. The stepped design, inspired
by the mountainous landscape, allows
more natural light into the house.
56 I NTE R NATIONAL ARCHITECTURE & DESIGN
Peru pp52-57.indd 56 11/16/10 9:25 AM

Lima, Peru
‘THE DESIGN TAKES ADVANTAGE OF EVERY SINGLE

MOMENT IN THE LANDSCAPE.’ —Homeowner
to the beach below. Inside, cantilevered to a wall comprised of the same natural-
rock mosaic, is a wood and stainless steel staircase that visually integrates the
three storeys of the home. Cast concrete finished in polished cement—used for
the floors as well as the built-in shelving and furniture typical of beach houses in
the area—links the interiors texturally to the austere landscape.
Front and foremost, naturally, are the views, maximized by windows in diverse
sizes, shapes, and patterns. From the outside, they look randomly scattered on
the north and west sides of the house; each and every aperture, however, was
meticulously positioned to direct the eye toward a specific, carefully selected
view—perhaps an islet, a mountaintop, or a sandy stretch of beach.
For floor plans, see page 103
WINTER 2 011 57
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I NTE R IOR DE S IG N
Costa pp58-69.indd 58 11/12/10 3:24 PM

New York City
‹ A graphic black and ochre folding screen,

purchased by Francisco Costa (below) at a
Christie’s auction, stands in a corner of the
living room. The screen is from the estate
of the iconic 20th-century photographer
Horst P. Horst. Significantly, its primitively
patterned painted fabric was a gift to Horst
from Coco Chanel. The screen’s bold lines
and rich fabric add depth and drama to
the apartment, which is a den of greys
in myriad textures and quiet patterns.
“The auction find became the inspiration
for the space,” says interior designer Leslie
Steven, “the touchstone for the design.”
CALVIN KLEIN DESIGNER

FRANCISCO COSTA’S NEW YORK
HOME HAS THE WARMTH AND
LUXURY OF A TRADITIONAL
SPACE DESPITE ITS CLEAN LINES
AND A PALETTE OF MODERN
NEUTRALS. IT’S A HEADY DESIGN
LESSON IN HAVING THE BEST
MASTER
OF BOTH WORLDS.
BY DEBORAH FULSANG
PHOTOGRAPHY BY
JEAN-FRANÇOIS JAUSSAUD
CLASS WINTER 2011 59
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W illowy models breezed down Francisco

Costa’s runway for Calvin Klein’s spring 2011 show; their
clothes, minimal creations in white or black with the occa-
sional shot of coral or blue, were sculptural but seemingly
weightless, of-the-moment but timeless too.
Those women would look right at home in Costa’s New York
City apartment. The 11th-floor space, which the Brazilian-born
designer shares with partner John DeStefano, a horse trainer
and manager, is in a handsome 1940s brick building in the
city’s Murray Hill neighbourhood. Like those elegant dresses,
the home personifies discipline and grace, and a style obses-
sive’s eye for detail.
Costa has been twice honoured by the Council of Fashion
Designers of America as womenswear designer of the year.
His fashion curriculum vitae is long and deep: Bill Blass,
Gucci, Balmain. He was at Oscar de la Renta when plucked to
join Calvin Klein, where he then assumed the role of creative
director of womenswear in 2003. “He’s such an artist,” front-
row guest Katie Holmes noted with admiration after the
spring catwalk presentation. “[The collection] was so simple,
and it’s not easy to do things that are simple.”
Architectural simplicity is Costa’s signature, and it inspired
Alexander Poma and Leslie Steven of Manhattan-based
PomaSteven, the architecture and design firm responsible for
the 2006 renovation of Costa’s home. The casting was perfect:
Poma was a project architect at Ralph Lauren before joining
forces with his wife, Steven, whose own resumé includes
designing furniture and interiors for Donna Karan.
Mirrored walls, glossy marble floors, and lacquered kitchen cabinets—Costa’s
home was previously more Wall Street glam, circa 1987, than au courant 2010. “We
did a major renovation,” the partners explain, “revising the layout, enlarging the
kitchen, removing extraneous walls, adding moulding and lighting, creating new
closets, new plumbing, and electrical throughout.”
“They wanted a combination of modern and traditional with clean lines and a
sense of lightness,” says Poma of their clients. Some would call the resulting look
“transitional.” Poma and Steven’s term? “Modern classic.”
Costa pp58-69.indd 60 11/12/10 3:24 PM

New York City
THE APARTMENT IS A DEN OF GREYS IN MYRIAD TEXTURES AND QUIET

PATTERNS. ITS TAILORED MOULDINGS ADD STATELINESS.
‹ By increasing the depth of walls and
pass-throughs, the design firm
achieved a sense of grandeur in the
space, despite the fact that the
apartment is a modest 1,375 square
feet. The dove grey walls are the ideal
backdrop to Costa and DeStefano’s
considerable art collection, which
includes many striking photographic,
representational, and abstract
contemporary works. Shown here is a
piece by Brooklyn-based, Turkish-born
Pinar Yolaçan, who is perhaps best
known for her portraits of subjects clad
in garments of raw meat.
› For his spring collection, Costa was

inspired by the blues and how the easy,
good-in-your-skin attitude of the music
can be expressed in clothing. He could
just as easily have been referencing
these handsome herringbone
armchairs by New York’s Roman
Thomas. Refined, yet with plush curves,
they invite nesting. The chairs flank a
glossy art deco table and a print by
Argentinian Guillermo Kuitca; it’s a
favourite piece of the homeowners,
who gravitate to the work of emerging
artists. The tailored scene is softened
by two layers of area rugs and luxurious
sheer cashmere roman shades; the
cashmere ranks as Poma and Steven’s
favourite fabric in the apartment.
‹ Art deco, mid-century modern, Arts

and Crafts, present-day industrial: the
apartment references many pivotal
design eras. In fact, if one were to sink
into the living room’s sumptuous
linen-velvet sofa and survey the
surroundings, one could imagine that
the room had been time-warped into
any number of high-style moments
from the past 60 or 70 years.
WINTER 2 011 61
Costa pp58-69.indd 61 11/12/10 3:25 PM

In reconfiguring the space of the apartment, Poma and Steven

aligned the doorways of the library and bedroom, enclosed the
foyer, and removed a wall between a former dining alcove and the
living room to create better flow and a more open atmosphere. The
addition of tailored panelling, mouldings, and ceiling beams,
generated a sense of stateliness that is further enhanced by the
restrained palette. To add warmth, the architect and designer chose
rich golden hues: a herringbone-pattern oak floor with a dry-look
Danish oil finish, a sisal carpet, and vintage Italian wooden chairs.
Costa pp58-69.indd 62 11/12/10 3:25 PM

New York City
WINTER 2 011 63
Costa pp58-69.indd 63 11/12/10 3:25 PM

Like the colour that punctuates many a Calvin Klein

›
collection—the recent resort-wear show featured an

acid-yellow sheath in a sea of barely there tints—yellow
metals are the accessories sparking this home’s interior
design. In the study, brass lamps and a brass-topped side
table detail the art-filled room.
› A gallery wall en route to the study exemplifies

PomaSteven’s space-smart, clutter-free approach. Its
door, detailed with vintage-brass Belgian hardware and an
easy-to-open panel, makes updating the collection on view
a cinch. “It was designed as a space for personal photos,”
says Steven. “It features John and Francisco’s family as
well as renowned individuals from both worlds, of horse
racing—John’s profession—and fashion.”
›› The apartment’s clean-lined masculine aesthetic serves

as a foil to the dramatic art and decorative objets within.
It is in the study where this tension plays most obviously.
Polished brass-trimmed bookshelves and a boldly
patterned Arts and Crafts rug contrast with an antique
American leather horn chair and coordinating bench.
Upper East Side meets the Wild West: the pairing is both
unexpected and beautiful.
Costa pp58-69.indd 64 11/12/10 3:25 PM

New York City
WINTER 2 011 65
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Costa pp58-69.indd 66 11/12/10 3:27 PM

New York City
‹ Beige, grey, black and white:

these are standards on the
Calvin Klein runway and they
play beautifully in the bedroom
too. As on the catwalk—where
basic turns to breathtaking in
Costa’s little black dresses and
coats in shimmering silks and
taffetas—it is the mix of finishes
and textures that enriches the
decor experience. Smoke grey
grasscloth wallpaper teams with
lustrous charcoal-hued bed
linens and a satiny leather-
topped table to define the chic
yet comfortable decor. On the
bedside table sits a drawing by
Diego Rivera; close by is a
vintage wooden barbell stool by
American artist John Derian.
› Leather chairs by Austrian

designer Paul Frankl flank the
bedroom’s writing table; above it
swings an articulating French
vintage wall sconce alongside
two stacked canvases by Italian
painter Enrico Castellani.
WINTER 2 011 67
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Costa pp58-69.indd 68 11/12/10 3:26 PM

