Posts tagged with "Vancouver":
Vancouver-based Scott & Scott Architects blends warm minimalism with local materials and custom furniture
The Architectural League’s Emerging Voices award and lecture series spotlight individuals and firms with distinct design “voices” that have the potential to influence the discipline of architecture, landscape architecture, and urban design. The jury, composed of Sunil Bald, Mario Gooden, Lisa Gray, Paul Lewis, Jing Liu, Thomas Phifer, Bradley Samuels, Billie Tsien, and Ian Volner, selected architects and designers who have significant bodies of realized work that creatively address larger issues in the built environment.
The Architect’s Newspaper featured the Emerging Voices firms in our February issue; stay tuned as we upload those articles to our website over the coming weeks. Vancouver-based Scott & Scott Architects’ founders Susan and David Scott will deliver their lecture on March 23, 2017, at The Architecture League in New York City. Click here to learn more!
After leaving large architecture offices in Vancouver, wife and husband Susan and David Scott established their own practice in 2012 out of their home and studio—a renovated former grocery store off of Main Street. Using this home-studio and a cabin they built for themselves as their initial portfolio, the Scotts began building a reputation for their warm, minimalist aesthetic. “Our first few commissions included a sausage restaurant and a barn,” David said. “After working on large institutional projects, the idea of doing things that were more functional and related to the daily lives of their owners was very appealing. We really value having a direct relationship between architecture and its occupants.”
Other completed projects include cabins and houses across British Columbia as well as restaurants and even an artisanal liquid-nitrogen ice cream parlor, Mister. “We’ve been very lucky with our initial clients; when it's someone’s own business or own house, they tend to be really interested in taking design risks and being open minded,” Susan said. In each space, natural materials were carefully selected from Canadian suppliers and manufacturers for durability and beauty. “We enjoy focusing on materials that are local and not branded,” she explained. “They are often harder to find, but they are always more durable and a better investment in the project.”
Combined with a sophisticated, pared-back approach, materials such as soapstone, marble, and concrete take center stage without overwhelming the building’s ability to be highly functional, whether as a restaurant or a residence. Susan and David often create or commission furniture, light fixtures, and hardware for each space in their workshop, promoting an overall sense of integration in every project. “There’s not a written philosophy about [our approach], but our background as site architects who often oversaw construction, as well as our own set of interests, lends itself to a focus on materials and making things,” David said.
In 2016, Scott & Scott Architects were awarded the Young Architect Award by the Royal Architectural Institute of Canada. Currently, they are working at various architectural scales, including master planning an alpine community, designing ground-up residences, and adapting urban buildings for reuse, but they also continue to enjoy smaller-scale projects even as their practice grows. “Right now we are at a tempo where a lot of projects are happening concurrently, so there is a thread that other people can’t necessarily see that pops up in each project,” David explained. “So we might explore something in one project and it becomes more refined in the next one—the progression is exciting.”
Because we live and practice in New York and travel extensively we consider ourselves highly cultured and knowledgeable. But actually we are quite parochial, a fact that sadly struck a chord when Bing Thom passed away. He would serve on our juries and our boards, revered and consulted for his opinion. However, despite the fact that his firm received the Canadian Architect Firm Award in 2010 and he won the Royal Architectural Institute of Canada Gold Medal in 2016, he was off our radar. Even when he was recently invited to compete for a design at Lincoln Center, he was very excited about the potential project and actually started looking for an office in New York. But he may have been too much of a “dark horse” and didn’t get the commission.
This is unfortunate. One need only look at the skyline of Vancouver to see solid evidence of his talent. From the moment he cut his teeth with Arthur Erickson on the Robson Square Courthouse Complex to his most recently completed Guilford Aquatic Center in Surrey, his sculpted roof forms shaped the city’s civic and cultural spaces. He was gifted at taking disparate functions and resonantly melding them in a way that was creative and technologically innovative without appearing so. Next door to the Aquatic Centre, for instance, is the Surrey City Centre Library, probably one of the earliest buildings programmed through social media primarily to speed up the normal process, so that the library would not lose its public funding.
Because we are a small profession, there are often clear lines of succession. Bing was no exception. Even though he was born in Hong Kong and fled to Canada as a child in 1949 when the Communists took over, once he landed in Vancouver and decided to become an architect, it didn’t take long for him to become noticed by Erickson, his professor at the University of British Columbia. He went on to receive his Masters of Architecture from Berkeley in 1969. Then he moved to Japan to work for Fumihiko Maki, returning to Toronto to join Erickson on Roy Thomson Hall. The studio he opened in 1982 was very much in the spirit of the work of his two mentors as Bing took on large public projects and became known for his approachable, open creative style.
