With little knowledge of Brigitte Shim’s work, apart from the early-1990s publication of a compact house on a tight site in The Architectural Review, it was with some interest that I waited for her to speak, hoping to gain a better understanding of her design process and seeing more of her portfolio. The design of that compact dwelling – the Laneway House as it is known – was very tidy in plan and section, and it was obvious that the architects had deeply considered the program, site and construction detailing.

Brigitte Shim, one half of the respected Canadian firm, Shim-Sutcliffe Architects hailing from Toronto, introduced her keynote by outlining the three organising themes; The Constructed Landscape, The Canadian Shield and The Toronto Ravine. She continued that all her projects are guided by the maxim “specific, particular and local” and that they establish a “dialogue with the context”.

Across the meadow to the Island House at Thousand Islands

The Constructed Landscape
The first project was a house on an island (above) in the St Lawrence River that was a series of orthogonal volumes of different heights and dimensions covered by green roofs with low flowering plants. A hydroseeded clover meadow surrounded the house entirely and reflected the “agricultural cycle”. After sunset, the house glowed like a paper lantern in a meadow. Shim commented that a water body – almost as large as the house it surrounded – filled with water lilies and fish was intended to create a “metaphor of an island”. Another “constructed landscape” project was the Corkin Shopland Gallery located within a heritage distillery, characterised by a series of close-spaced brick vaults and vats. Shim created spaces by selective removal and insertion. Brick walls were removed to create new spaces and stairs were inserted within the brick arches. Not sure where the “landscape” was on that project though…

The Canadian Shield
At first, the Canadian Shield didn’t make much sense to me as my knowledge of the Canadian landscape is very limited but as Shim explained, The Shield is a very large zone of igneous rock in northern Canada located close to the surface which influences the overlying landscape. Here, the project was a summer camp dining hall located in an isolated setting within a pine forest on the edge of a lake – a typical Shield landscape. The timber/steel hybrid structure of the pavilion is flooded with natural light via a standard greenhouse glazing system and although the structure is rigourous and repetitive (lower cost, easier to transport to the site), the sensitive detailing of the timber adds a distinctive character.

Dusk at Moorelands Camp Dining Hall on Lake Kawagama

The Toronto Ravine
Shim’s third theme, the Toronto Ravine, again revealed a part of the Canadian landscape unknown to me, yet a distinctive geographic feature of downtown Toronto. The ravine system is a network of deep cuts (20 metre drops are common), often with waterways, that weave though the city and are mostly undeveloped or parks. Within this context, Shim introduced an early project for external pavilion that rests on the edge of the ravine and provides a calm, tranquil place to reflect.

Another aspect to Shim’s work is the consideration of the seasons (which are very clearly defined in Canada) and this is exemplified by the Weathering House which is clad in COR-TEN steel. Also, the functional requirements of a designing such a building in a climate that ranges from -40ºC to 40ºC are not ignored, as Shim-Sutcliffe typically engage envelope specialists to collaborate on the facade and ensure energy targets are met. The last project Shim presented was the Integral House, also sited on the edge of the ravine, for a very wealthy client who is a calculus scholar and musician (which explains why the program includes a 150 person concert hall!) The 1,600m2 house is a series of curvilinear volumes – somewhat like an Aalto Vase – built on the edge of the ravine with a sinuous glazed facade broken by the syncopated rhythm of timber fins. Shim described her affinity with Aalto, apparent in the organic form of the Integral House, which she “synthesised” to the local conditions.

Weathering House

Integral House (by livinginacity)

Integral House (by livinginacity)

Shim is fortunate enough to have clients with seemingly endless budgets – the Integral House and the amazingly detailed bespoke door hardware and interior lighting are some examples – but Shim-Sutcliffe seem to remain grounded nonetheless. Their sense of fun and inventiveness is reflected in their approach to a suspended luminaire made from Mason Jars, mylar and phosphor, that Shim called “fireflies in a jar”. Very witty but only part of the reason why Shim-Sutcliffe are an architectural practice to follow closely!