New York City
‹ Heavily veined white Carrara marble

combines with historically inspired
fittings and fixtures from New York’s Who knew a galley kitchen could be so glamorous? In
›
Urban Archaeology and a vintage keeping with the disciplined luxury executed in the rest
cast-glass wall sconce to create the of the apartment, Poma and Steven elected glossy grey
look of a classic European hotel bath. back-painted glass for the backsplash and grey honed
granite for the countertop, which offers long runs of
prep space. The smart design suits the homeowners
ART DECO, MID-CENTURY well. “They frequently entertain,” notes Steven.
“Francisco is a fantastic cook.” And in keeping with the
MODERN, ARTS AND CRAFTS, kitchen’s high style and highly functional floor plan, the
firm placed both a utility closet and a bar behind pocket
PRESENT-DAY INDUSTRIAL: doors in the hallway leading into the space.
THE HOME REFERENCES MANY
PIVOTAL DESIGN ERAS.
WINTER 2 011 69
Costa pp58-69.indd 69 11/12/10 3:27 PM

ARCHITECTURE
NOTTHINKING
STRAIGHT
Deaton pp70-79.indd 70 11/15/10 10:59 AM

Denver, Colo.
IN 1963 ARCHITECT CHARLES DEATON BEGAN HIS

DREAM JOB BUILDING THE FAMILY GETAWAY HE HAD
BEEN ENVISIONING ALL HIS LIFE – A SPECTACULAR
MODERN HOME THAT WOULD EMBRACE ITS
INHABITANTS WITHIN ITS BOLD CURVED SPACES.
BUT HE NEVER FINISHED HIS PROJECT. NOW, A
DESIGN-ARCHITECT TEAM—HIS DAUGHTER AND HER
HUSBAND—HAVE COMPLETED THE CIRCLE.
BY ALEX BOZIKOVIC
PHOTOGRAPHY BY UNDINE PRÖHL
WINTER 2 011 71
Deaton pp70-79.indd 71 11/15/10 10:59 AM

ARCHITECTURE
ver nearly 50 years, residents of Denver have grown used

to a strange sight as they drive west into the mountains
– a swoosh of arcing concrete perched on the edge of
Genesee Mountain, high above the interstate. “There was
a whole mythology that grew up around the house,” says
local architect Nicholas Antonopoulos, “that it was owned
by Hugh Hefner or Elvis. There were all kinds of stories.”
In fact, the home never housed any celebrities, although Woody Allen
did stop by in the early 1970s with a film crew. The house was an empty
shell – the unfinished masterwork of its architect, Charles Deaton, who
conceived the dramatic structure as a getaway for his family and started
building it in 1963. But the interior was never finished and the build-
ing lay vacant for decades. Only recently was it completed, in a way that
united the building’s history and its myths. A new owner had the struc-
ture expanded and renovated, transforming it into a grand bachelor pad,
and the design was shaped by Charles Deaton’s daughter, Charlee, and
his son-in-law, Nicholas Antonopoulos.
The couple added a new wing to the house, tripling its size to 7,500
square feet. They completed the interior in line with the original aesthetic, and
the new layout opened up the space, which Charlee, an interior designer, filled
with period furnishings. “It’s a wonderful story for us,” says Antonopoulos, who
had worked in the elder Deaton’s office. It was a long and circuitous road to a
happy ending. But then Charles Deaton rarely did anything in a straight line.
Born in New Mexico in 1921, Deaton spent his early childhood living
rough. His family migrated to Oklahoma on a horse-drawn wagon and lived
in a tent for two years before building their own home. Yet, he started his
career in the late 1930s not as a builder but as a commercial artist. During
the Second World War, he worked in a military plant and picked up the
rudiments of aeronautics and industrial design – while designing board
Above: The 5,000-sq.-ft. addition is built
into the slope of the natural rock shelf and
attached to the stem of Charles Deaton’s
original house (see previous page). The
roof of the addition serves as a large
terrace connected to the home’s entry.
Opposite: Classic modernist furniture in

the stepped white-on-white mod lounge
and office area do not detract from the
panoramic vistas afforded by wraparound
floor-to-ceiling glass walls.
Womb chair and ottoman, Eero Saarinen.
Vintage Arco floor lamp by Achille
Castiglioni. Custom office table, design
by Charles Deaton.
Deaton pp70-79.indd 72 11/16/10 2:54 PM

Denver, Colo.
THE ORIGINAL MAIN FLOOR BECAME A WHITE-ON-WHITE

MOD LOUNGE BEHIND A VEIL OF GLASS.
WINTER 2 011 73
Deaton pp70-79.indd 73 11/15/10 11:00 AM

ARCHITECTURE
‘HE WAS TRYING TO CREATE AN

ARCHITECTURE THAT EMBRACED
PEOPLE,’ SAYS THE DAUGHTER
OF CHARLES DEATON, ‘AN
ARCHITECTURE THAT CURVED
LIKE THE HUMAN BODY.’
Left: A cosy nook issues an invitation to relax

amid rich colours and textures contr the stark
white of an arcing wall and ceiling. Sofa and
throw pillows, Charlee Deaton, Watermark
Interiors. George Nelson coffee table.
Below: The spiral staircase—enclosed within an

undulating elliptical half-wall and contoured
steel banister railing—features concave treads
that suggest a sensation of one’s feet being
cradled every step of the way up.
games. But building was his passion, and by the 1950s Deaton was Opposite: The wool carpet’s pattern was
an architect and engineer: his company, based in Denver, would inspired by Charles Deaton’s squiggle design
for an integral lighting system in the ceiling.
design buildings across North America.
Suspended above the open-pit fireplace is a
Sculptured House, as Deaton came to call it, was his labour of love. copper-rimmed hood of curved glass panels.
“He was sketching it out from the time I was a baby,” Charlee recalls. Blue Egg chair, teal and magenta Swan chairs, all
“He made drawings, then plaster models – and he created the archi- Arne Jacobsen. Eero Saarinen marble-top dining
tectural drawings from there.” table; Bunny Chairs, design by Charles Deaton.
What Deaton came up with was an elliptical form – essentially a clam-

shell perched on a pedestal, its concrete shell cradling an irregular two-
storey volume wrapped in glass. Positioned on the edge of a mesa 8,000
feet above sea level, it would have remarkable views of the Rockies; the
surrounding area had already become part of a massive park.
The building reflected two of Deaton’s passions: an
architecture of curves and structural experimentation. Its
two levels were wrapped in intricately arranged planes of
concrete. On one side of the house, a wall curves simul-
taneously on the horizontal and vertical planes. This
is the sort of structural gymnastics that architects and
computer-controlled milling machines can pull off easily
today, but Deaton did all the figuring himself, sculpting
the forms and designing them out of concrete on a steel
structure. “He had an incredible grasp of non-Euclidean
geometries, for someone who didn’t have access to a
computer,” says Antonopoulos.
This was the work that was central to Deaton’s career,
what he called “organic” architecture. “He was trying to
create an architecture that embraced people,” says Char-
lee, “an architecture that curved like the human body, not
Deaton pp70-79.indd 74 11/15/10 11:00 AM

Denver, Colo.
WINTER 2 011 75
Deaton pp70-79.indd 75 11/15/10 11:00 AM

ARCHITECTURE
Deaton pp70-79.indd 76 11/16/10 9:19 AM

Denver, Colo.
architecture that was all rectangular walls and rectangular ceilings.”