His portfolio is extensive and global; it includes many theaters and The Chan Centre for the Performing Arts in Vancouver was one of his earliest. The concert hall is reputed to sound magnificent, owing to a large concrete acoustical canopy, making it tower over every other building on campus. He artfully camouflaged this by a stand of cedars. For Washington, D.C.’s Arena Stage, the roof became his medium, defining and enveloping the two existing theaters and the experimental one he added. Currently under construction is the Xiqu Centre in Hong Kong, which will house the Chinese Opera.
A laundry list of his other major buildings would surely include the Canadian Pavilion for the 1992 Expo in Seville, Spain, which was entirely clad in zinc and featured a naturally cooled entertainment area. It would also include the master plan and subsequent commission for the Tarrant County College Downtown Campus in Fort Worth,Texas. And it would definitely feature the University of Chicago Campus in Hong Kong, slated to open next year.
I knew Bing very briefly and very recently. He came to New York and spoke at the Center for Architecture last spring. He was a lovely man in person, full of passion, thoughtfulness, intelligence, generosity of spirit, and a belief in the power of architecture to transform. I am grateful that we filmed the evening and very sorry that that will be all we have.
There is something surreal in the new exhibition at the Museum of Vancouver (MOV), Your Future Home: Creating the New Vancouver, on view until May 15. It’s not just the museum’s late ’60s architecture by Gerard Hamilton. It’s not the giant crab in a fountain that ushers patrons into a dome-like edifice with a cavernous interior reminiscent of some sci-fi film about “the future.” (George Pal’s The Time Machine springs to mind.)
It’s also not the slightly trippy Brian Eno music, or even the Through the Looking Glass–style mirror (Can You Afford to Be Here by Dialog) that exhales phrases in different languages about what it’s like to live in the city with the highest cost of housing in North America. This mirror returns the civic gaze—and responsibility—to the viewer.
Rather, it’s the whole meta-theater of it: the museum is actually a kind of real estate sales center where patrons are prospective buyers.
“Vancouver is a city in flux, undergoing massive growth and redevelopment,” said Gregory Dreicer, MOV’s director of curatorial and engagement, who worked alongside exhibition designers McFarlane Biggar Architects. “With as many as three homes demolished each day—often to make room for denser living—we are experiencing a watershed moment in the history of the region.”
While talking about the price of real estate has become something of a civic obsession, Dreicer said the aim of the exhibition is “to shift the conversation from real estate to the state of the city.”
Your Future Home opens with a huge wall of photographs of various housing types in the city—from a homeless tent to a mansion to an old railway house—all underlined in red to mimic the current trend in real estate marketing literature. (In Vancouver’s overheated market, homeowners regularly receive such notices of recent sales in their mailboxes.)
The intent here is to focus on the residential typology itself, rather than to fetishize price per square footage, and the wall of homes is an intriguing mosaic of Vancouver housing styles.
Next, patrons are ushered into a mock sales center with a collage of various parts of the city. Faux sales sheets offer statistics about the city itself—as if it were a single property. An adjacent wall, plastered with a huge image of the typical Vancouver city view, is punctuated by various other statistics like “50% of Vancouverites use private cars, 5% bicycles.” Across from this view, four flat screen monitors offer maps and statistics compiled by planner Andy Yan, illustrating the exhibition’s central themes: housing affordability, residential density, ease of transportation, and quality of public space.
An animated video of Vancouver draws one into city streetscapes. Across from it another aerial view photograph of the city proves revealing: Vancouver’s downtown is a tiny peninsula of density, surrounded by a sea of suburban style housing.
With text noting a projected population increase of 150,000 residents by the year 2040, the question, Where will they all live? hovers (metaphorically) above the idyllic view.
The third section attempts to answer that question while raising many others. While uneven at times, and slightly overwhelming, this part of the exhibition has a curiously Victorian feel about it, with many of the several dozen mini-exhibits mounted on blocks, reading like dioramas reimagined for the 21st century.
One by Erick Villagomez called The Grid is a simple wooden cube with a grid imposed on it, and a kind of viewmaster-cum-pinhole-camera that looks down into a montage of fantastical civic images that aim to encourage a “new social and spatial order.”
