Spacemakeplace is celebrating five years since the installation of ‘Whereness’. Located near the Langara /49th Avenue Canada Line Station, ‘Whereness’ was commissioned by Mosaic Homes for the City of Vancouver Public Art Program in 2016.
‘Whereness’ provides a tactile link between the area’s geological past and its current condition. 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.
The sculpture acknowledges the practice of piling rocks at certain points along pathways to guide travellers crossing the landscape. This simple custom is still common across cultures around the world.
Thanks to FORSTER and Rainer Kraft from Kraft Consulting for their recent photos of the colourful acoustic panels that have now been fabricated at Forster’s factory in Waidhofen, Austria. Later this summer (2021) these panels will be installed along side 356m of Trans-Canada Highway (Hwy 1) between Ironworkers Memorial Second Narrows Crossing and Lynn Creek in the District of North Vancouver.
The public artwork, MERGE, will feature twenty naturalistic colours representing a selection of local flora, fauna and landmarks specific to the Lynnmour community and area. The ~620 powder-coated aluminum panels have been carefully configured to produce a giant site-specific spectrum designed to be viewed by both passing traffic and residents in nearby communities.
We are very pleased to announce the recent installation of ‘Giant’, a 71’ tall artwork commissioned by PC Urban for the newly rebuilt Lightworks Building, located at 22 East 5th Avenue in Vancouver’s Mt. Pleasant neighbourhood.
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 original Lightworks building was first built in 1942.
Our special thanks to Gerald Nimchuk and his great team at East Van Vinyl for their expert printing and precision installation. East Van Vinyl are located on 6th Avenue, only one block away from GIANT! Thank you also to Wade Girgulis, Project Manager at PC Urban and Jan Ballard and her team at Ballard Fine Art for this opportunity.
GIANT installation half way. The installation took place in two phases and took four days to complete.
On the doors at the main entrance to the Lightworks Building the GIANT image is fritted inside the glass panes for added protection
The Sherbourne Station Community Mosaic will use a set of 12 colours that are inspired by the palette of iconic Canadian painter, Tom Thomson.
Colour testing by Interstyle Ceramic & Glass of the twelve colours chosen for the TTC Sherbourne Community Mosaic
Thomas John Thomson, painter (born 5 August 1877 in Claremont, ON; died 8 July 1917 in Algonquin Provincial Park, ON). An early inspiration for what became The Group of Seven, Tom Thomson was one of the most influential and enduringly popular Canadian artists of the early part of the twentieth century. His paintings The West Wind (1917) and Jack Pine (1916-1917) are familiar Canadian icons. Thomson was a master colourist.
Thomson was one of the first artists in residence at the Studio Building, located at 25 Severn Street, in the Rosedale ravine immediately east of the above-ground Ellis portal that brings subway trains into and out of the north end of the Bloor-Yonge subway station, a short walking distance from Sherbourne Station. His studio’s site and positioning takes advantage of the northern exposure that illuminates the artist’s canvas with very even, neutral light. Completed in 1914, the nonprofit facility was financed by Lawren Harris, heir to the Massey-Harris farm machinery fortune, and Dr James MacCallum.
Thomson would spend the summers in Algonquin Park and winter at the Studio Building in a refurbished a workmen’s shed on the east side of the building that MacCallum had converted so Thomson could work in an environment closer to his beloved wilderness settings.
“The [Burrard] Inlet and Indian Arm have been a source of sustenance for the Tsleil-Waututh people since time out of mind. Our Elders taught us that when the tide went out, the table was set. Industrial development over the past 75 years has made it impossible for our children to enjoy the natural resources that our grandmothers and grandfathers enjoyed.” – Chief Leah George-Wilson of the Tsleil-Waututh Nation
BOUNTY is a public art proposal by spacemakeplace inspired by a quote from Chief Leah George-Wilson of the Tsleil-Waututh Nation. Her people have lived on the shores around Burrard Inlet for millennia. BOUNTY is intended to honor the commitment and spirit of many local communities situated in Vancouver, especially around Burrard Inlet, who are stewards of our waters, air and land.
BOUNTY abstracts a Littleneck Clam, native to Burrard Inlet, by enlarging it to the size of seating and then casting it in white Ductal®, an ultra-high performance concrete. Ductal® has a fine, shell-like finish and can render realistic detail but is incredibly resilient to hostile environments and so is a perfect material for use in public art where tactility and durability are important.
The outsize proportion of the clam sculpture signifies the abundance, or BOUNTY of seafood that a clean and healthy Burrard Inlet can provide. Three clams are proposed to be clustered in a public plaza in Port Moody, BC. as a monument to this important body of water.
The land now known as Alberta, has been occupied by people for around 8,000 years. Until less than 150 years ago only the sky and the North Saskatchewan River dominated the views across the sweeping prairie vistas where the City of Edmonton now stands. The success of its continued occupation of these lands will be closely related to the stability and quality of the water supply.
The City of Edmonton straddles the North Saskatchewan River which has its headwaters in the Columbia Icefield, high in the Canadian Rockies. The river flows east across Alberta and Saskatchewan to Lake Winnipeg before eventually draining through the Nelson River into Hudson Bay.