In the case of Sculptured House, that meant a spectacular
embrace as soon as you walk inside. Through the curved white door
with a porthole, you climb up three levels alongside spiralling walls
of concrete, look up through a circular railing that opens like a blos-
soming flower, and then step out onto the splayed oval of the clam-
shell, the Rockies marching to the horizon on all sides.
It was a grand vision that Deaton never fulfilled. Though the
house measured a fairly unremarkable 2,500 square feet, with three Opposite: Curvilinear kitchen
bedrooms upstairs and modestly scaled rooms, Deaton never found cabinets are finished in a
the resources to complete it. It lay empty. “My dad put a drafting shimmering light-toned
table in there and used it as a studio for a while,” Charlee says. Japanese ash with a swirly grain.
The black granite countertop
The house had its moment of greatest fame during this period,
extends to a stainless steel
when Woody Allen and a film crew landed to make it a location, as conical base with a suspended
the home of a 22nd-century socialite, for the 1973 comedy Sleeper. glass top. The backsplash and
“The crew had to mock up a temporary interior to do the shooting, walls feature neutral-hued glass
tiles accented with cobalt and
and they had to negotiate with my dad,” Charlee recalls. “I think he
charcoal metallics. A stainless
wound up playing poker with Woody Allen for hours.” steel door leads to the pantry.
The force of character that shaped the house also, in a sense, led Cabinetry designed by Charlee
to its long fallow period. By Charlee’s account, her father’s archi- Deaton in tamo ash wood by
Steve Rheinhart Studios.
tecture practice largely stopped growing after the 1960s, when
his work on a two-stadium sports complex in Kansas City left him
squeezed out of the final project, denied credit, and feeling wronged.
“He spent many years of his life chasing stadiums,” she says. And
yet, he continued to build. After an internship with the
great severe modernist I. M. Pei, Antonopoulos landed in
Deacon’s office and found a mentor in him, as well as a
partner and collaborator in Charlee.
The couple were the perfect people to carry on his
work. Both their firms—Antonopoulos’s praXarc and
Charlee’s Watermark Interiors—have been involved on
a broad range of projects, including the renovation of
numerous historic buildings and projects focused on the
forms and concepts of high modernism. When a local
software entrepreneur, Charles Huggins, bought the
house, he sought out the couple with a plan: Huggins
wanted to turn the house into a venue for entertaining
that could be rented out for charitable and commercial
events, taking full advantage of its voluptuous forms and
its remarkable vantage point.
As the architect, Antonopoulos followed a scheme that
Deaton had mapped out to enlarge Sculptured House. He
THE HOUSE HAD ITS MOMENT OF GREATEST

FAME WHEN WOODY ALLEN MADE IT A
LOCATION FOR THE 1973 COMEDY SLEEPER.
WINTER 2 011 77
Deaton pp70-79.indd 77 11/16/10 9:19 AM

ARCHITECTURE
‘A MYTHOLOGY GREW
UP AROUND THE
HOUSE THAT IT WAS
OWNED BY HUGH
HEFNER OR ELVIS.
THERE WERE ALL
KINDS OF STORIES.’
Left and below: The elliptical tub and shower stall

feature glass tiles in graduated tones of plum,
turquoise, and chartreuse. For the curved corrugated
glass-tile walls, a soft palette of muted lavender, pink,
lichen gold-green accented with gold and silver offers
a striking contrast to the white fine plaster finish that
prevails throughout the home’s interiors.
Opposite: The house gives the sense of emerging out

of the sloping terrain to proffer expansive views of the
city of Denver and the Continental Divide. The lively
colour palette in the elaborate master suite (right) and
guest bedroom (below) suggest a fun take on
mid-’60s modern. Watermelon Seed Beds, custom-built
by Feelini, based on Charles Deaton’s design.
added a 5,000-square-foot wing—in the form of a rounded berm—
underground, below the clamshell, along with a small two-storey cylin-
drical tower spoked with concrete and steel mullions. The addition
houses a new garage, a grand guest suite, and public rooms; on top,
at ground level, is a large terrace. The new layout presented a fresh
canvas for Antonopoulos and Charlee, and the removal of some of the
clamshell’s original rooms and functions allowed them to open up the
home into the poetic form set in motion by Charles Deaton.
“Essentially, we divided it into a public zone, below ground, and a
private zone, which is the original house,” Antonopoulos says. The base
of the original house—two levels—became more guest rooms. The origi-
nal three bedrooms were turned into one master suite, and the original
main floor became a white-on-white mod lounge behind a veil of glass.
That lounge was furnished with an array of classic modernist furni-
ture – sympathetic sculptural work by Eero Saarinen and Arne Jacob-
sen. Throughout the house, Charlee added new finishes that are
in keeping with the bold colours and bulging forms of the early
1960s. “I was really driven to honour what he had done,” she
says, “and also to add my own layer of design on top of it.” It was
her idea to create transom windows all the way along the inte-
rior walls in the original space, making the whole arc of the shell
visible from within. And in the living room, she stacked luxurious
Deaton pp70-79.indd 78 11/16/10 9:20 AM

Denver, Colo.
Bisazza mosaic tile, adding a wash of colour that lightens gradu-

ally up to the top of the room as the concrete turns into a curve.
It’s a departure from but also a complement to Charles Deaton’s
original work, full of verve and craft.
Charlee believes that her father would be proud of the finished
product, which has brought the house back to life, now geared
to enjoyment and entertainment. And still there are very few
rectangles to be seen.
Says Charlee, “He used to say, ‘People aren’t made of straight
lines. Why should buildings be?’ ” •
WINTER 2 011 79
Deaton pp70-79.indd 79 11/15/10 11:01 AM

ARCHITECTURE
The cabin is clad in hot-rolled steel, which,

when left untreated, will rust and age naturally.
Washington pp80-83.indd 80 11/12/10 3:40 PM

Cascade Mountains
TAKE SHELTER
A UNIQUE MOUNTAIN CABIN PACKS PLENTY OF SMARTS
INTO ITS SMALL FOOTPRINT, AND THEN PACKS UP EASILY WHEN
ITS OWNER HEADS BACK TO CITY LIFE.
BY MARGARET GLASS
PHOTOGRAPHY BY UNDINE PRÖHL
There’s a small but unavoidable downside to owning a vacation home: It is

… a second home. This means all the issues and responsibilities that come
with home ownership—maintenance, security, stewardship—present themselves,
again. It’s double the workload, and the necessary tasks come at a remove, some-
times considerable, from the owner’s home base. Throw in a minor crisis, and all
of the perceived benefits of a hideaway—remote location, openness to the natural
world, even simplicity of lifestyle—can become serious drawbacks to keeping the
house safe and sound.
WINTER 2 011 81

ARCHITECTURE
Above: The cabin’s owner, an outdoors enthusiast,

doesn’t need luxury here. Plywood gives the interior
a rustic warmth. Right: The 10’ by 18’ steel shutters › ›
can be closed all at once with a hand crank.

Cascade Mountains
For this highly efficient weekend cabin, located on the flood plain of
a river near the British Columbia border with Washington state, the
owner and the architect collaborated on a scheme—if not to tame the
wild landscape, to at least be prepared and tucked in tightly when the
outdoors makes its presence known. It’s a four-hour drive from the
city residence of the owner, a sportsman and outdoors enthusiast who
doesn’t need or want luxury at his mountain getaway. Still, for every
concession to climate and setting, the architect of the cabin made a
point of using his design solutions to tease out an additional benefit.
Of first concern was the flood plain. The regular seasonal flooding
in the area demanded a pre-emptive strike to avoid the inevitable
soggy basement. Instead of a more typical low, squat cabin, Tom
Kundig, a principal of Seattle-based firm Olson Kundig Architects,
who likes to experiment, placed 20-foot-square living spaces on two
levels and perched the structure on steel stilts to keep the river out;
a car park and storage space are tucked below. Kundig also inverted
the traditional hierarchy of living spaces, placing two tiny bedrooms
and two baths on the middle floor and saving the upper floor for the
open-plan kitchen, living room, and dining area. Thus the common
areas, at three storeys off the ground, command dazzling views with
a 360-degree vista of the forested valley, the river, and the surround-
ing snow-topped Cascades.
The mandate to keep the weather out also inspired the cabin’s most unique
design element: huge double-height shutters that slide over the windows on each
of the four sides of the house. Suitably, for this retreat from the world, the shutters
function on an extremely low-tech operating mechanism: a giant wheel that can be
used to crank them all open on a bright morning and then close them tight before
a gathering storm. No electronics here to create headaches on the weekend, either:
Powering up the wheel calls for only a good dose
of elbow grease.
On a crisp cold day, when the leaves were still on
the trees, photographer Undine Pröhl arrived at
the cabin to record it against its backdrop of bright
fall colour. It was critical, she felt, to photograph
this “fun piece of architecture” just then, before
winter settles in. “The light goes right through
the building at this time of year, when the sun is
low and all the shutters are opened up.” From a
distance, the cabin’s façade offers an organized
patchwork of rusted metal cladding alternating
with large expanses of glass. Inside, “it’s like
you’re in a tree house,” Pröhl says, “sitting up
high, open on all sides to the outdoors.” Turn the
wheel and the building becomes a fully unified
structure—mysterious, sleek, and ruggedly indi-
vidual. And when closed and shuttered, this cabin
is as warm and dry and safe from intrusion as any
bunker. Its owner can rest easy, whether safely in
residence or far away and merely plotting his next
escape to a mountain snug. •
WINTER 2 011 83