Projects Presented (in order)

• Island House, Thousand Islands (2002)
• Corkin Shopland Gallery, Toronto (2004)
• Ledbury Park, Ontario (1997)
• Muskoka Boat House, Point William (1999)
• Garden Pavilion and Reflecting Pool (1990?)
• Weathering House, Toronto (2001)
• Moorelands Camp Dining Hall, Lake Kawagama, Dorset (2001?)
• Integral House, Toronto (2008)

Additional Shim-Sutcliffe Resources

• “A Solution to Urban Density” – about the Laneway House (with plans and sections)
• Details about the green roof at the Island House
• Shim-Sutcliffe Architects entry in the The Canadian Encyclopedia
• Ledbury Park entry at The Archi-Tourist
• Project data and product information on the Island House
• Corkin Gallery
• “New ideas for a modern residence” – about the Integral House
• “The Sum of Its Parts” about the Integral House design process (with model photos and other diagrams)
• Two articles by Lisa Rochon (1, 2) about the Integral House appeared in The Globe and Mail but unfortunately are both pay-per-view and are unpreviewed. A text copy can be read for free at the Urban Toronto Forum however.

Also in this series… Christoph Ingenhoven, Francine Houben, Chris Wilkinson and Billie Tsien

From the moment Chris Wilkinson walked on stage and then (unusually) proceeded to sit down on a lounge for his keynote address, I thought he would be an interesting speaker. It turned out, however, the reason he was sitting down was his bad back but it suited his laid-back yet confident delivery nonetheless. Established over 25 years ago in London, the firm of Wilkinson Eyre are probably best known for their iconic Gateshead Millennium Bridge but there is a greater breadth to the practice “striving for the beautiful idea” as Wilkinson presented.

Gateshead Millenium Bridge, Newcastle-upon-Tyne (by Xavier de Jauréguiberry)

Wilkinson said he strives for “aesthetics, atmosphere and meaning” in projects where there is an ambiguity between art and science. And as Wilkinson noted, in order to make the art, you have to understand the science.

Wilkinson Eyre’s understanding of the “science” is apparent in many of the projects presented, especially the series of bridge projects. Starting with the Gateshead Millennium Bridge, Wilkinson explained that the curved deck, acting as a horizontal arch, met the brief requirement of not establishing foundations on the banks of the river as well creating an accessible promenade. Two arches, one spanning the river vertically and the other is a horizontal arch, supported a series of cables, is the promenade deck. Both arches pivot around a pin joint which makes the structure look like an eyelid or helmet visor. This architectural metaphor reflects the art/science blend Wilkinson mentioned earlier.

The big eyelid, aka. the Gateshead Millennium Bridge (2001)

Cultural Destinations
Wilkinson explained that he aimed to create cultural buildings that people wanted to go to rather than have to go and on basis he presented a trio of projects to meet that objective; the National Waterfront Museum in Swansea, Wales, the Mary Rose Museum in Portsmouth and the speculative the House of Human Rights in Milan for Amnesty International.

Facade detail, National Waterfront Museum, Swansea (by chilledoutdude)

Window and stacked stone cladding detail (by chilledoutdude)

Of these, the most intriguing is the project to display the Mary Rose – Henry the VIII’s flagship from 1511- to the public. Subject to 25 years of archeology and restorations, only half of the ship’s hull was preserved in river mud and Wilkinson’s proposition is to create a virtual mirror hull from (hopefully) cast glass. Over 18,000 objects pulled from the river will be displayed in this glass hull where the exhibition aims to capture a specific moment in time of Tudor England. The “composite” hull is enclosed by a large span shell-like shed which is clad in black timber panelling.