Water runs through Canada’s rivers like blood through the country’s veins. Since time immemorial, people who have inhabited the Prairies have relied on the rivers to sustain life. The North Saskatchewan River is part of one of Canada’s most historic waterways and has anchored the urban and economic development of much of Canada’s western prairies.
Alberta’s economy is one of the strongest in the world and to a significant extent its industries rely on an abundant supply of water. While the Saskatchewan River Basin was once predominately covered with wetlands and grasslands, population increases and industrial land use have placed heavy pressure on the water supply and rendered Alberta the most vulnerable of the Prairie Provinces to water shortages.
This situation is compounded by indications that the mountain supplies of water are diminishing. Most large glaciers in the headwaters of the Saskatchewan, Bow and Athabasca rivers have shrunk by ~25% in the last century. Environment Canada has stated that the sustainability of freshwater supplies is a growing concern worldwide and it lists the threat to water availability in Alberta as moderate to high.
Cantharellus formosus is a mycelium commonly known as the Pacific Golden Chanterelle mushroom and is native to the Pacific Northwest. The popular edible mushrooms are the fruiting bodies that form on nodes of much larger mycelium organisms that live in the soil and criss-cross the region in vast networks.
The Pacific Golden Chanterelle, like other fungi, are ancient forms of life. Pacific Golden Chanterelle share an intimate and symbiotic relationship with the West Coast’s conifer forests and especially the mighty Western Cedar. These two very different species support each other in a mutually beneficial way at a cellular level, giving and taking important resources that lie beyond each other’s reach.
The Pacific Golden Chanterelle is fed by, and in return feeds, the conifers while actively supporting its community, helping to support soil structure, regulate moisture content and recover nutrients from decomposition. The Pacific Golden Chanterelle lives off the land with its amazing web of branching, connecting hyphae and in doing so strengthens the surrounding landscape.
Conifer forests once fully covered Burnaby, BC and as early as 5000 years ago this area was the foraging and hunting territory for native aboriginal societies. The Pacific Golden Chanterelle featured in the diets of Coastal First Nations and they remain popular delicacies in locally sourced cuisine today.
Pacific Golden Chanterelle mushrooms still appear in local forests from July to December and are identified by their orangy-yellow colour, meaty texture and funnel-shape. On the underside of the smooth cap, the mushroom has gill-like ridges that run down onto its stipe, which tapers down seamlessly from the cap. The false gills often have a pinkish hue. Chanterelles have a mild, sweet odor, are very high in Vitamin D, Iron, Copper, and Niacin. It is interesting to note that Vitamin D is especially important to humans who live in places that can have low-light conditions.
Since Settler times the landscape around Burnaby’s Metrotown has been transformed and today it is a busy urban centre and hub for transit and retail. Maps of Metrotown show how it is connected to its neighboring cities and communities by a network of roads, including the historic Kingsway, the Skytrain as well as many bus routes and cycle networks. More detailed maps indicate an additionally complex web of power lines, water lines, and communication networks that interconnect and support city life like a giant hidden organism.
Each pathway and connection provides an opportunity for social interaction and the sharing of ideas. Mycelium like Cantharellus formosus can be understood as an organic metaphor for the interconnected social networks that bind modern urban communities such as Burnaby’s Metrotown area together – each part connected to the next.
The 55.2 hectares (136.5 acres) Garden City Lands, located between Westminster Highway, Alderbridge Way, Garden City Way and No. 4 Road, is within Vancouver’s protected Agricultural Land Reserve and plays a crucial role as a wildlife refuge in the City of Richmond. The green spaces like is an incredible amenity for the people of Richmond and is also a vital habitat and hunting ground for several rare or threatened species including the Barn Owl.
Barn Owls can and will cohabit with other owls, bats and small birds like doves and sparrows. Barn Owls prefer quiet cavities to nest or roost either in trees or tall structures with multiple openings. They easily take to nest boxes placed on poles or mounted on modern barns as long as the box is at least 3-4 m above the ground and safely out of reach from raccoons and other predators. Once Barn Owls discover a nest box it will normally be used every year.
Research shows that even a single nest box can mean survival for local Barn Owls and can help increase threatened populations significantly. The Richmond Nature Park, located only a short distance from the Garden City Lands, manages a Barn Owl nest box program with seven nest boxes installed around Richmond on behalf of the City. The three nest boxes located at Terra Nova Rural Park all reared young in 2014!
There is potential for at least one more Barn Owl nest box at Terra Nova and several other suitable locations have been identified around Richmond and earmarked for funding when it becomes available.
On 25, Feb 2014 | In Inspiration | By Admin
The article “Frei Otto – form follows nature” was published in the online version of the German DETAIL magazine to announce an exhibition held in Innsbruck from Jan-Mar 2013.
„Das ästhetische Element kann man nicht direkt planen. Eine ästhetische Form steht am Ende eines Prozesses. Allein mit dem Willen zur Schönheit wird man sie nicht erreichen. Wenn wir ehrlich gearbeitet haben, bekommen wir sie manchmal geschenkt.“ (Frei Otto)
Translated by Google:
“The aesthetic element cannot be planned directly. An aesthetic is at the end of a process. Alone with the desire for beauty you will not reach them. If we have worked honestly, we get them sometimes bestowed.” ( Frei Otto )