BRITISH COLUMBIA
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For more information on this four-season award winning resort, visit www.sunpeaksresort.com
LIZ FORSTER , JENNIFER LITTLECHILD, DARLA MILLER & LISA VILLAMO 1.877.578.5774 | sunpeaks@sothebysrealty.ca | sunpeakscollection.com
Photos Dom Koric & Adam Stein
E&O.E: This information is from sources which we deem reliable, but must be verified by prospective purchasers and may be subject to change or withdrawal. Independently owned and operated.
BRITISH COLUMBIA
sot he bysre a l t y.c a
PRESTIGIOUS TIMBER FRAME RETREAT SLOPESIDE FOUR-SEASON RESORT HOME

4137 Douglas Court, Sun Peaks, BC | $4,295,000 4117 Sundance Dr., Sun Peaks, BC | $2,499,000 | #89303
Premier location, ultra convenient ski-in/ski-out access to chair lifts, endless mountain views and Grand fully furnished slope-side home in a premier ski-in/ski-out location in award winning Sun
the distinct feeling of privacy and privilege. This timber frame masterpiece with outdoor fireplace, Peaks Resort. Just steps from Village amenities, featuring impressive arched timber frame great
library, theatre and wine rooms, featuring reclaimed wood and rock finishes, radiant heat with room with massive rock-faced fireplace and floor-to-ceiling windows, gourmet kitchen, private top
snow melt and superb attention to detail throughout, is fully furnished including grand piano. floor master suite and copper clad windows and doors.
SKI-IN | SKI-OUT GREEN HOME LUXURIOUS LOG HOME

4206 Bella Vista Dr., Sun Peaks, BC | $1,790,000 | #87658 2461 Fairways Dr., Sun Peaks, BC | $999,900
This EnerGuide rated ‘Green Home’ boasts awesome mountain and valley views and backs onto Handcrafted log home located in four-season Sun Peaks Resort. Within walking distance to chair
a main ski run. Featuring exposed timber construction, 4 bedrooms with ensuite baths, gourmet lifts and village amenities, adjacent to the golf course and backing onto forested ski terrain, this
kitchen and expansive great room with vaulted ceiling, soaring windows and grand floor-to-ceiling home is just steps from the planned West Morrisey chair lift. Spacious open floor plan, huge deck
rock fireplace. Comfortable radiant in-floor heat throughout. with hot tub, games room, gourmet kitchen and spectacular master suite.
LIZ FORSTER 1.250.682.2289 | lforster@sothebysrealty.ca | sunpeakscollection.com
BRITISH COLUMBIA
ELK RIVER LODGE BRIDGE CREEK ESTATE

Sparwood, BC | $1,780,000 | #K187217 100 Mile House, BC | $8,850,000 | #V4023709
This 92 acre property on Elk River, in the East Kootenays of BC, Canada, offers world-class Founded in 1912, Bridge Creek Estate currently operates on over 2,400 acres of deeded land
fly fishing & hunting. Only 25 miles north of Fernie BC, Sparwood is 3½ hours southwest of and 2,700 acres of grazing & woodlot licenses, making it one of the largest ranches in the South
Calgary. Fenced for horses, 6 bedroom restored 1910 home, barns and outbuildings, opportunity Cariboo of BC. This historic family ranch is a unique operation combining environmentally sensitive
to develop for high use. Long inclusion list of chattels. landucci.ca/9 practices, modern infrastructure, beautiful buildings and a stunning land-base. landucci.ca/35
ALI LANDUCCI 1.877.816.8163 | alanducci@sothebysrealty.ca | landucci.ca
AT YOUR LEISURE - TOTAL PRIVACY

5437 Clearwater Valley Rd., Clearwater, BC | $1,100,000 | #90888
This 1997 spacious 2,700 sq.ft., custom designed home sits on 65 acres in Wells Gray Park, offers two storeys of bright open spaces for living and dining with an open kitchen concept on the second
floor, 16 ft. vaulted ceilings and large floor-to-ceiling south exposure windows. Two covered decks up to 120 sq.ft. to enjoy the spectacular views of mountains, the creek and forest. There are 4 bedrooms
with the master bedroom, bathroom and laundry room upstairs and 3 bedrooms, bathroom, cold room and recreation room on the lower level. Efficient in-floor heating on both floors, steel roof, satellite
dish for media programming, security and audio system roughed-in. Two car attached garage. The heritage log cabin on the property is excellent for guest house usage.
STAN VAN WOERKENS 1.604.306.2550 | svanwoerkens@sothebysrealty.ca | sothebysrealty.ca
BRITISH COLUMBIA
EDMONTON CONTEMPORARY
13619 Buena Vista Rd., Edmonton, AB | $1,500,000 | #E3210735
Designed by Edmonton architect Wayne H. Wright, this multi-level West Coast contemporary styled home near the University of Alberta is set on a large secluded, naturally forested property. The River
Valley Park System is a short walk away as are local and major shops with quick access to downtown, major arts centers, major hospitals and International Airports. The interior finishing of this solid,
soundproof, 4 bedroom home includes lighting and hardware of commercial standard, extensive use of mahogany, 12 ft. high cedar ceiling and open brick fireplace. All rooms, including living room, have
floor-to-ceiling windows with casement openings. The living room and solarium open onto secluded cedar decking and two heated garages give direct access to the house.
NANCY- JEAN O’CARROLL 1.604.805.7053 | nocarroll@sothebysrealty.ca | nancyjean.ca
THACKER MOUNTAIN HOME

21377 Thacker Mountain Rd., Hope, BC | $1,350,000 | #H1001737
This spectacular West Coast styled home is located in Hope, BC, a 90 minute drive east of Vancouver. Built of cedar, rock and glass, the 9 year old custom-built 3,400 sq.ft. luxury home is one of Hope’s
premier residences. It is perfectly positioned overlooking the Fraser and Coquihalla Rivers and the town of Hope, with commanding views of mountain, river and valley. Designed to accommodate a
casual lifestyle that emphasizes the relationship between indoors and outdoors, a 22 ft. vaulted cedar ceilings, timber beams and walls of glass that reflect the glowing interiors while multi-level decks
open interior spaces to countless perfect moment experiences. Design wise and meticulously presented, this robust home offers enduring natural beauty.
NANCY- JEAN O’CARROLL 1.604.805.7053 | nocarroll@sothebysrealty.ca | nancyjean.ca
BRITISH COLUMBIA
CONTEMPORARY MASTERPIECE SPECTACULAR YALETOWN PENTHOUSE

3265 Dickinson Cres., West Vancouver, BC | $4,580,000 | #V855201 1199 Marinaside Cres., Vancouver, BC | $10,000,000 | #V806717
Custom-designed, one year old home featuring 5 ensuite bedrooms up, plus nanny ensuite down. Completely rebuilt to world-class standards with every conceivable extra for an exciting lifestyle.
All principal rooms enjoy spectacular views and exposures. Great outdoor areas and decks with 5,000 sq.ft. of sophisticated modern design with an open floor plan. Fully furnished and
amazing infinity pool off the family room. Truly a piece of contemporary art in a sought after equipped to exacting standards. The private roof top deck also has spectacular 360 degree all-
family location close to all the best schools. Virtual tour at carros.ca encompassing views. Virtual tour at carros.ca
GREG CARROS 1.604.603.5730 | gcarros@sothebysrealty.ca | carros.ca
THE ALEXIS CLASSIC TUDOR STYLE HOME

708 – 27 Alexander St., Vancouver, BC | $1,025,000 | #V815671 6570 Marine Cres., Vancouver, BC | $4,300,000 | #V847931
This suite flows seamlessly, which is a credit to designer Patricia Gray’s professional training in Classic Tudor style home in a prime Kerrisdale location. Perched high on Marine Crescent with
Feng Shui design. One-of-a-kind loft space is in the heart of Vancouver’s historic Gastown District unparalleled views, many of this home’s original features have been kept intact. A grandiose
& located in “The Alexis” one of the area’s first & most popular heritage conversions. Virtual tour property offering spacious bedrooms and classic living areas, there is also ample opportunity to
at andrewcarros.com develop into your dream home. Virtual tour at andrewcarros.com
ANDREW CARROS 1.604.787.2882 | acarros@sothebysrealty.ca | andrewcarros.com
BRITISH COLUMBIA
PROVENCE INSPIRED
2242 Inglewood Ave., West Vancouver, BC | $2,996,000 | #V845578
Provence inspired mexi-terranean home in the Dundarave area. Walk to shops, restaurants & Seawall. This 6 bedroom family home reflects uncompromising standards & features the best in design,
quality and finishes. Open kitchen with hand forged solid copper counter & sinks, 13’ great room ceilings, South American wood planking & gorgeous master suite with ocean views. Gated with
separate Casita.
CALVIN LINDBERG 1.604.351.3000 | clindberg@sothebysrealty.ca | calvinlindberg.com & POLLY B . REITZE 1.604.671.7076 | preitze@sothebysrealty.ca
SPECTACULAR WATERFRONT
2 Strachan Point Rd., West Vancouver, BC | $2,890,000 | #V830957
Private oceanfront home with 100 ft. of low bank waterfront. Completely rebuilt approximately 10 years ago, this home was the winner of numerous Gold Georgie Awards. Featuring an open floor
plan, floor-to-ceiling windows opening to an entertainment-size oceanside patio with sunken hot tub & a place to moor your boat. Separate 301 sq.ft. unit/studio attached to the house by a covered
walkway.
CALVIN LINDBERG 1.604.351.3000 | clindberg@sothebysrealty.ca | calvinlindberg.com & POLLY B . REITZE 1.604.671.7076 | preitze@sothebysrealty.ca
BRITISH COLUMBIA
CLASSICO PENTHOUSE SPECTACULAR PRIVATE WATERFRONT