Model of the Mary Rose Project (by galuppi)

Light & Geometry
Wilkinson presented a range of bridges, of which the practice is justifiably well-known, including the Floral Street Bridge, London, the University of Limerick “Living” Bridge and the interactive “Challenge of Materials” Bridge at the Science Museum in London. Each bridge is a characteristic blend of art and science in response to context. The Floral Street Bridge provides a discreet connection between the Royal Ballet and the Opera House for dancers and employs a square frame rotating using spiral geometry. Pre-fabricated entirely offsite, the bridge elegantly resolved the misaligned (in plan and section) heritage building openings. Wilkinson called it a “bridge of aspirations”. Indeed.

Underside street view of the twisting Floral Street Bridge (by ly wylde)

Ballet Dancer on the Floral Street Bridge (by cybele_skydancer)

Whilst the Floral Street Bridge responds to context, the Challenge of Materials bridge responds directly to the user(s) by adjusting hundreds of 1mm wires supporting the 6mm laminated glass-on-edge deck according to the load imposed. The wires are connected to a stainless steel baseplate attached to a computerised load monitor. This amazing bridge paved the way for the Tensegrity Bridge, in collaboration with Cecil Balmond, proposed for the National Building Museum in Washington.

Wilkinson ended his presentation discussing the “Complex Geometries” of the Liverpool Arena & Conference Centre, and the (unfortunately named) Guangzhou Twin Towers in China but neither of these large scale projects quite managed to elegantly blend the art of architecture and the science of structure as well as Wilkinson Eyre’s bridge portfolio.

Facade detail, Liverpool Arena & Conference Centre (by johnybes)

Projects Presented (in order)

• Gateshead Millennium Bridge [PDF], Newcastle-upon-Tyne (2001)
  
• The Magna Project [PDF] (Science Adventure Centre), Rotherham (2001)
• National Waterfront Museum [PDF], Swansea (2005)
• Mary Rose Museum [PDF], Portsmouth (ongoing)
• House of Human Rights, Milan (project)
  
• Floral Street Bridge [PDF], London (2003)
• University of Limerick Living Bridge [PDF], Ireland (2007)
• Challenge of Materials Bridge [PDF], Science Museum, London (1997)
• Gardens by the Bay [PDF], Singapore (ongoing)
• Tensegrity Bridge [PDF], Washington (ongoing)
• Liverpool Arena & Conference Centre [PDF] (2008)
• Guangzhou Twin Towers [PDF], China (2009)

Additional Wilkinson Eyre Resources

• Official site of the Gateshead Millennium Bridge
• Structural analysis case study of the Gateshead Millennium Bridge
• Primer of 21st century steel bridge design (inc. Gateshead Millennium Bridge)
• Gateshead Millennium Bridge on Galinsky
  
• National Waterfront Museum (official site)
  
• Architectural Record’s Building Types Study on the Floral Street Bridge
• More details about the University of Limerick Bridge on e-architect
• Details and photos of the Challenge of Materials Bridge
• Gardens by the Bay visualisation by Squint Opera
• A so-called “virtual flythrough” of Liverpool Arena & Conference Centre

Also in this series… Christoph Ingenhoven, Francine Houben, Brigitte Shim, and Billie Tsien

A series of evocative, slightly abstract images marked the start of Billie Tsien’s keynote address at CV08. Described by Tsien as “objects of beauty and use” in the folk art tradition, these images set the tone for the address that touched on six Tod Williams/Billie Tsien (TWBTA) projects focussing on her particular approach to each architectural problem.

Tod Williams and Billie Tsien, as partners in work and love, have created a truly enviable architectural practice. Tsien spoke about their 16th floor Carnegie Hall apartment of over 30 years – apparently at the urging of Williams – is a compact, light-filled space, characterised by traditional art collected over the years. By revealing this personal space upfront, she set the tone for the projects that followed.

American Folk Art Museum (2001)
Part of New York’s famous Museum of Modern Art (MOMA) family, the American Folk Art Museum is a compact, vertical building, characterised by large stair that winds a path through the building. Tsien affectionately called it the “jewel in the belly button of MOMA”. As an infill building, the verticality of the form was generated in response to the context and site plan constraints, where the site is only 12 x 30 metres and accommodates a 2,800m2 program.

