Brigitte Shim

Immigrating to Canada in 1965, Shim worked collaboratively with her husband, Howard Sutcliffe, since the beginning of her career. The couple met at the University of Waterloo, where they both obtained a Bachelor of Environmental Studies in 1981 and a Bachelor of Architecture in 1983.[5] Concurrently in 1981, Shim began an apprenticeship under Arthur Erickson Architects, an acclaimed designer in Vancouver.[6] She moved to Toronto to join Baird / Sampson Architects from 1983 to 1987, and concurrently started teaching at the University of Toronto's John H. Daniels Faculty of Architecture in 1988. During her professorship, she designed several pieces of furniture with Howard Sutcliffe; she described this collaboration as her “way to explore ideas and source materials.” In 1989, Shim married Sutcliffe and the couple started to expand their portfolio.[7]

The works of Shim are inseparable from her husband, Howard Sutcliffe. Some of their earliest collaborations include an architectural garden in Don Mills in 1989, a remote lakefront house in Haliburton, Ontario in 1991 and their own house in 1993. All three projects won awards from the Royal Architectural Institute of Canada and the two residential projects also won awards from the Canada Wood Council.[8] A milestone for the establishment of Shim-Sutcliffe in 1994 was the couple's own house. A small residential project on a laneway property in Toronto, it is rich in detail and has been described as a built manifesto for their work.[9] Shim and her husband both share an appreciation towards landscape, and an admiration for craft and culture. They draw inspiration from architects such as Carlo Scarpa, Alvar Aalto, and the De Stijl Group, as well as from traditional Japanese architecture. They have said that Charles and Ray Eames are role models for their joy during the design process. Shim explains that they “look like they have a lot of fun. A lot of people do good design, but don’t have a life.”[10]

From 1997 to 2002, Shim-Sutcliffe designed some of the most recognized projects in Ontario: Craven Road House in Toronto (1997), Ledbury Park in Toronto (1999), the dining hall for Moorelands Camp at Lake Kawagama (2002), and a boathouse on Lake Muskoka (2004).[11] In the following years, Shim and her firm continued to expand their portfolio to include further institutional, gallery and religious buildings. These projects include a library and chapel at Massey College (2006), the Corkin Gallery (2010), the Frum Collection of African Art at the Art Gallery of Ontario (2008)[12] and the Bet Ha'am Synagogue in Portland, Maine (2008).[13] One of the firm's most notable buildings, the Integral House in Toronto was designed in 2009.[14]

Shim joined the University of Toronto's John H. Daniels Faculty of Architecture in 1988. Currently, she is a tenured professor at the University of Toronto. Shim is also a visiting lecturer at institutions including Harvard and Yale. Her courses are associated with her practice and expertise, including core design studios, advanced design studios, and History and Theory of Landscape Architecture.[15]

• Visiting Critics Studio at Carleton University of Architecture (1990)
• Visiting Professor for the Thesis Program at McGill University School of Architecture (1992)
• Visiting professorship at Harvard University Graduate School of Design (1996 and 1993)
• Henry Bishop Visiting Chair (2001)
• Visiting Bicentennial Professor in Canadian Studies (2001) at Yale School of Architecture
• Held the invited international visiting professorship at École Polytechnique Fédérale de Lausanne (2002)
• 2014, 2010, and 2005 Eero Saarinen Visiting Professor at Yale School of Architecture
• Martell Distinguished Visiting Critic at the University at Buffaloof Architecture and Planning (2006)
• Martell Distinguished Visiting Critic at the University of Buffalo’s School of Architecture and Planning (2006)
• Shim was the William B. and Charlotte Shepherd Davenport Visiting Professor (2008)
• Somerville Visiting Lecturer at the University of Calgary's Faculty of Environmental Design (2013)
• Portman Visiting Critic at Georgia Institute of Technology College of Design (2016)