3801-1328 West Pender St., Vancouver, BC | $3,499,000 | #V832163 5290 Gulf Place, West Vancouver, BC | $3,388,000 | #V847719
This penthouse feels like a house perched on top of the city. Over 1,500 sq.ft. of outdoor living A spectacular private waterfront lifestyle! This contemporary home enjoys some of the finest West
space on 3 decks offers sweeping panoramic views. With over 2,250 sq.ft., including 4 bedrooms Vancouver views. Fantastic detail and finishing throughout the 3,135 sq.ft. of living space with sliding
and 3 bathrooms on two levels, there is plenty of space to spread out and relax. The flow of glass doors opening to a further 2,800 sq.ft. of outdoor patio and decks.
the rooms offers a large gathering area around the open kitchen, dining and living rooms with
immediate access to the main deck that overlooks Coal Harbour.
A STORYBOOK HOUSE FALSE CREEK WATERFRONT VIEWS

1849 Esquimalt Ave., West Vancouver, BC | $2,388,000 | #V849210 2601-638 Beach Ave., Vancouver, BC | $1,238,000 | #V855699
This one of a kind home is located on one of the quietest streets in West Vancouver. Completely False Creek waterfront views from the Icon building. 2 bedroom, 2 bathroom & office suite with
remodeled home with a gourmet kitchen and a living area that is designed for entertaining. Terracotta over-height ceilings. Includes gas fireplace, central air conditioning, high-end kitchen appliances
stone and hardwood floors are throughout the 2-storey vaulted beam ceiling home. and resort-style amenities at Club Oasis. 24 hour concierge, pets and rentals allowed.
JAMIE MACDOUGALL & GRANT CONNELL 1.604.992.2282 | jmacdougall@sothebysrealty.ca & gconnell@sothebysrealty.ca | grantandjamie.com
BRITISH COLUMBIA
CANADIAN COUNTRY CASTLE

29488 58th Ave., Abbotsford, BC | $6,900,000 | #F1025353
One of Canada’s largest estates of unmatched quality and design settled on a private and rural 20 acres, just one hour outside of Vancouver. This home features every amenity possible and offers an
unrivalled lifestyle. Indestructibly built of steel and concrete and exceptional quality of all equipment and appliances throughout. Two independent heating systems: Geo Thermal and 2 Natural Gas
furnaces as backup. This home has its own water treatment system amongst its numerous sophisticated features including tunnel to spa and pool. Please call for a more detailed report of this mansion.
LAURIS TALMEY 1.604.734.1874 | ltalmey@sothebysrealty.ca & JAMIE MACDOUGALL 1.604.992.2282 | jmacdougall@sothebysrealty.ca | grantandjamie.com
THE FALLS – VICTORIA’S CLASSIC LANDMARK EXQUISITE PEAK DRIVE CHALET

905, 708 Burdett Ave., Victoria, BC | $1,095,000 | #276646 Whistler, BC | $4,500,000 | #V839225
This furnished 2 bedroom plus den luxury suite is the ultimate for home or destination living. With This exquisite 4 bedroom Whistler home offers stunning views of Blackcomb and Whistler
its walls of glass this home offers towering southwest views of the harbour, Parliament buildings Mountain. Expert craftsmanship and extraordinary architectural design combine to produce this
and the museum. Located steps from the historical Empress Hotel, downtown and waterfront. masterpiece located in an exclusive enclave of residences on the peak of Blueberry Hill. Very
Boasts a gym, outdoor pool plus towering cascading waterfalls. Simply deluxe. impressive lifestyle with all the features that you demand.
PAULETTE M. MARSOLLIER 1.250.888.3297 | pmarsollier@sothebysrealty.ca JUDY SHAW 1.604.902.0357 | jshaw@sothebysrealty.ca
BRITISH COLUMBIA
CAIRN GARROCH ARCHITECTURAL OCEANFRONT

160 Wilkie Way, Salt Spring Island, BC | $1,698,000 | #284940 228 Arbutus Rd., Salt Spring Island, BC | $2,195,000 | #259781
Prominently positioned above the seaside town of Ganges, Cairn Garroch thrills from the moment An extraordinary waterfront property designed to accommodate a casual lifestyle, this home is
you catch its site on the way up the mountainside. The house only excites more when you open perhaps one of the most stunning and expressive in use of site and outlook. The house rides its
the door, its lines and environments are in a word - sexy. Architecturally, the house is more of an topography and keys on the water, with views maintained throughout the residence. Doors spill
atmosphere than a shelter in a way that only enhances mood as it seductively reveals its views, on to oceanside sundecks and garden terraces, allowing “open house” to become a way of life.
room by room. The technical details factor every high end modern amenity. This is powerful Stone interior elements and hefty timber beams lend permanence and natural beauty, while the
design and once smitten, there may be no going back. open concept layout is timeless and so functional for modern living.
SIGNATURE STYLE ON THE SHORE ARBUTUS HOUSE

170 Rourke Rd., Salt Spring Island, BC | $1,645,000 | #281059 225 Arbutus Rd., Salt Spring Island, BC | $1,750,000 | #266479
A porte-cochère entry is a welcoming beginning to this 3,500 sq.ft. West Coast showpiece with an This significant walk-on beachfront home enjoys sunsets and open ocean views that can hardly
abundance of that light dances throughout with banks of oversize windows and skylights. Set on a be put into words. Vaulted open spaces and windows instead of walls welcome the waterfront to
private 2 acres with steps down to the near 200 feet of shoreline, it beckons the beachcomber to nearly every room in the house. Intricate beam work and ridge line roof windows shower the house
discover the hidden treasures of the sea. in luster and light. Superb location with a brilliant design.
CHRIS & DARLENE HOBBS 1.888.697.1550 | chobbs@sothebysrealty.ca & dhobbs@sothebysrealty.ca | thehobbs.ca
ONTARIO / BRITISH COLUMBIA
OLD WORLD STYLE IN LYTTON PARK SECLUDED 6 ACRE LAKEFRONT ESTATE

Toronto, ON | $2,895,000 | #C1937360 83 Lele Ln., South Frontenac Township, ON | $2,500,000 | #X1929316
Old world style in Lytton Park one of Toronto’s finest neighbourhoods. Designed and built to meet the Labelle Lake Resort is a magnificent 7,500 sq.ft. custom-built home situated on a secluded 6 acre
standards of discerning owners who know quality when they see it. The classic brick and limestone point of land on Labelle Lake, ½ hour north of Kingston. This luxurious home offers 270 degree
architecture blends gracefully into one of the finest established neighbourhoods. Nestled in a park- views of the water and is the only home on the lake. Exceptional millwork, features and finishes
like setting, this home offers a quiet, calming respite just minutes from Toronto’s downtown core. compliment the natural and rugged landscape.
DAVID DUNKELMAN* 1.416.960.9995 | ddunkelman@sothebysrealty.ca LISA CLARK* 1.416.258.6053 | lclark@sothebysrealty.ca
PRESTIGIOUS & DESIRABLE LOCATION MAGNIFICENT OCEAN FRONT LOTS