The 53rd Street facade of cast white bronze panels (American Folk Art Museum, 2001)

Typically for TWBTA there are subtleties in the design, such as the angled sections of on the main facade in order to catch morning and afternoon sunlight which reveals surface detail, that highlight the depth of their design process. The surface detail apparent in the main elevation is the result of a exploratory prototyping process involving cast white bronze to create richly furrowed panels that add a layer of detail to the facade. Extensive research and reinterpretation of materials, not often employed in architecture, is integral to all their projects and, to me, distinguishes TWBTA’s portfolio from other US architects.

As the galleries are stacked vertically, the museum is a “circulation rich experience” according to Tsien where the main stair in the core of the building and becomes a “basket that holds the light” from a skylight overhead. The internal spaces are idiosyncratic as Tsien says she is searching for buildings that are slowly discovered – not one liners – where there is a possibility of a dual reading of the architecture.

We are community. We as architects are leaving our mark on the world.
[Billie Tsien, 12 April 2008]

Cranbrook Natatorium (1999)
Within the context of a Eliel Saarinen designed campus with subsequent buildings by Moneo and Holl, the Cranbrook Natatorium, Michigan is a naturally ventilated pool with occuli (circular openings) in the roof allow light and air to circulate, sometimes even snow! Tsien described it as a “bent arm” building with walls in the landscape rather than terminating the grass courtyard on the site axis. Similar to Shim-Sutcliffe’s re-appropriation of greenhouse skylight systems, Tsien used mining industry technology for the window and roof opening control mechanisms.

View along the bent arm of the Cranbrook Natatorium (1999)

A huge ceiling opening at Cranbrook Natatorium (1999)

Starr East Asian Library (2008)
The result of a 13 year gestation, the Starr East Asian Library, University of California at Berkley was completed earlier this year. Responding to the neo-classical existing library, the 6,317m2 building is “a box for books” that is set into the slope of the site with a “face” (facade) fabricated from granite panels and a bronze screen cast in China. This screen filters natural light to the interior like a veil. Internal spaces were influenced by the Long Room at Trinity College, Dublin. Without the benefit of actually visiting the building, the interior appears far more successful than the relatively bland (for TWBTA) exterior envelope.

Diffuse natural lighting (Starr East Asian Library, 2008)

Outlook from the Reading Room (Starr East Asian Library, 2008)

Tata Consultancy Services Campus (2010)
In a similar fashion, the Tata Consultancy Services Campus in Mumbai, India incorporates a modern interpretation of a “jali”, a traditional stone carved screen used for centuries as both sunshade and ventilated wall. Interestingly, the construction process has commenced and Tsien explained the need for full-size prototypes of various facade elements to ensure quality and that the material detail is clearly understood. Close work with handcrafted materials and artisans was apparent in most of the buildings presented in the keynote and the Tata Campus, despite it’s sheer size, is no different for TWBTA.

Projects Presented (in order)

• American Folk Art Museum, New York (2001)
• Cranbrook Natatorium, Bloomfield Hills, Michigan (1999)
• Lakeside Centre (skating rink) at Prospect Park, New York (2011)
• Starr East Asian Library, University of California Berkley (2008)
• Tata Consultancy Services Campus, Mumbai, India (2010)
• The Snow Show, Finland (2004)

Additional TWBTA Resources

• About the building materials for the American Folk Art Museum
• A walkthrough (with plans) of the American Folk Art Museum
• Cranbrook Complexities – an article from The Architecture Review from 2001
• A slideshow of Cranbrook Natatorium
• Starr East Asian Library opening day promo video
• Timelapse video of the construction of the Starr East Asian Library
• A slideshow of the Starr East Asian Library

Also in this series… Christoph Ingenhoven, Francine Houben, Brigitte Shim, and Chris Wilkinson