New ideas for a modern residence
Architects Brigitte Shim and Howard Sutcliffe draw on fresh mathematical models for a Toronto ravine home
JOHN BENTLEY MAYS
Friday, April 13, 2007
For about the past 25 years, advanced theorists of architecture -- one thinks especially of Peter Eisenman in this regard -- have been urging architects to engage more vigorously the new ideas coming from science, technology and the philosophy of information. What would happen, for example, if designers set aside the Newtonian model of space as a neutral, empty and infinite grid, and began to think of it (in the manner of some contemporary mathematicians) as a rich fabric of events and incidents, folds, cinematic dissolves? Imagining space in this way is not only intellectually provocative. It also suggests a fruitful way forward for architectural design -- away from the box and all its variations, to forms more directly responsive to the new nature that science is giving us.
There is no better local example of what I'm talking about than the spacious residential project known as Integral House, now nearing completion on a Toronto ravine. Designed by the small, influential Toronto office of Brigitte Shim and Howard Sutcliffe, this brilliant scheme was undertaken at the request of James Stewart, a mathematician, musician and author of widely published mathematical textbooks. When finished, Dr. Stewart's house will likely become, not only a building of great beauty and material refinement, but also a case study in the application of new architectural thought to the enduring problem of the modern residence.
The full drama of the project is not immediately evident from the street. In the two-storey composition of its front, an etched-glass attic, glowing like a lantern at night (and containing bedrooms), rests lightly on a broad wooden base. In its modest scale -- its striking visual effect is another matter -- this façade harmonizes with other luxury homes in its neighbourhood.
Integral House shows its more formally energetic side at the rear, as it boldly steps down the ravine to a swimming pool. Each of the house's five levels is different from the others, registering changes in program and in the building's relation to the sky and the forest on the slope. The entry level, for example, is a high overlook, offering clear views into the house and its alternating rhythms of grid and organic form. A full level down, in an area intended for musical performances, the space majestically expands to double height, up to a clerestory, and outward to frame views of the trees below.
The geometry of the design is dominated by the curve, which is expressed most eloquently in the undulating curtain wall that encloses upper levels of the house. This wall is an ingenious invention that features vertical oak-clad fins canted outward between vertical panes of glass and running in a clear sweep along the façade's curvature.
While this complex façade treatment lends Integral House muscular sculptural presence, formal elegance is only part of its job. Its more important task is to establish ever-changing relationships between the interior and the nature beyond. Standing in one position in the performance space, the visitor finds the wall almost opaque. Step sideways, and views open up. The inward folding of the screen creates small enclosed harbours of nature outside, or, bulging outward, it creates bays that hover in the landscape.
But the impulse behind the fabrication of this unusual perimeter wall -- to produce endless events, surprises, small episodes of light and view -- drives the whole design of Integral House.
As one moves up and down, alongside and around the chimney, elevator shaft and stairwell that constitute the vertical axis of the house, the experience of the surrounding nature changes accordingly, from tree-top brightness above, to the shadowed loam of the forest floor. Higher up in the house, one is still in the city; below, one is in the ravine. Yet moving around within the building itself, the visitor finds the spatial properties of the architecture continually changing, as scales vary from monumental to intimate, and as one area dissolves into another in the remarkably fluid plan. The result is an architecture of event, more cinematic than static, with stories continually emerging from its sturdy matrix of stone, glass, concrete and wood.
The history of Integral House is well laid out in an interesting exhibition now on view (through Apr. 28) at the Eric Arthur Gallery of the University of Toronto's faculty of architecture, landscape and design, at 230 College St. Writing about the book that accompanies the show -- though she could easily be talking about the display -- Brigitte Shim says: "By describing and revealing a process that documents the scheme from initial sketches through to working drawings, we hope to demonstrate that design does not happen magically." But the outcome, very rarely -- yet surely in the case of Integral House -- can be magical indeed.
Toronto's Integral House
Innovative concepts for a modern residence rise over a Rosedale ravine
What would your dream house look like? Think about it. And dream, baby, dream. Float down into the deepest sleep and stay there for a long while. You might begin to approximate the kind of dream that James Stewart had about 10 years ago, of a sumptuous house designed to liberate music and man.
This is a house that matters. Though it is still months from completion, the contribution of the Integral House to architecture here in Canada and places beyond promises to be immense. And so I bring this house to your attention now as a symphony of design, in which everything from the door handles to the windows has been contemplated and freshly cast.
Gimme shelter? Turns out there's more to a house than developers would have us believe. Look around at the carpet of sameness that has metastasized across North America. Radical departures from the norm are painfully rare; innovation and craft are regularly flattened by the steamrollers of convention. With the Integral House, however, we open ourselves to the dream of change.
This house — designed by Shim-Sutcliffe Architects of Toronto — is a singular treatise on the joys of the complex curve. Serpentine walls made of vertical glass separated by projecting fins of white oak form the gentle perimeter to the house, echoing the wisp of the creek in the valley below and the paths that wind from the back terrace through a forest of towering oaks, maple and beech. The architecture glorifies its ravine setting, with views of the majestic trees available from Rosedale's Roxborough Street clean through the house.
Here's a couple of photos that do it absolutely no justice whatsoever...Perfection was the goal and it was achieved
Kelvin Browne, National Post
Published: Saturday, November 01, 2008
Integral House is the most important Toronto private residence built in decades. Remarkable not only because of its brilliant and complex design by Shim-Sutcliffe Architects, but also because the reasons prompting its owner, Jim Stewart, to build it are as laudable as they are rare. Mr. Stewart wanted to promote contemporary design and create a noteworthy building. Unlike many with his means, he didn't choose a traditional house to impress the neighbours or give a sense that he was English gentry. He believes in the new and chose to invest in it.