1267 Oceanwood Lane, Victoria, BC | $1,329,000 | #283201 Channel View Way, Mayne Island, BC | From $429,000
A virtually new, custom-built, 5 bedroom, 6 bathroom luxury 4,367 sq.ft. home. Protected Five 5 acre waterfront lots to choose from with 72 acres of Common Property. Stunning treed
woodlands surround this private enclave of premium homes. Features carriage house, chic marble property with deluxe building sites. Bare Land Strata with with boat launch, many trails to ocean
& mahogany kitchen, decadent master suite, outdoor patio & courtyard with kitchen & gas and viewpoint access, some moorage potential. Serviced, Perc tested, drilled wells, minutes from
fireplace, media room, bar & wine cellar, top appliances, state-of-the-art wiring & more.
BC Ferry terminal with easy access from Vancouver, Seattle and Victoria.
JAMES LEBLANC 1.250.812.7212 | jleblanc@sothebysrealty.ca
SCOTT PIERCY 1.866.599.3933 | spiercy@sothebysrealty.ca GREG ROWLAND 1.250.665.6868 | growland@sothebysrealty.ca
**Broker *Sales Representative. Sotheby’s International Realty Canada, Brokerage. E&O.E: This information is from sources which we deem reliable, but must be verified by prospective purchasers and may be subject to change or withdrawal.
ONTARIO
STYLISH ELEGANCE WITH A VIEW LIVE IN LUXURY

1503 - 155 St. Clair Ave. West, Toronto, ON | $2,940,000 305 - 155 St. Clair Ave. West, Toronto, ON | $1,040,000
With direct elevator access and only 3 suites per floor this 2 bedroom, 2½ bathroom unit with Award-winning boutique building. Glamorous porte-cochère with cobblestone driveway, garden
library offers full-service concierge and 24 hr. valet. North, West, South views of Forest Hill, and fountain. Full-service concierge and 24 hr valet. Elegant open concept, 1 bedroom plus den
Lake Ontario and Casa Loma. Fireplace, balcony, terrace for BBQ. Choose your dream kitchen, with fireplace. Spacious kitchen with marble dining bar. Wolfe Gas cooktop, SubZero, Miele DW.
bathroom and flooring. Brian Gluckstein designed spa and entertainment facilities. Master with 2 walk-in closets and 18 ft. balcony.
LISA- MARIE DOOREY * 1.416.960.9995 | ldoorey@sothebysrealty.ca
MUSKOKA FOUR-SEASON COTTAGE GRAND HARBOUR CONTEMPORARY

Muskoka, ON | $1,999,000 | #X1977183 2285 Lake Shore Blvd. West, Toronto, ON | $959,000 | #W1980694
Four acres of serene forest in private bay with 285 feet of lake front only 90 minutes from European-chic designed condo. This stunning 2 bedroom (or 1 bedroom plus den) 1,200 sq.ft.
Toronto. 5,800 sq.ft. 7 bedroom, 4 bathroom home with modern conveniences, country warmth, suite has been completely rebuilt with impeccable taste using the highest quality European
charm and sophistication. Muskoka room, fitness, library, stone fireplace, dock, boats, furnished fixtures, finishes & craftsmanship. Spectacular views over the lake and city skyline with abundant
turnkey paradise. terrace & balcony. Yacht club at your doorstep. Waterfront living on a luxurious scale.
LISA- MARIE DOOREY * 1.416.960.9995 | ldoorey@sothebysrealty.ca JAMES BURTNICK** 1.416.450 1942 | jburtnick@sothebysrealty.ca
ONTARIO
EXCEPTIONAL CUSTOM BUILT FAMILY HOME STYLISH ELEGANCE, SOUTH EAST OAKVILLE
201 Dianne Ave., Oakville, ON | $3,395,000 | #2021098 222 Morrison Rd., Oakville, ON | $2,689,000 | #2022047
Exceptional custom home on mature ravine property. Outdoor oasis with Gunite pool & waterfall, This classic tudor revival, circa 1912 heritage home boasts a refined elegance. Over 5,000 sq.ft.
hot tub, cabana and kitchen all perfect for entertaining. Elegant home with formal dining room, of finished space on ½ acre lot amidst century old hardwoods and extensive perennial gardens.
gourmet kitchen, sunroom with gas fireplace, great room, 4 bedrooms, home theatre, wine Highest quality of materials and attention to detail. Geo-thermal HVAC system. The Carriage
storage, exercise room & walk-out to backyard. Exceptional attention to detail throughout. house has a 400 sq.ft. loft for studio/office or guest suite & oversized two car garage.
ELEGANT HOME WITH MULTI FAMILY OPTION UNIQUE & EXQUISITE CONTEMPORARY HOME
370 Poplar Dr., Oakville, ON | $2,895,000 | #2021582 335 Maple Grove Dr., Oakville,ON | $2,649,000 | #2023499
Exceptional executive family home sits on a 1.1 acre private property on a quiet cul de sac in South Minimalist architecture at its finest! Exceptional open concept plan with 5 bedrooms, stunning baths,
East Oakville. Unique potential for a combined family offering an exceptional 2 storey in-law or designer lower level with home theatre and 1,200 bottle wine cellar. Outdoor living space showcases
nanny suite, easily retrofited to a future main floor master suite. Stunning gardens, paths and patio an outdoor heated dining pavilion, a 60 ft. concrete pool, a 17 ft. waterfall and numerous other
area, all surrounded by mature trees and plantings. state of the art features.
THE RUTH ANNE WINTER TEAM 1.905.845.8908 | ruthannewinter.com
ONTARIO
PRIVATE WATERFRONT ESTATE ROCKSDRIFT HILL

1400 Sandy Bay Rd., Georgian Bay, ON | $4,988,000 | #X1984804 4998 Tenth Line, Erin, ON | $5,900,000 | #X1974157
Located on 24+ acres, this 8 bedroom residence boasts approximately 600 ft. of waterfront with Enter past the 4 bedroom gatehouse and follow the winding driveway alongside the stocked
white, sandy beaches! Designed to appreciate spectacular views over Georgian Bay, this 9,000+ sq.ft. pond to this stunning residence resting on over 165 acres of rolling countryside. Stroll down the
residence boasts a four-season sunroom and indoor pool. The acreage also includes a boathouse flagstone path to the 5 stall barn and adjacent drive shed, or meander across the grounds to the
with living quarters and a 1 bedroom guest cabin. inground pool and patio.
CONTEMPORARY COUNTRY DESIGN CUSTOM WOODLAND ESTATE

2862 St. John’s Sideroad, Stouffville, ON | $1,880,000 | #N1914261 65 Offord Cres., Aurora, ON | $4,498,000 | #N1952919
Enjoy the privacy of country living only minutes from the city with this unique 10,000+ sq.ft. custom- This remarkable residence is located on 2 acres of private, wooded terrain offers 15,000+ sq.ft.
built home on almost 10 acres. The contemporary open-concept design provides many layout of living space. A separate apartment makes the West wing ideal for intergenerational living.
options and with multiple kitchens, this home provides the perfect opportunity for intergenerational Entertain guests in the great room, complete with a wine cellar, cigar room/study, media area,
or multiple-family living. billiards room, and 17’x10’ bar area.
ALLISON PARENT 1.416.910.4507 | aparent@sothebysrealty.ca | allisonparent.com
QUÉBEC
THE ULTIMATE DOWNTOWN VIEW DOMAINES DE LA RIVE SUD

1200 Ouest de Maisonneuve, Montréal, QC | $2,100,000 | #8324227 Brossard, QC | $1,499,000 | #8339095
Custom high-end designed apartment with exceptional layout and finishes offering spectacular This magnificent home in Brossard’s prestigious “Domaines de la Rive Sud” sits on an immaculately
unobstructed panoramic views of Mount-Royal and the downtown core. Located in a prestigious landscaped corner lot of over 21,000 sq.ft. neighbouring the Quartier Dix30, this home boasts
building, this sunny 2,170 sq.ft. corner unit includes 3 bedrooms, private terrace, 2 garages, 24/7 4 plus 2 bedrooms, 4 plus 1 baths, 3 gas fireplaces, sauna, saltwater pool and much more.
security and is surrounded by Montréal’s finest dining, cafés and shopping. Attention to detail makes this residence ideal for sumptuous living and effortless entertaining.
ANNE - MARIE TURCOTTE * 1.514.591.9712 | amturcotte@sothebysrealty.ca COLIN WORRELL* 1.514.889.4838 | cworrell@sothebysrealty.ca
333 SHERBROOKE WHERE WINTER DOES NOT EXIST

