‘The Whole Is Greater Than The Sum Of Its Parts’ is inspired by the vibrant communities that merge together every day at Sherbourne station. The design of each panel was created by blending together different patterns collected from local public workshops. The 39 mosaics located throughout the station welcome commuters in the universal languages of colour and geometry. The twelve distinct colours of ceramic tiles reference the bold palette of Tom Thomson, the renowned Canadian landscape painter who once had a studio in the Rosedale Ravine nearby.
The Sherbourne Station Community Mosaic public artwork was commissioned by the Toronto Transit Commission as part of the Easier Access and Second Exit Program.
The Pacific Northwest’s iconic Douglas Fir tree was chosen as an emblem for the face of the new Lightworks building because the original structure was built almost entirely out of this local natural resource. Douglas Fir was harvested from the Vancouver area and milled locally on the shores of False Creek and Burrard Inlet. Lumber from these trees was the primary construction material for many local buildings across the city and around the region.
At 71′ tall, ‘Giant’ represents a juvenile Douglas Fir tree, standing at the approximate height a real Douglas Fir might be in 2018, had it started from seed when the Lightworks building was first built in 1942. The name ‘Giant’ plays with the notion of scale as this species of tree living on the BC coast can grow 4-5 times larger than this (up to 350′ tall), and can live for over 400 years. ‘Giant’ is a reminder of our position in time and space amongst the environment that surrounds us.
Commission by PC Urban
Art Consultation by Ballard Fine Art
‘Whereness’ connects the past to the present, continually unfolding as we move through space and time. The sculpture acknowledges the practice of piling rocks at certain points along pathways to guide travelers crossing the landscape. This simple custom is still common across cultures around the world.
‘Whereness’ provides a tactile link between the area’s geological past and its current state. The bottom boulder of the sculpture is a granite glacial erratic, deposited at this address thousands of years ago as a huge ice sheet receded up the Fraser Valley. This very boulder was scanned and replicated six times, then stacked to form a visual puzzle. Read more…
The 4.8m x 2.4m mosaic mural is located in the Community Room of the new Calder Branch of the Edmonton Public Library. It is visible from the library’s forecourt.
The mosaic design is based on tessellating patterns within a grid of equilateral triangles, inspired by new and traditional patterns that were contributed by local residents at workshops held around the Calder neighbourhood in Spring 2016. The final blended pattern represents the interdependence of parts within a whole. Triangles have been used in patterns across cultures for millennia and patterned tile layouts have been used in public spaces to indicate use, provide way-finding, add beauty, encourage social interaction and offer inspiration. Geometrically, equilateral triangles provide many shape and pattern possibilities; they can create both linear and radial patterns, and can be arranged into hexagons, stars, diamonds, zig-zags, curves, and other shapes.
Location: Chinatown. Vancouver, BC.
On behalf of 221A Artist Run Society spacemakeplace is proud to present the transformation of 271 Union Street into a new Public Art Sculpture Garden. Located on the edge of Vancouver’s Chinatown and Strathcona neighbourhoods, the new sculpture garden will provide an outdoor venue to showcase contemporary sculptural installations by local and visiting artists.
Vancouver Especially by Canadian artist Ken Lum is the first commissioned work presented as part of the Semi-Public program at 271 Union Street (Feb 21, 2015 – Feb 20, 2016)
Location: Chief Mathias Joe Park. Unceded Coast Salish territory, City of North Vancouver, BC.
A collaboration between IMu Chan/ FSOARK Architect and Rebecca Bayer / spacemakeplace design, Storytelling is part of the renovation of Chief Mathias Joe Park in the City of North Vancouver, BC. The sculptures were installed in May 2016 and the new park’s grand opening was on October 28, 2016.
Sitting in silhouette on either side of the park entry path, the sculptures mimic the form of the ‘Twin Sisters,’ the twin mountain peaks that tower over North Vancouver. The sculptures are designed to be playful and tactile.
Special thanks to the Squamish First Nation for providing the story: Wa Áyasnewas chat ta Swwú7mesh iy ta Steín (The Peace between the Squamish and the Haida)
This project was commissioned by the City of North Vancouver.
Location: City of Richmond, BC
Completed: September 2015
Motif of One and Many explores the idea of a community as the creation of a whole that is greater than the simple sum of its parts. The colourful grid of tessellating triangles covers the floor in a new community centre and considers individuals and groups who have come together to form complex new relationships. Research conducted at the City of Richmond Archives inspired a layout that echoes ancient motifs and acknowledges the city’s cultural diversity. The word ‘motif’ commonly refers to ‘a repeated theme or pattern,’ a term used in visual arts, textile arts, and folklore. The origin of the word ‘motif’ also refers to ‘a motive,’ as in ‘that which inwardly moves a person’.
Location: Burnaby Gallery Off-site at Metrotown, BC.
Presented as an offsite project for the Burnaby Art Gallery, KIOSK is a temporary installation at Civic Square, Bob Prittie Library, Metrotown, that played host to a series of unique public art projects in Summer 2013.
Location: Burrard Bridge. Vancouver, BC.
Sheltered below Vancouver’s Burrard Street Bridge, this floor was made using a simple temporary surface treatment on concrete slab, creating a ‘floor’ for this existing ‘room’ in the city’s infrastructure. The bold and colourful geometric pattern welcomes passers-by to step inside for a moment.
Location: Main Street Viaduct. Vancouver, BC.
Artist: Rebecca Bayer
A concrete viaduct wall on the edge of a city park was identified as a place of communication and frequent activity.
Two pieces of cedar plank were cut to notch into the existing formed corrugation of this wall to act as ‘shelves’.