Architect designs unique tipi-inspired home in Yellowknife

by sadia_badhon | October 1, 2020 6:21 am

By Kayhan Nadji

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The Tipi House in Yellowknife, N.W.T., designed by Kayhan Nadji of Nadji Architects[2], is a symbol of northern culture and its jagged landscape. The design reflects an increasing awareness of the ways architecture affects, and is affected by, the environment and by culture. The architect has tried to figuring out the best way to combine the fundamental indigenous architecture shapes with more modern considerations, such as central heating, space, and lighting. The result? A truly unique, eye-catching Northern home.

The housing history of northern Canada begins with the dwelling of the indigenous people. The early inhabitants of the Northwest Territories belong to two large cultural groups: the Inuit of the arctic and Athapaskans of the western sub-arctic. The arctic lands of the Inuit are sandy or rocky and devoid of trees—the winter snows are windswept into dense drifts. The sub-arctic land of the Dene is forested, the snow soft and fluffy, the form of their shelter is compact. Construction materials are local, and climate is the prime influence on the construction of shelters in both cultures.

To understand the particularity of the First Nations’ architecture, it is important to also understand their beliefs and how they live in relation to people and nature. First Nations people believe in communal and co-operative living. Survival often depends on communal efforts to obtain and store food. They feel a kinship with the natural world.

Dene architecture

Unlike the eastern Arctic, beyond the tree line where the change from a nomadic life to a permanent village life was sudden, the western Arctic has a long history of established settlements. Additionally, because of plentiful fishing and fur-harvesting along the Mackenzie River (home of the Dene) there was an economic base for community growth. In some cases, however, the settlements have outlived their original economic purpose.

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Since this area is within the tree line, the range of possibilities for building materials is greater than in the barrens. Conical shelters and tipi became common. Every group adopted the conical form, developed its own unique type, and adopted a variety of materials. The Dene tipi shape creates a spiritual power representing the relationship between man and God.

The project

With the Tipi House project, Nadji has tried to build a new home to stand as a symbol of his deep respect and admiration of northern culture and his love of the beautiful, rugged landscape of Yellowknife. Nadji’s objectives in designing and building this project were to implement characteristics of the First Nations’ architecture in relation to a changing environment, and reflect on emerging approaches in contemporary architecture. The architectural expression of this house grows out of an appreciation for the local culture and setting.

The topography of the Yellowknife district is typical of the Canadian Shield. The bedrock in the Yellowknife area is of Precambrian age. The area now referred to as Yellowknife grew originally following the discovery of gold in 1935. Yellowknife is within the extensive discontinuous permafrost zone.

Concept

The round/tipi house is designed to reflect an increasing awareness of the way architecture affects, and is affected by both the environment and culture, plus emergent characteristics in contemporary architecture. Nadji has tried to create a building where every element of affects the psychological, physical, and emotional well-being of its tenant. For First Nations people, the circle is a significant symbol representing the continuity of life. They believe everything in life relates to a circle. Everything the power of the world does is in a circle. The sky, earth, and stars are round. Almost all First Nations shelters feature a circular plan in which holds some basic physical and psychological concepts: a circle makes everyone equal; the circular plan encourages concentric use of space with attention focused on the center with its fire pit at the base and the smoke vent at the top. Additionally, a circular dwelling is non-directional, aside from the entrance, and lets in daylight from all angles.

The circular shape has been adapted to this design. It is the most efficient for enclosing volume as it minimizes the use of materials and presents the least possible surface for heat gain and loss. The circular plan directs the earth forces naturally around the building, and fewer corners reduce wind turbulences to a minimum. It encloses the given area with a shorter overall length of walls, and energy consumption is dramatically reduced because of the form of the building.

Description

The building height and location on the lot was determined by the City of Yellowknife. This four-bedroom, 450-m² (4840-sf) house, designed for a family of five, is in Yellowknife, the homeland of Weledeh Yellowknife Dene. Based on tipi (means to dwell or live) and igloo (means house) architecture, the First Nations’ dwelling of this area.

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This site, on high ground, has one of the best views in the city of the river and bays the First Nations people call Weledeh (Yellowknife River). To maximize this, there are many windows and four levels of walkout decks. The environmentally sensitive site determined both the extent of glazing used in the building and transparent deck railings. Within these constraints, the aim was to produce a building with a sense of tranquility and harmony with a location that reflected the environment and culture of First Nations peoples with a strong visual presence.

