On October 27th, the Vancouver City Council voted 5–4 to remove the Georgia and Dunsmuir viaducts, making space for housing, culture, and parks. The viaducts were part of a proposed freeway system through East Vancouver in 1971, until residents protested, and the project was abandoned. In June 2013, the city council made a unanimous vote to study the potential impact of removing the viaducts that connect the downtown to neighborhoods on the city’s East side. Since that unanimous vote, city staff consulted communities and studied traffic. Reports show the viaducts hold six-percent of trips to and from downtown, and it would cost $50 to $65 million to make the viaducts earthquake safe. Mayor Gregor Robertson said in a written statement, "There is no decision at the city that has been more scrutinized, studied, deliberated or consulted on than whether or not to remove the viaducts, and after four years, it is time to move forward." To compensate the loss, a four-lane, at-grade road will be built, adding only one to three minutes in vehicle travel time, while the available land becomes thirteen acres of park space. Also, two city blocks will be preserved for housing, providing 300 below-market units. Although the demolition will cost approximately $200 million, the city anticipates a surplus of $100 million by the time the project is complete in 2025. Previously, Toronto leaders voted to preserve their elevated downtown freeway, prioritizing commute time.
Posts tagged with "Vancouver":
After years of planning, the Vancouver Art Gallery revealed renderings for its new home by Swiss firm Herzog & de Meuron this Tuesday. The conceptual design is a striking departure for a city of tall, slim towers, but an ongoing motif for the firm. Concept images depict wood and glass clad cantilevered boxes of varying sizes hovering over downtown Vancouver. The new project would fill in what is now a parking lot several blocks east from the current museum. Vancouver urban planners are frequently recognized for embracing both density and nature—and the design for the new museum building also seeks to unite the two. In the renderings, the vertical museum—topping out at seven stories—rises from a public 40,000-square-foot garden courtyard. The expansion would create 85,000 square feet of galleries, including an admissions-free ground level and a seventh-floor terrace displaying sculptures. There are also plans for an education center, a theater, a library, as well as a cafe, bringing the new space to a grand total of 310,000 square feet. There would also be room to grow vertically in the future. “It is so vertically dominated, this city, that to do a museum [that] would only stay on the ground – you couldn’t do it. You have to explore the height which is so much a topic of this city," Christine Binswanger, senior partner at Herzog & de Meuron told the Canadian newspaper, The Globe and Mail. The city is leasing the land for the new building to the Vancouver Art Gallery. The estimated cost for the project: $350 million—to be achieved through a mix of private and public funding, with an expected opening in 2021.
Photographer Wayne Thom captured Late Modernism like no one else, and now his archive is looking for a home
As 1970s and 1980s architecture returns to vogue, a new recognition of those associated with its making and documentation also arises. So it is with Wayne Thom, long the preeminent architectural photographer of the large, Late Modern building by the large firm. Thom began photographing in the late 1960s and his work in Los Angeles, the Western U.S. and beyond to the Pacific Rim documented changing tastes and approaches toward the architectural subject. Hundreds of images are on view on his website. It’s a distinctive and significant body of work, but one without a home. Presently Thom is looking for an organization or institution to take on his sizeable and meticulously organized archive. As time goes on, Thom’s remarkable work seems increasingly ill-suited for sequestration within any one house, including his own. Born in Shanghai in 1933, Thom was raised in Hong Kong, and emigrated to Vancouver in 1949 with his family that includes brother Bing Thom who went on to become a highly noted Canadian architect. Arriving in the States in 1964, Wayne graduated from Brooks Institute of Photography in 1968. By the following year he was working with A. Quincy Jones (“A.Q.”) who gave him his big Los Angeles break. Jones, and others whom Jones later introduced on Thom’s behalf, were impressed with approaches that would over time become Wayne Thom hallmarks. These include the use of natural light only, no props whatsoever, and big buildings—particularly the high rise, as his subject. A breakthrough assignment, Wayne’s