333 Sherbrooke St. E., Montréal, QC | From $399,000+ taxes Tropiques Nord | Montréal, QC | $1,495,000 | #8392253
Your home in the Plateau. There is a prestigious address on Montréal’s most elegant thoroughfare: Unique waterfront location, yet only 5 minutes to downtown by private hourly shuttle bus.
an internationally renowned residential project with exceptional sights, in the heart of one of the Luxurious 3,500 sq.ft., corner condo offering 2 plus 1 bedrooms & huge terrace overlooking a
most cosmopolitan cities. Just steps from the city centre and its buzzing business district, the 333 lush tropical garden, waterfall and indoor lagoon shaped salt water pool. Over-size master suite
Sherbrooke is also on the edge of the legendary Plateau Mont-Royal quarter. with fireplace, huge living room ideally suited for entertaining with sweeping views.
CYRILLE GIRARD* 1.514.582.2810 | cgirard@sothebysrealty.ca DAVID WILKES* 1.514.947.5152 | dwilkes@sothebysrealty.ca

*Real Estate Broker. **Certified Real Estate Broker.
E&O.E: This information is from sources which we deem reliable, but must be verified by prospective purchasers and may be subject to change or withdrawal. Independently owned and operated. Real estate agency.
QUÉBEC
BALMORAL GOLF AND COUNTRY CLUB LES COURS MT-ROYAL

Morin Heights, QC | $1,349,000 | #8303087 Downtown, Montréal, QC | $2,050,000 | #8387341
Executive home on the most prestigious street in this golf community, offering stunning views Exquisitely renovated, this 2,000 sq.ft. condo is available to you for a luxurious zen life in the
of the Laurentian mountains. Enjoy this open concept home complete with 2 plus 1 bedrooms, heart of downtown Montréal. Completely unique! Exotic high-quality materials and all furnishings
recently designed pool and terrace. Only minutes to premier ski centers and 40 minutes from all included. Ambiance entirely controlled by domotic system. Direct access to underground city
Montréal, this is the best of all worlds. and high-end shopping. Reputed 24 hr. security and doorman services.
KAREN ROSSY ** 1.514.963.6311 | krossy@sothebysrealty.ca ISABELLE PERREAULT * 1.514.266.2949 | iperreault@sothebysrealty.ca
LAKEVIEW HILLSIDE CASTLE AUTHENTIC CANADIAN LOG CABIN

Mont-Tremblant, QC | $3,950,000 | #8392860 Labelle, QC | $529,000 | #8387491
This 10,000 sq.ft. architectural beauty offers breathtaking views of Lac Tremblant. Features This house was built with love by its owner, every detail in its construction was tended to with care
of this elegant multiple-storey home, whose details echo its European influences, include home and practicality. Traditional board and batten wood finish on the outside and pine tongue-and-groove
automation, a 100% stone exterior construction, abundant windows, wrought-iron work, four finishing in the interior. Just 20 minutes from Mont-Tremblant Resort and seconds from cross-
handcrafted circular staircases and two massive stone fireplaces. Luxury of the highest standards. country skiing, cycling, hiking just about any outdoor sport. Come see a home built by a craftsmen.
HERBERT RATSCH† 1.819.429.9019 | hratsch@sothebysrealty.ca ROBERT C . OUIMET * 1.514.212.0533 | rouimet@sothebysrealty.ca

*Real Estate Broker. **Certified Real Estate Broker. Sotheby's International Realty Québec HR .
†
QUÉBEC
LE CAVERHILL
Old Montréal, QC | $2,495,000 | #8419229
Glorious, completely renovated two-storey, 3 bedroom condo situated in Old Montréal in the historic Caverhill building (1865). Featured on HGTV’s “House & Home” as well as numerous upscale
magazines. This brilliant architectural masterpiece with enormous terrace has been completely renovated. The luxurious finishings and exquisite details are the hallmarks of this over 2,800 sq.ft.
apartment. This sophisticated residence, entirely transformed by architect Paul Grenier is the epitome of style.
LIZA KAUFMAN† 1.514.232.5932 | lkaufman@sothebysrealty.ca
EXCEPTIONAL LAND OPPORTUNITY IMPECCABLE WATERFRONT

Brownsburg-Chatham, QC | $2,300,000 | #8433468 Memphremagog Lake, QC | $1,749,000 | #8400876
Located in the heart of the Québec Laurentians, this expansive 347 acres of pristine forest An inspiring home that has views as expansive as your vision. Architectural and contemporary
is situated within minutes of the Carling Lake Golf Resort, only 45 minutes from the Mont- residence with 120 feet directly on Memphremagog Lake. Maximum light and lots of windows.
Tremblant ski resort and one hour from the city of Montréal. This property’s abundance of This California styled retreat boasts a sandy beach and flat land access. Divided in two separate
natural attractions, is a paradise for sportsmen, fishermen and outdoor adventure lovers. sections, perfect for guests and/or family retreats.
LISA LIPARI* 1.514.803.1375 | llipari@sothebysrealty.ca LOUISE LATREILLE * 1.514.577.2009 | llatreille@sothebysrealty.ca

*Real Estate Broker. **Certified Real Estate Broker. Sotheby's International Realty Québec LK .
†
QUÉBEC
A FAMILY HOME 1200 OUEST DE MAISONNEUVE

Montréal, QC | $1,750,000 | #8421193 Montréal, QC | $1,875,000 | #8345472
Unique craftsmanship defines this 4 plus 1 bedroom, 3 bathroom, custom built residence. The Meeting your highest expectations, this magnificent penthouse with mezzanine offers
hand-carved stone facade and its copper roof tower set the standard of quality found throughout. breathtaking views, open space, two large terraces and two indoor parking spaces all in the
A classy home offering a large backyard with in-ground pool and facing a beautiful park with very heart of downtown! Prestigious address, sumptuous lobby, 24 hr security, heated pool on
pond on Jean-Gascon. magnificently landscaped terrace, fully equipped gym with sauna and steam room.
LYDIA ABOULIAN* 1.514.463.6333 | laboulian@sothebysrealty.ca PHYLLIS A . TELLIER** 1.514.924.4062 | ptellier@sothebysrealty.ca
WATER & CITY VIEWS IN MONTRÉAL FOREST BROOK MANOR

Montréal, QC | $1,295,000 | #8432331 Lake Placid, New York | $2,995,000 | #8412120
Cosmopolitan urban living with expansive city and water views. Exquisite modern design, this 2,300+ Situated within the Whiteface Club & Resort, this mansion has been restored to the splendour
sq.ft. condo is adorned by three outdoor terraces. Double grand foyer leads to open and sun-filled of its time with modern amenities. The 8,000 sq.ft. home is positioned on a hill which provides
entertainment and living spaces where the most accomplished chef would feel right at home in this panoramic views of the Adirondacks. The five acres of wooded land ensure privacy year round.
gourmet kitchen. Prestigious full-service building with shuttle service to downtown Montréal. Club membership provides access to golf, tennis, beach and marina.
ROGER QUIRION* 1.514.246.2017 | rquirion@sothebysrealty.ca LILLIAN LEONARD** 1. 514.949.5211 | lleonard@sothebysrealty.ca

QUÉBEC
UNRIVALLED ELEGANCE UNIQUE WATERFRONT

Nun’s Island, QC | $1,075,000 | #8435786 Saint-Anicet, QC | $1,350,000 | #8407204
Emerging from the most prestigious tip of Nun’s Island, a haven of water and greenery perfectly Magnificent 200,000 sq.ft. estate featuring a spacious 3 bedroom bungalow with solarium,
blending with the landscape! Offering a breathtaking view of the St. Lawrence River, 3 bedrooms, 1 bedroom guest house, 3 bedroom cottage, pottery shed, detached garage, peacock aviary and
2 baths, 2 garages, indoor & outdoor pools, spa, fitness center, terrace, easy access to golf course boat house (which is an acquired right). Fabulous sunsets and amazing views. Exceptional gardens
and bicycle paths. The perfect sanctuary just minutes from downtown Montréal. with cascading ponds. Entertainer’s delight with over 300 feet of shoreline on Lake St. François!
FADIA RASSI* 1. 514.923.9280 | frassi@sothebysrealty.ca PENELOPE VILAGOS* 1.514.779.5122 | pvilagos@sothebysrealty.ca
THE ULTIMATE RETREAT LA MAISON MARGUERITE HAY

Ile d’Orléans, Ste. Pétronille, QC | $1,895,000 | #8347100 Montréal, QC | $1,495,000 | #8328750
Extraordinary estate of grand luxury and impeccable quality. Breathtaking vistas on the St. Classified as a Historical Monument, the Marguerite Hay residence is an urban home of
Lawrence River and Québec City. Features 4 bedrooms, 3 bathrooms, 3 living rooms, 4 fireplaces, neoclassic inspiration, whose original construction dates back to the 1,800’s. One of the oldest in
3 terraces of which one is interior, 2 level garage, wine cellar, home theatre, gym, sauna, central the Saint Jacques neighbourhood, the residence has been completely restored and is sited on a
air conditioning, indoor training lap pool and electric gate. A must see! private landscaped lot. A comfortable home and unique heritage treasure.
STEEVE GILBERT *, PIERRE BLONDEAU* 1.418.951.0770 | pblondeau@sothebysrealty.ca CATHERINE DAVIS* 1.514.966.2397 | cdavis@sothebysrealty.ca
FLOOR PLANS th
Natural Wonder
THE LAYOUT AND DIMENSIONS OF
THE WINDOWS IN THIS 3,700-SQ.-FT.
HOUSE MAXIMIZE THE USE OF
PASSIVE SOLAR ENERGY.
(SEE STORY, P. 44)
First
Architecture: Blouin Tardif