Laneway House is one of the earliest works that demonstrates Shim's experimental mindset in her architectural career. Shim and Howard are the client and the architect themselves, entirely designing for what they appreciate in a dwelling. The fundamental question that started this project was, “can a laneway housing work in Toronto?”[21] The concept derived from the rapid and messy advancements in Toronto from 1870 to 1930.[22] The deficiency and unordered developments led to establishments in laneways. However, the problems arise from the essences in dwelling. A laneway house's issues with privacy, noise and smells suggest many potential ruins to the quality of life.[23]

Shim and Howard initiated the project by buying a junker lot, near Queen and Leslie, shoved with abandoned cars. Consequently, three more lots were purchased to stitch them into a regular sized lot. The approval process required many devotes as the City of Toronto refused the permission. However, the proposal was taken to the Ontario Municipal Board, which allowed the progression of the concept, ‘laneway suites’ in Toronto.[24]

The inexpensive apartment on top of a garage has a modest appearance. Arranged with concrete walls, the living contains two bedrooms, one bathroom and a small office on the second floor. The stacked volumes are pierced by the naturally lit staircase that is aligned with a shining Venetian plastered wall. All the studies that accompanied the Laneway Housing designs are thoughtfully documented to ‘Site Unseen’ by Shim and Donald Chong, her colleague, in 2003.[25]

Moorelands Camp Dining Hall is one of Shim’s works that best showcases her appreciation towards nature. Only accessible by boat, the project sits in the middle of Northern Ontario, surrounded by rocky peninsulas, pine forests and lakes. Its functionality is to provide a camp with wilderness experience for children who are underprivileged due to financial constraints.

The Dining Hall takes the form of a barn and tries to blur the boundary between outside and inside. The combination of twelve glulam trusses, small dimension lumbers, and light steel elements compose a wooden tent-like structure. At its center, the motorized greenhouse glazing system shines natural light along the roof ridge and floods the space, creating a spiritual impression. All these merge to create mindful fabrication details that Shim always pursues.[26] A jury from Governor General’s Medals in Architecture describes Moorelands Camp Dining Hall as “a modest project that exhibits a very strong spatial and tectonic idea.”[27]

Integral House

The project demonstrates the connection with the client that Shim strongly values as an architect. Having a multi-faceted client, Dr. James Stewart, was the biggest factor in creating a unique residence that can host intimate or public musical concerts. He is an acclaimed mathematician, a philanthropist, and a professional violinist. His affection towards curves are transferred to provide both the start and the end point of the design.[28]

Integral House is a private residence, situated in the middle of Toronto’s Rosedale Ravine. It is a collective facility that includes a residence of five floors with four bedrooms, eight bathrooms and a concert hall that can host over 150 people. The Integral House tries to create a smooth transition from the bottom of the ravine slope to the top of tree bushes. From its exterior, the Integral House reads as two volumes, a wooden base on the ground, and a translucent glass volume that floats on top.[29] The wooden base is solidly cladded with oak, dissolving into oak fins and curved glass above. The sun shading and acoustically isolating vertical fins gently forms the perimeter of the house, resonating the undulation throughout the river valley.[30] The materiality throughout the building demonstrates Shim’s attempt to connect with nature. The inside features sensuous details such as the hand blown laminated glass staircase, which is a collaborated artwork with a glass artist, Mimi Gellman. As the cast bronze clips and stainless steel cables support the staircase, it tries to resemble warmth in nature. The project not only pursues natural beauty but also sustainability. Geothermal pipes are buried below the driveway for heating and cooling of all programs and the green roof above adds to the effect by reducing the heat island effect.[31]

• Garden Pavilion and Reflecting Pool (Don Mills, 1992)[32]
• Muskoka Boathouse (Lake Muskoka, 1999)[33]
• Weathering Steel House (Toronto, 2001)[34]
• Corkin Gallery (Toronto, 2004)[35]
• Craven Road Studio (Toronto, 2006)[36]
• House on the Ravine Edge (Toronto, 2011)[37]