prominence further rose with his image of the 1971 CNA Park Place Tower in the Westlake section of Los Angeles. Completed by Langdon & Wilson, CNA Park Place was the first all-over smooth-grid mirror glass skin building—a soon to be corporate vernacular—completed in the Western United States, and likely the Country. Thom’s image of the building overlooking Lafayette Park and the people within it won the First Award of the Pittsburgh Plate Glass (PPG) Architectural Photographers Invitational in 1973. Among his clients through the 1970s, Thom frequently worked with the A.C. Martin office where he photographed a variety of projects including their various Downtown LA projects, the underrated (and unfortunately renovated) Sears West Coast headquarters, and even an A.C. Martin–designed jet interior. In that decade he also began steady, multi-year work as the primary photographer for William Pereira (“Bill”); San Francisco’s Transamerica Building was among his many Pereira assignments. Among other publications, Thom’s images were featured in Progressive Architecture, Architectural Record, Architectural Forum, and Domus—where he photographed for Gio Ponti, the magazine’s founder. His award-winning Bonaventure Hotel image is the February 1978 Progressive Architecture cover. Architect Arthur Erickson, whom Thom knew since his much earlier Vancouver years, tapped him to assist in assembling the team of associate architects, landscape architects and designers that ultimately won the 1980 competition to redevelop Bunker Hill sponsored by the City of Los Angeles Community Redevelopment Agency. In a highly publicized coup, they battled against the “All Stars” team, which included Barton Myers, Frank Gehry, Ricardo Legorreta, Charles Moore, Cesar Pelli and others under Maguire Partners Development. Yet says Thom, “We won the battle but lost the war;” aside from a single Erickson building and the hardscape (Two California Plaza was completed by A.C. Martin) the rest of Erickson’s winning scheme was never realized. Thom continued in full-time practice until 2013, when he curtailed his workload. Living in Rowland Heights, he maintains meticulous records for his thousands of negatives and slides plus hundreds and hundreds of proof books and presentation prints. Now, he’s interested in releasing all of it. In addition to his artifacts, the photographer’s memory is institutional and he seems to have known every single Los Angeles Late Modernist, with insightful if not funny tidbits on most of them. If it all possible, his basic hopes are that archive stay intact and be made available to the public.
If you took Herzog & de Meuron's so-called "Jenga Tower" in New York City and combined it with NBBJ's so-called "Jenga Tower" in Cleveland, you would have something resembling Büro Ole Scheeren's proposed residential tower in Vancouver, which, sure, kind of looks like a game of Jenga. The firm's first North America project would land at 1500 West Georgia Street in Downtown Vancouver and rise 48 stories. The tower, with its cantilevering volumes, is intended to break up the monotony of the city's glassy skyline which the firm summed up as "extrusions of generic towers that don’t engage their environment and create isolation rather than connection." To change that, the tower has a unique massing that is supposedly intended to free up space at the street level for things like a public plaza and an "amplified reinterpretation" of the site's existing water feature. Unspecified "renewable energy sources" stuck into the building's crown would provide 100 percent of the power for these public amenities, helping the building hit its LEED Platinum target. The project is still in its early days as Ole Scheeren and Francl Architecture have only recently sent a letter of inquiry to the city about the redevelopment, which is being developed by Bosa Properties. [h/t Dezeen]
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.
The Bjarke Ingels Group (BIG) has released a snazzy video of its eponymous leader explaining the design of Vancouver House, the firm's upcoming mixed-use project in—you guessed it—Vancouver, Canada. As you can see from the photo above, the development is focused around a 52-story tower that appears to be twisting and expanding as it rises. That eye-catching form was actually born out of a setback requirement aimed at limiting development alongside the adjacent Granville Bridge. As Ingels is wont to do, he incorporated the site limitation into his design and ended up creating an entirely unique building. To that end, he said Vancouver House is a "contemporary, Canadian evolution" of the Flatiron building in Manhattan. BIG's building is slated to open in 2018 but you can watch the video about it right this very second.