Location: Montreal, Que.
Second
FloorPlans pp102-103.indd 102 11/11/10 1:47 PM

three-
All the Right Angles

EVERY DESIGN FEATURE IN THIS
VACATION HOME IS A RESPONSE TO
ITS SETTING AT THE MEETING POINT
OF OCEAN AND DESERT.
(SEE STORY, P. 52) First
Architecture: Longhi Architects

Location: Lima, Peru
Second
Third
WINTER 2010 103
FloorPlans pp102-103.indd 103 11/11/10 1:48 PM

INDEX INTERNATIONAL ARCHITECTURE & DESIGN WINTER 2 011
Where to find the architects, designers,

products, and manufacturers in this issue
DESIGNPHILE Dream Weaves The Artistic Furniture of Charles Rohlfs, The
Milestone: Art in Fashion Bermingham Adras silk ikat in B152, Oscar de Metropolitan Museum of Art, metmuseum.org
pp.17–19 la Renta Kublai Khan in Blue/Red, Oscar de la thelivingeffect, The Ottawa Art Gallery,
Sanderson, sanderson-uk.com Renta Kublai Khan in Red/Gold; leejofa.com ottawaartgallery.ca
Take a Shine to It Stieglitz, Steichen, Strand, The Metropolitan
Collections: Off the Runway Pollack Silk Grille in Ice, Manuel Canovas Museum of Art, metmuseum.org
pp. 22–25 Ronda in Aqua; primavera.ca Barb Hunt, The Rooms, therooms.ca
Alexander McQueen designs for The Rug S. Harris/Robert Kuo fabrics: Pleats I in Perceptions of Promise: Biotechnology, Society
Company. rugs, from $15,145; cushions, Cream, Silk Clouds in Breeze, Dragon Swirl in and Art, Glenbow Museum, glenbow.org
from $675. Available in Canada exclusively at Shale, Silk Clouds in Cream; bilbroughs.com Ken Lum, Vancouver Art Gallery,
Avenue Road. Avenue Road, avenue-road.com vanartgallery.bc.ca
The Rug Company, therugcompany.info Exhibitions: The Mundane and the Magnificent theravenscall.ca, Bill Reid Gallery of Northwest
pp. 32–33 Coast Art, Vancouver, billreidgallery.ca
Virginia Johnson bedding: pillowcases, from Everything Everyday, Vancouver Art Gallery,
$78; duvets, $195; quilts, $325. Available at vanartgallery.bc.ca Appreciation: Solo Traveller
virginiajohnson.com. Counter Space: Design and the Modern p. 34
Kitchen, Museum of Modern Art, moma.org Doris McCarthy Gallery, utsc.utoronto.ca/~dmg/
New in Fabrics 19th-Century French Photographs from the
pp. 28–31 National Gallery of Canada, Montreal Museum Books: Drawing Conclusions
Living in Colour of Fine Arts, mbam.qc.ca p. 35
Designers Guild Morelli in 01, Designers Maharaja: The Splendour of India’s Royal D&M Publishers, douglas-mcintyre.com
Guild Moyka in 01, Designers Guild Zephirine Courts, Art Gallery of Ontario, ago.net
Winter 2010 collection; primavera.ca At Work: Hesse, Goodwin, Martin,
Robert Allen at Home Sunscape in colour Art Gallery of Ontario, ago.net
Tropic; robertallendesign.com Arboretum, Art Gallery of Nova Scotia,
artgalleryofnovascotia.ca
INDEX_pp104-105.indd 104 15/11/10 4:50 PM

FROM THE GROUND UP and installed by Ébénisterie Louiseville, ARCHITECTURE
Dream Building ebenisterielouiseville.com Not Thinking Straight
pp. 36–39 Black vases, white chaises longues, pp. 70–79
Acre Collective, theacre.ca maisoncorbeil.com/index.php/en Architecture by praXarc, praxarc.com
Builder, Patrick St-Onge Renouveau Interior design by Watermark Interiors,
COMMENT Domiciliaire, patrickst-onge.com charlee@watermark-interiors.com
Imagine… Lighting consultant, QUARTZ, quartz.com Terrazzo bathroom flooring and glass tile,
pp. 40–42 Motorized blind, Altex, store.bisazzausa.com
muf, muf.co.uk altex.ca/index=eng.htm Custom cabinetry manufacture, Steve
Architecture Research Unit (ARU), Motorized blind installation, Rheinhart Studios, reinhardtstudios.com
aru.londonmet.ac.uk Stores J Fauteux, 450-430-1820 Design of cabinetry, sofa, throw pillows,
Lina Bo and P.M. Bardi Institute, Sofa, gwwilliam.com Charlee Deaton, Watermark Interiors, as above
institutobardi.com.br
Sanaa, sanaa.co.jp ARCHITECTURE ARCHITECTURE
All the Right Angles Take Shelter
ARCHITECTURE pp. 51–57 pp. 80–83
Natural Wonder Architecture by Longhi Architects, Architecture by Olson Kundig Architects,
pp. 44–50 longhiarchitect.com olsonkundigarchitects.com
Architecture by Blouin Tardif Architecture
Environnement, btae.ca INTERIOR DESIGN GRACE NOTE
Bathroom counter/furniture, bookshelves, Master Class p. 106
glass desk, kitchen cabinetry, designed by pp. 58–69 Architecture by gh3, gh3.ca
Blouin Tardif Architecture Environnement, Interior design by PomaSteven Governor General’s Medals in Architecture,
btae.ca Design & Architecture, pomasteven.com Royal Architectural Institute of Canada,
Bathroom counter/furniture, bookshelves, raic.org
glass desk, kitchen cabinetry, manufactured
WINTER 2011 105
INDEX_pp104-105.indd 105 15/11/10 4:50 PM

Stoney Lake, Ont.
GRACE NOTE
Barely There
R einterpreting the traditional boat-

house, the Toronto architectural firm
of gh3 built a contemporary all-glass
live/work photographer’s studio on
a granite foundation on Stoney Lake, in south-
ern Ontario. The compact, transparent structure
highlights its setting, serving as both backdrop
and steel frame, the glass house virtually blends
into the site, taking on the ephemeral qualities
of the mist and the lake year-round.
As one of 12 projects that garnered Governor
General’s Medals in Architecture in 2010, gh3’s
glass house exemplified the criteria set out by
the Royal Architectural Institute of Canada
vision, and sensibility…in [blending] the concep-
tual and the technical to bring together truly
inspired contemporary Canadian architecture.”
Interior details are “impeccable,” noted the
jury—“the depth of floor slabs, the relationship
between glazing and railing, and the evidence
of program, essentially ‘erasing’ as much as
to and centre of the 360-degree vistas of water, and the Canada Council for the Arts in select- possible to bring emphasis to the site itself.”
rock, and forest. With its austere white palette ing the award recipients—“originality, daring, –Dali Castro
GraceNote p106.indd 106 11/11/10 1:16 PM

PuraVida
Discover pure life for the bathroom
©2010 Hansgrohe, Inc.
PuraVida. Poetic purity and clarity of form defines the latest Hansgrohe collection. PuraVida, which translates to “pure life”, is the design
i nspiration from Phoenix Design that reflects harmony, balance and emotion. Experience PuraVida and discover pure life for the bathroom.

Please visit www.hansgrohe.ca to view the entire collection.

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INTERNATIONAL SMART IDEA: AN EFFICIENT MOUNTAIN CABIN

ARCHITECTURE SPECIAL: VENICE BIENNALE OF ARCHITECTURE 2010

& DESIGN TRÈS CHIC: FASHION’S INFLUENCE ON HOME

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Not Thinking Straight

Where to ﬁnd the architects, designers,

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12 INTERNATIONAL ARCHITECTURE & DESIGN

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A tale of two big ideas

Robert Moore and Judith Mackin are

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14 INTERNATIONAL ARCHITECTURE & DESIGN

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trademark skull pattern—coveted by women around the

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International Architecture & Design Magazine. Winter 2011

International Architecture & Design Magazine. Winter 2011