Commercial Architecture June 2017 - 57

PROJECT

exteriors

The entire building was completely enclosed in a massive scaffold with a giant
tarpaulin covering the structure to protect the church from the weather as the
existing roof was removed.

eral interested parties but its weight was problematic for the
seismic upgrade. We gravitated to zinc pretty early in the process. We wanted a durable material that would last forever. We
expect to get 100 years or more from the Rheinzink. Plus it
looks contemporary but is respectful of good Heritage practice.
The Heritage Commission quickly approved our use of it."
Kellogg concurs regarding the lifespan of the zinc. "With
the pitch of the roof, it's easily a 100-year roof," he said.
The traditional prePATINA blue-gray color was also another
reason for selecting Rheinzink. "Everyone likes the way the
[color] complements the natural stone on the building," Cochlin said. "We absolutely love the product."
Another interesting attribute of zinc that influenced its selection for the project is its ability to repel moss. "The cathedral
is in somewhat of a concrete canyon with highrises all around
and thus gets very little sun," Birtwell said. "The previous roof
was really moss covered. We sometimes joked that the moss was
the only thing holding the old building together."
The detailing on the job was complex with multiple interfacing. "We had complicated transitions," Kellogg said. "There was
no caulking, no screws-all traditional methods. There were lots
of pitch changes and elevation changes that made the installation time intensive. It was definitely a labor of love."
According to architect Hugh Cochlin, all of the details were
drawn by hand. "That's definitely old school," Cochlin said, "but particularly appropriate
for a Heritage project. We worked closely with TEK Roofing and had many on-site meetings. There was definitely more collaboration with the installer than is the norm today."
The drainage system used the traditional 6-in. Rheinzink half-round gutters and the
company's hangers, outlets, and expansion joints. "It's a beautiful system and comple-

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ments the scale of the roof," Kellogg said. On several small dormers, 5-in. gutters were
installed.
Another major aspect of the final-phase renovation was the addition of a highly anticipated bell spire set atop the existing elevator core. The open glass-and-steel structure
housing four custom-cast bronze bells was the last significant architectural addition to the
project. The bells were cast in France and the bell spire glass features are a design by Canadian artist Sarah Hall.
The bells ring at the beginning and end of the workday, on Sundays, for weddings and
funerals, and to mark special celebrations in Vancouver's civic, interfaith, and multicultural community. "Completion of the project protects the heritage of this historic and
much-loved church and the bells proclaim the compassion and peace that this place
represents," said Peter Elliott, dean and rector of Christ Church Cathedral. CA

Want more information? To download the information listed below, visit
commercialarchitecturemagazine.com/1706rheinzink.

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Download a roof-systems brochure.

View the project gallery.

Download a gutter brochure.

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CIRCLE 221

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Table of Contents for the Digital Edition of Commercial Architecture June 2017