The Vancouver-based New Buildings Institute (NBI) tracks energy efficient built work, and their 2014 update, “Getting to Zero”, provides a snapshot of the emerging U.S. market for net-zero buildings—those are structures that use no more energy than they can gather on site. In the United States, California leads in the number of low and zero energy projects with 58, followed by Oregon (18), Colorado (17), Washington (16), Virginia (12), Massachusetts (11), Florida (10), Pennsylvania (10), Illinois (8), North Carolina (8), and New York (8). NBI also compiled a database of all their buildings. They say architects and developers interested in pursuing net-zero design could find inspiration there, searching according to their local climate and/or building characteristics. The database includes energy-efficient and high-performance buildings that are not net-zero, as well. Though the trend has succeeded in garnering attention and excitement among many designers, true net-zero buildings remain elusive in the built environment. So far NBI has only certified 37 buildings as net-zero. That ranking is based on performance—each building underwent a review of at least 12 months of measured energy use data. If piece-meal projects aren't yet adding up to a groundswell of net-zero design, NBI is also pushing systemic change—rigorous energy efficiency standards recently adopted in Illinois took cues from the group's Core Performance Guide.
Herzog & de Meuron will be designing the new Vancouver Art Gallery. The plan will double the size of the 300,000 square foot existing institution.The new Vancouver Art Gallery will be the Swiss firm's first Canadian project. HdM was selected out of the shortlist that consisted of Diller Scofidio + Renfro (New York), Tod Williams Billie Tsien Architects (New York), KPMB Architects (Toronto), and SANAA (Tokyo). The finalists, announced in January, were chosen out of 75 firms from 16 countries who submitted to an open Request for Qualifications process issued by the gallery. Conceptual designs are expected to be revealed in early 2015.
For the fourth year running, Robson Street in downtown Vancouver will play host to a public art project designed to enhance people's connection to one another and people's connection to the space. The brief for "Robson Redux "entails transforming a street that acts largely as a pedestrian thoroughfare into something more akin to a plaza or city square for the coming summer months. On today, April 15th, a jury will select one of the 79 entries to build and install in time for Canada Day (July 1st for those not in the know). Loose Affiliates' Picnurbia, 2011's winner VIVA Vancouver, a subsidiary of the City responsible for public art programming, is the host of the competition, which was inaugurated in 2011. Local design collective Loose Affiliates were responsible for that year's winning design; rolling orange turf-covered hills traversed by occasional flat walkways and umbrellas. Subsequent winners Pop-Ups and Pop Rocks and Corduroy Road were continued efforts to recast Robson as a site for gathering rather than circulation. 2012 Winner Pop-Ups and Pop Rocks While only a single design will be realized, two additional submissions will receive honorable mention while online voting will decide the recipient of the people's choice award. The winner will remain in place through the end of August. On April 3rd all of 2014's entries were displayed in a public exhibition at the Vancouver Art Gallery. Last year's winner, Corduroy Road
Janet Echelman is a world-renowned artist known for her billowing, aerial sculptures of lace and netting. Her dynamic, colorful works have appeared in cities including San Francisco, Sydney, Seattle, and Amsterdam. And now, Echelman is planning her biggest work yet—this time in Vancouver. A 700-foot, 24-story high, flowing sculpture to coincide with her talk at TED’s upcoming 30th Anniversary Conference. But, before the sculpture can literally get off the ground, she’ll need $20,000 to pay for a crew and equipment. Enter, Kickstarter. In a video posted for the campaign, Echelman said the installation “will come alive at night with an interactive lighting installation that the public can experience and be a part of.” Know the other way to be a part of it? Yes, donate. And for those who do chip in, Echelman has created a special series of artworks.
