Situated on a typical suburban street in a bedroom community just north of Winnipeg, the Parallelogram House stands in quiet and refined contrast to its stucco-clad neighbours. While the clients desired a one-storey layout for their young family, they also wanted to ensure that all of the bedrooms had views of the front or backyard. By skewing the floor plan into a parallelogram, the window area was greatly increased without increasing the footprint, opening the home up to a panoramic view of the trees and preserving the site’s southern exposure within the required setbacks.

The house is clad in vertical wood siding that wraps onto the underside of an extensive roof overhang, which is supported by a family of Cor-Ten columns that acts as both structure and screen, evoking the rich texture and shadows of the tree line. Together, wood and steel render the house as part of the surrounding landscape.

Inside, the main living space is defined by an 11-foot high ceiling horizon and an open plan that flows around a freestanding utility box. The bedroom and garage wings are separated from the living space by white metal screens that extend the geometry of the exterior columns through the house. A simple and muted palette emphasizes the interior volumes, highlighted by a sequence of light wells and skylights.

Photography: James Brittain

Awards: 2018 Governor General’s Medal in Architecture ; 2017 Architectural Review House Awards shortlist

OZ is a 25 unit, high-end condominium development located in the heart of Osborne Village. Located on an L-shaped site, the project is conceived as two towers linked by a minimal glass entry and a shared elevator core. Each tower is wrapped in a cohesive skin of black metal cladding that is carved into and punctured through to introduce outdoor space, provide shelter for ground floor entrances and respect setback restrictions. The deeply fluted corrugated metal skin consists of a gradient of solid and perforated panels that create a subtle play of light across the facade. Every component that is recessed behind or cut through the skin is rendered in white, reflecting daylight into the building’s void spaces.

Although zoning regulations initially limited the structure to five storeys, by introducing mezzanines on two levels the saleable square footage was increased substantially while still conforming to the maximum allowable building height. In addition, the precise interlocking of a variety of unit types served to reduce corridor areas. Compared to a conventionally planned development, the OZ configuration significantly increases density efficiency and thus profit potential for the developer. The square footage gained from compact planning allowed for the creation of horizontal courtyards off the mezzanines that punch through the building and provide large exterior decks with expansive vistas for loft units.

Photography: James Brittain

Awards: 2015 MCHAP.emerge Finalist

The iconic Guggenheim brand and the quiet confidence of the Finnish identity inspire an art gallery defined by an ethereal quality of light, space and material drawn directly from an understanding of place. The visible program is reduced into a highly charged timber form that claims the site for the city, but also distills its energy into a powerful point of gravity – iconic yet restrained, playful yet subtle, warm yet stoic. Set against the city or the harbour, the lush green of Tahtitorninmaki park in the summer or the bitter whiteout of winter, the wood structure becomes a beacon for visitors and locals alike.

The galleries rest under a civic blanket whose subtly undulated surface creates controlled ponding during and after rain, resulting in natural reflection pools. Below the plaza, the single level exhibition space provides a highly flexible and functional environment for art. A choreography of curated courtyards allows for precise filtering of light into the galleries, rendering each with a unique atmosphere and immersing visitors in a composition of dappled light and shadow. Inside the wood form, the gallery soars into an unexpected vertical volume where a movable floor takes on different programmatic identities – from performance hall to classroom to observation deck – depending on the level to which it is docked. Small apertures left between the stacked timbers modulate the delicate light that surrounds or emanates from within.

548 Stradbrook is an eight unit infill development in Winnipeg’s Osborne Village neighbourhood. Located on a mature residential street lined with turn-of-the-century homes, the building is wrapped in a reflective glass shroud that allows it to be camouflaged with its character-filled surroundings. The project responds to existing zoning setbacks and density constraints with a three-storey, compact form that contains six two-bedroom flats and two three-bedroom loft units.

The project’s cladding treatment draws direct inspiration from its historic context, reinterpreting traditional lap siding with a custom, shingled glass facade of reflective panels that are overlaid like fish scales both vertically and horizontally across the entire building. The mirror-like finish and subtle angling of the glass creates an ephemeral interplay of reflections and light during the day, and transforms the building into a glowing apparition at night. At the second floor level, a metal canopy wraps the building’s perimeter, supported by a colonnade of thin black columns that lightly touch the sidewalk below. Functionally, the canopy defines a front yard patio space and sheltered walking path for tenants. Aesthetically, the canopy provides a stable counterpoint and grounding element to balance the ever-changing nature of the glass facade above.

Photography: James Brittain

Award: 2015 Architizer A+ finalist

5468796 together with design advocacy group Storefront Manitoba celebrated the culmination of Winnipeg’s Architecture Fringe Festival and the 2014 Royal Architectural Institute of Canada’s Festival of Architecture on Saturday, May 31 by transforming the Esplanade Riel pedestrian bridge into a giant pop-up dining room and inviting guests to experience and discuss the power of architecture and design. The project is the culmination of 5468796’s Table for 12 – a nine-city series of intimate dining events that put the spotlight on architecture culture.

On this major civic landmark and against the backdrop of Winnipeg’s new Canadian Museum for Human Rights, the team joined together 150 tables of eight to create one continuous 1200 foot long dining table – making it one of the longest dining tables on record. Volunteer ”Table Captains” decorated their tables to a theme of their choice, competing for prize money for the best table setting. Diners from across Canada – including representatives from prominent institutions, the city government, arts organizations and the general public – were notified of the event’s secret location only hours prior to the dinner. Meals were provided by local chefs from RAW:almond (Mandel Hitzer from Deer + Almond and Joe Kalturnyk from RAW Gallery) along with Ben Kramer from Diversity Food Services.

Photography: Jacqueline Young (except Instagram grid)