The grid is applied to a Vancouver beach, and a dense cluster of high-rises applied to a wealthy waterfront enclave. Nature is overlaid with built environment and new urban models are superimposed on suburban landscapes, offering inventive takes on new ways to inhabit the city.
Another highlight is architect Gregory Henriquez’s Vertical City that plays with the idea of a dramatic shift in scale and Vancouver’s obsession with “the view.” Here, a model for a 2,500-foot-tall highrise is created by upending a 15-block area of the city complete with existing buildings. A large roof top terrace features a “sky garden” and a dizzying view.
Framed by a loop of photos of important civic events and city builders on one end and a film about public space and transportation on the other, neighborhood histories—how Chinatown residents rallied to save their community from a freeway—mingle with imagined futures like a post-global warming transportation network for bicycles.
Architect Oliver Lang offers a dense pyramidal model as an alternative to both low-rise sprawl and highrise living. And architect Javier Campos presents Density in Section as a kind of cri de coeur for greater diversity of built environment in the city, one that mixes residential, commercial, and industrial. Fittingly for a rail against homogeneity and conformity, the model consists of a series of tiny multi-leveled flags bearing images of buildings that form a triangular peak, and read like banners of protest.
Your Future Home is as much a call to arms to save the soul of a place in danger of becoming a resort town for the wealthy, as it is a celebration of the city. The exhibition manages to foil Vancouver’s real estate–fueled fortress mentality of isolation and unaffordability even as it critiques it, simply by engaging patrons and offering both historical insight and potent possibilities.
Photographer Wayne Thom captured Late Modernism like no one else, and now his archive is looking for a home
Building technology research center features wood, integrated photovoltaics, and green wall.When John Robinson began formulating a vision for the University of British Columbia's (UBC) Centre for Interactive Research on Sustainability (CIRS), he did not start small. Robinson, who is responsible for integrating academic and operational sustainability at the university's Vancouver campus, dreamed of constructing the most sustainable building in North America, a monument to and testing ground for energy-generating strategies. Invited to join the project in 2001, architects Perkins+Will sought an approach combining passive design and innovative technology. Featuring a facade of locally manufactured wood panels, high performance glazing, solar shading with integrated photovoltaics, and a green wall sunscreen, CIRS is a living laboratory for the research and practice of sustainable design. The initial concept for the building included 22 goals centered on three themes, explained Perkins+Will's Jana Foit. First, CIRS was to have a net positive environmental impact. In addition, the structure was designed to provide an adaptive, healthy, and socially generative workplace for researchers, staff, and students. Third, CIRS would utilize smart building technologies for real-time user feedback and testing. The building envelope was a critical component of the project's overall environmental strategy on both conceptual and practical levels. "The overarching design idea is to communicate sustainability, to make it visible and apparent," said Foit. In terms of pragmatics, the architects focused on reducing heat gain and providing 100 percent daylighting to the interiors. To reduce solar gain, Perkins+Will reduced the window area from the current code of 40 percent maximum to 31 percent. They installed fixed and operable triple-glazed windows on the ground floor, and fixed and operable double-glazed windows above. For cladding, the architects selected Multiple Ply Cedar Panels from locally-developed Silva Panel—one of the first solid wood products designed for rain screen application. "The exterior panels were detailed and designed to be removable, to allow for material testing and research," said Foit. CIRS' two-pronged solar shading program includes a network of fixed shades with integrated photovoltaics and a green wall. The former results in 24,427 kilowatt-hours per year in energy savings. The architects designed the green wall, meanwhile, to protect the west-facing atrium, which lacks a mechanical heating or cooling system. Together with a combination of solid spandrel and vision glass, the living screen achieves 50 percent shade during the warmer months. "The plants are chocolate vines, which lose their leaves in winter, allowing passive heat gain into the building," explained Foit. "In the summer, when the vines are in full bloom, the leaves provide shading for the atrium." In an important sense, the CIRS story did not conclude once construction was complete in 2011. Rather, the proof of CIRS' value as a demonstration tool is in its ongoing operations. The building returns an impressive 600 megawatt-hours of surplus energy to the UBC campus each year—and continues to rack up sustainability prizes, including the Royal Architecture Institute of Canada's 2015 Green Building Award. But perhaps more importantly, thanks to publicly available performance data and a "lessons learned" document compiled by UBC, CIRS has fulfilled Robinson's dream of promoting green design through the construction of a transparent, replicable model.