Mr. Stewart also loves music and another laudable intent is he wanted a house where he could have concerts. He's been having concerts at home for years and his new house takes the idea of having friends over to listen to music to a new level. I was at Integral House for its inaugural concert -- 140 had dinner and then savoured cellist Shauna Rolston and the St. Lawrence Quartet performing Couperin, then the world premier of a new work commissioned by Mr. Stewart, String Quartet No. 2 by Rodney Sharman and, to close, an astounding performance of Schubert's Quintet in C Major for two violins, viola and two cellos.
The house measured up to the evening. The acoustics of the two-storey performance space were splendid. Mr. Stewart worried they might be too bright during the rehearsal earlier in the day. However, when the space is filled, the audience is a perfect sound dampener. With the sensuous glass wall, modulated with white pine uprights at subtly changing angles as a backdrop, it's spoiled me for a regular concert hall.
I asked Mr. Stewart, a mathematician, about his interest in architecture. He says he's always been fascinated by it and that Massey College at the University of Toronto, in particular, raised his consciousness about design. I'd like to think this proves an extended exposure to a remarkable building, in this case one designed by Ron Thom, has potent residual value. Interesting that Howard Sutcliffe, one of the principals of Shim-Sutcliffe, early in his career worked for Ron Thom. Some of the details of Integral House, such as the pendant lighting refer to Thom, and Thom's major influence, Frank Lloyd Wright.
How does one commission an architectural masterpiece? "I took several years to consider different architects," says Mr. Stewart. This was a global search. "For instance, I interviewed Frank Gehry and spent time with him. I was planning to have a competition with a short list of architects but after I got to know Shim-Sutcliffe, there was no point. I wanted to work with them."
Good client-architect relationships spur each side of the equation in a positive manner. The architect is stimulated to stretch and innovate, and a client sees his needs interpreted in new and surprising ways. This is the relationship Mr. Stewart has with Brigitte Shim and Howard Sutcliffe. "I wanted a building with curves," says Mr. Stewart with a smile knowing that this wasn't, until his house, a usual element of a Shim-Sutcliffe project. This stretched them. On the other side of the equation, Mr. Stewart learned what being a patron of new architect demands, including years of planning and design. And, for Integral House, nearly five years of construction to get the magnificent details perfect. Not close to perfect, but perfect. He was up to the challenge.
We think of Will Alsop's building for OCAD, Daniel Libeskind's ROM Crystal or Gehry's AGO renovation, as symbols of Toronto's new self-confidence about architecture; Integral House is a symbol of sophistication in the private realm of a comparable magnitude. As I was enjoying the concert, I couldn't believe I was in Toronto. This wasn't a nice trio playing in the background while we chatted over cocktails or a U. S. star flown in at great expense to impress colleagues at a birthday party. This was a serious and captivating concert in a unique home that had been conceived for this purpose. In Toronto.
As we were leaving, a highly regarded architect and his wife were following us out. He was a bit stunned by the night as I was. "Historic," he said. Normally I'd think this hyperbole -- but not in this case. It was historic. But I hope not the last time I leave a house in amazement, one that's been opened for a concert or perhaps an art show or garden tour. Instead of monuments to making lots of money quickly, let's have more houses that transport us by an individual's vision of what he or she wants to share with the community.
4
True...but even without the references, the casual observer will be impressed.I'm sure that the more subtle mathematical and musical themes that one discovers here, the more it can be appreciated.
Oh...wait till you see it in action...it is the entire top floor (small part visible in the pic). There is a seamless, curving frosted glass outer facade, with the primary wall with windows behind it (about a 1-foot deep air space between them), that will glow at night with the light from inside, as well as lights installed in the space between them I believe.The cubist structure on roof may have to grow on me though.
I believe the budget is $35 million.No mention of cost was made.
Yes, his millions are from authoring calculus books...sold all over the world.Dr. Stewart probably did not make this money as a mathematician, unless, he sold a whole lot of his books, Lol.
Fascinating. Thanks KGB!Oh...wait till you see it in action...it is the entire top floor (small part visible in the pic). There is a seamless, curving frosted glass outer facade, with the primary wall with windows behind it (about a 1-foot deep air space between them), that will glow at night with the light from inside, as well as lights installed in the space between them I believe.
KGB
The only green feature I'm aware of (because I installed it) is the geothermal heating/cooling system.the journal pieces did not mention the issue de mode, the environmental or "green" features. Any effort made on this front, ie, combining functionality, visual impact and sustainability?
Why were you not impressed with the heating/cooling contractor. What would you have done differently?The only green feature I'm aware of (because I installed it) is the geothermal heating/cooling system.
But to be honest, it wasn't part of the original mechanical specs of the house. They had a problem locating the massive chillers required for the 21 tons of cooling load....couldn't put it on the roof...couldn't put it on the grounds. They were going to build a giant "room" under the driveway to accommodate it, but the cost was high (300k or 400k ) .
Someone came up with the idea of installing a vertical geo system in the driveway instead...not only saved a ton of money (100k-150k) to install and operate, as well as offering not just 21 tons of cooling, but 21 tons of heating as well (eliminating the need for so many gas boilers) on top of being "green".
All-in-all, I was not that impressed with the main heating/cooling contractor, when looked at in the context of the rest of the design of the house.
KGB
Many reasons.Why were you not impressed with the heating/cooling contractor. What would you have done differently?