StructureCraft fabricates an orchid-shaped roof that supports vegetation and Living Building Challenge principles.After serving patrons at one of Vancouver’s oldest botanical gardens for nearly 100 years, the VanDusen Gardens Visitors Centre had fallen dangerously into disrepair. Perkins+Will Canada conceived of a new, orchid-shaped center that meets CaGBC’s LEED Platinum ratings, and is the country’s first structure to target the International Living Building Challenge with features like geothermal boreholes, a 75-square meter photovoltaic array, and a timber roof that supports vegetation. To help fabricate the wooden structure to Perkins + Will Canada’s vision, the team contracted StructureCraft, a Vancouver-based design-build studio specializing in timber craftsmanship and structural solutions. Initial designs for the 19,000-square-foot building were delivered to StructureCraft as Rhino files. The uniquely shaped rooftop, which mimics an outline of the indigenous British Columbia orchid, had to be economically fabricated in a way that took net carbon effects into account. Within Rhino plugins—mainly Grasshopper—and with the help of strucutral engineers Fast + Epp, the StructureCraft team sliced the shape of the building into 71 long, curved panels of repeatable geometries. “Each curve is unique, so there’s a different radii for each beam,” said Lucas Epp, a structural engineer who worked on the project. “We optimized the global geometry of the roof so the radii of all the beams were in our fabrication tolerances but still achieved the architect’s desired aesthetic.” Also within Rhino, the team integrated all of the building’s services into each of the panels. Since much of the piping and wiring for other trades like insulation, sprinklers, and electric utilize flexible formats and conduits, modularizing the panels significantly reduced site time from months, to weeks. And to protect the wooden structures, moisture barriers and closed-cell thermal insulation were applied throughout. The parametric model was then imported to Solids modeling software to develop a bespoke fastening system. StructureCraft used jig and table sawing methods to mill panels of Glulam, chosen for its flexibility and strength. Timber battens were affixed as cladding in sizes that were thin enough to naturally accommodate the curves of each panel. Solid timber support columns, carved on StructureCraft’s in-house lathe, taper at both ends to Perkins + Will Canada’s design specifications. Business development engineer Brian Woudstra, who worked on the project, attributed the accuracy of fabrication and the speed of installation to the expansive capabilities of parametric modeling. “We could model every joist, Glulam panel, and ceiling batten to help with conflict detection and feasibility,” he said. “We always prefabricate our projects in our shop, so it’s like a kit of assemblies that all clicks into place.”
When Bjarke Ingels makes news, he really makes news. The superhero force behind the juggernaut that is BIG is in the running on Chicago's Navy Pier, has a giant heart pulsing in Times Square, just won a competition for Kimball Art Center in Park City, Utah, and now plans for his 49-story skyscraper in Vancouver, Canada have leaked, revealing a new "twist" on the traditional skyscraper. We've known for over a year that Ingels was planning the Vancouver tower, but now Vancity Buzz has revealed, in addition to the renderings, project details for the Beach & Howe Tower garnered from documents filed with the city. The current proposal calls for 600 residential units occupying the 490-foot-tall tower, which could become the city's fourth tallest building (and BIG's tallest tower, 40 feet taller than their W57 hybrid tower in Manhattan). Condos fill the upper floors while 180 apartments are situated in a nine-story podium base along with a mix of commercial and retail space. The program also calls for 713 parking spaces and 270 bike spaces. The development sits adjacent to the Granville Street Bridge and renderings show a lively array of uses ranging from a beer garden to a weekend market to an outdoor cinema beneath the massive highway deck. The tower's floor plate begins as a triangle at its base and rises, twisting and corbeling to form a rectangle at its summit, an aesthetic he also employed for his winning design at the Kimball Art Center. "The tower and base are a reinvention of the local typology, known as "Vancouverism." In this typology, slender towers are grouped with mixed-use podiums and street walls that define human-scale urban environments. The aim is to preserve view cones through the city while activating the pedestrian street," Bjarke Ingels said in a letter to the city of Vancouver. "The Beach and Howe Tower is a contemporary descendant of the Flatiron Building in New York City," whose site was considered unusable until technology and the economy made the iconic building possible. "Beach and Howe's architecture is not the result of formal excess or architectural idiosyncrasies, but rather the child of its circumstances," he said. Ingels said the tower's base pulls away from the busy elevated roadway, by about 30 feet, to provide extra space between residential units and the noise and pollution of traffic. The triangular shape was employed to allow sunlight to reach a nearby park. As the tower rises and concerns from noise and pollution diminish, the floor plates expand, creating the tower's twisting aesthetic. Details remain scarce at this point, but we're pretty sure the building is going to be pretty green as well.