The 13 m (43 ft) diameter round/tipi house, which stands out in high contrast to the sky, sits back on a long rocky site. Behind the house are birch and spruce trees. The site is bounded on the east by Yellowknife River and on the west by Niven Lake. The overall vocabulary abstracts the form of First Nations dwellings of the surrounding area. The ground floor contains air lock which is located to prevent wind and precipitation from entering directly into living space, the 5 m (16 ft) diameter rotunda entry hall, living, dining, family room, kitchen and bathroom, the second floor contains bedrooms and bathrooms, and an observation sun room with a library is located on the third floor. The basement contains an office and an art studio.

The house has a cast-in place reinforced concrete foundation in bedrock. The basement floor is reinforced concrete poured into the bedrock. A layer of 200 mm (8 in.) rigid insulation and a vapor barrier under the slab on top of 360 mm (14 in.) compacted gravel prevent frost penetration and improve thermal performance. The house places an emphasis on the expression of simple frame construction. The structure which combines wood framing with, steel post-and beam on a concrete foundation was built, nailed, and shaped with ordinary tools. The 13 mm (¹/₂ in.) exterior sheeting is wrapped in building paper as an air barrier. Interior insulation is mineral wool and foam completed with vapour barrier. Natural materials are central to the philosophy of the design. Steel columns are generally and equally spaced on a 5 m (16 ft.) diameter circle. The building superstructure is constructed with round structural steel beams and six steel columns with 2×10 Douglas Fir # 1 floor joists c/w 19 mm (¾ in.) plywood glued and screwed to the joists. The roof structure consists of round steel beam supporting skylight, framing with 2×8 slanted stud wall with 19 cm (7.5 in.) spray foam insulation, and vapour barrier.

Drywall was used for finished walls, completed with three coats of paint. The colour scheme is deliberately anti-institutional with rich saturated hues of natural materials playing off the white. Upon entering the house from the main entrance, one is confronted by two colourful ceramic finished planters symbolizing two arms welcoming visitors to the house.

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A wood stove and chimney are the centre core. The woodstove is located at the geometric centre. A four-storey void extends the full height of the house, wrapped by a continuous stair, which spirals up from the basement. Walls surrounding the stairwell consist of 2×4 wood studs covering with 13 mm drywalls.

The conical 3 m (10 ft) tall and 5 m (16 ft) diameter skylight with the 25 cm (10 in.) penetrating chimney, marks the tipi and represents Dene culture. Light plays an important role. To take advantage of solar energy, a generous use of blue tinted glass in the skylight pulls daylight into the stairwell.

The triple-pane low-E glass windows placed high in each room captures the winter sun. The amount of daylight in the house changes colour and space with the hours of the seasons. Six watertight roof windows frame the landscape outside in a vast panorama. Windows are arranged to take advantage of cross-ventilation and daylight. Colours use rich saturated hues of natural materials and the purple-gray stucco façade harmonizes with the surrounding rocks and trees. Use of dark colors for exterior finish can help structure absorb solar radiation and convert it to heat, which can be beneficial in warming surfaces exposed to the sun.

Landscape

The integration of landscape and building is one of the main goals of the design. The house celebrates the natural beauty of the surroundings. The landscape, architecture, and culture are as close as can be to what one would find in native land. Design concepts are based on creating a more friendly relationship between people inside and the natural surroundings, opening the house to the mysticism of the land and its cultures. The house is set into the natural landscape to blend rather to dominate it. Respecting northern weather and economy, local material such as rock and gravel in combination with birch and spruce trees, has been used for landscaping. The house attempts to complement the natural beauty of surroundings, so landscape elements are an integral part of the building concept.

Conclusion

By studying the First Nations’ architecture, it can be seen that complex structures are not always superior. First Nations’ architecture possesses a high degree of sophistication, performance, relevance to people’s needs, and respect for the environment.

When looking into First Nations ways of living, it can be found their houses were not only sympathetic with nature but celebrated nature as the source of life. They illustrate sophisticated rules about design and construction. Their rules have a lot of respect not only for the elements of nature, but also for people. This eye-pleasing as well as functional house has tried to articulate, through its form, a northern architecture through its relationship to First Nations culture, landscape, and the northern sky.

[6]Kayhan Nadji holds a master’s degree in architecture and urban planning and has many years of experience in architectural design, urban planning, project management, and administration. Based in Yellowknife, N.W.T., and operating in one of the world’s most remote regions, Nadji is passionate about creating designs which respect local culture and traditions. He regularly works with remote indigenous communities to create spaces where they can comfortably work to achieve the goals of their people.

Source URL: https://www.constructioncanada.net/architect-designs-unique-tipi-inspired-home-in-yellowknife/

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