Access Gallery is a platform for emergent and experimental art practices. We enable critical conversations and risk taking through new configurations of audience, artists and community. Access gratefully acknowledges the support of The Canada Council for the Arts, the Province of BC through the BC Arts Council and BC Gaming, the City of Vancouver, Burrard Arts Foundation, our donors, members and volunteers. Access is a member of the Pacific Association of Artist Run Centres. Published by Access Gallery Kimberly Phillips, Director/Curator ISBN 978-0-9866688-7-6 Edition of 100 Printed in Canada by Publication Studio Vancouver Editor: Kimberly Phillips Book Design: Rebecca Bayer and Laura Kozak
The Hadden Park Map Exchange is presented as a part of Field Studies: Exercises in a Living Landscape at Access Gallery in Vancouver, Canada from April 11 â&#x20AC;&#x201C; May 23, 2015. Rebecca Bayer is an artist and architectural designer concerned with relationships between people, material, and atmospheric conditions within lived space. Rebecca pursues this theme through public art, architecture, urban design, as well as research and teaching. She has recently worked on projects with 221A Artist Run Centre, City of Burnaby, City of Richmond, and City of North Vancouver. Rebecca is co-director of spacemakeplace design and is currently one of the artists-inresidence at Ten Fifteen Maple at Hadden Park, Vancouver. Laura Kozak is a designer, project coordinator and cartographer. Through an independent practice that spans graphic design, cartography, architecture and urban design, she has contributed to projects for 221A Artist Run Centre, AICAD, ASIR Studio, CityStudio Vancouver, the Helen Pitt Gallery, Jill Anholt Studio and Spacing Vancouver. A core interest in collaborative design of the urban environment informs her research and teaching practice.
Copyright ÂŠ Access Gallery and the contributing authors and artists, 2015. Content from this book cannot be reproduced without express written permission from the publisher.
This project was made possible through generous contributions from the British Columbia Arts Council, the Vancouver Board of Parks and Recreation, and Access Gallery.
Hadden Park Map Exchange
Contents About the Project............................................................05
Exchange Process The Site at Hadden Park Preliminary Mappings.....................................................10 Field Notes.....................................................................12
Brian Chatterton and Paul Crowley Javier Campos and Charlotte Falk Craig Johnson and Laura Kozak Ross Kelly and Andy Guiry Maria King and Fan-Ling Suen Justin Langlois and Lisa Parker Alex Muir and Alex Grunenfelder Andrew Pask, Bopha Chhay and Sydney Hart Alexandru Balasescu and Jill Henderson Max Ritts and Kristen Roos Michael Tenzer and Travis Stasney Carla MacLean and Raneen Nosh Joel Good and David Gregory Linna Zeibin, Jhenifer Pabillano and Lisa Cinar David Shewell and Erick Villagomez Marc Bricault and Genta Ishimura Marc Bricault and Rafaela Kirloss Infinite Mappings............................................................46
Hadden Park Map Exchange Exchange Process The Hadden Park Map Exchange is a series of mappings made in the vicinity of the Field House at the north end of Vancouver’s Kitsilano beach. The project brought together a diverse range of specialized practitioners and community members—scientists, historians, gardeners, performers, children and local residents —with a variety of artists and designers to produce a series of qualitative and unconventional maps of the site. The intent of this project was to reveal the rich and complex layering of ecological systems, built infrastructures, social histories, and ephemeral exchanges present on a single site. A broad group of participants were engaged in an exchange process, drawing from the community’s diverse and nuanced knowledge of place. The site for this project is charged with a complex history and diverse set of current circumstances at a popular and ecologically varied waterfront setting. It is a compelling location to map from a wide range of perspectives. The process for exploring and recording site observations was intended to be generative, inclusive, open ended and ongoing. Throughout 2014, curated pairings of participants were invited to meet at the Field House for two-hour sessions to explore the site and gather data. Participants were brought to the project in the role of either “Guide” or “Recorder,” and paired in such a way
as to cultivate intergenerational and cross-disciplinary exchange. Each pair was provided with an identical base map showing the boundaries of the project’s site and sent out to navigate the site together. A set of clearly defined rules, including a geographical boundary and map to follow, gave consistency and clarity to each pair’s exploration. The Guides led the Recorders on the exploratory walk, observing and pointing out aspects of the site particular to their own expertise, background or interest. Guides were encouraged to view the site through their own particular lens or area of knowledge. Equipped with clip board, base map and pen, the Recorders collected field notes describing the site conditions or narratives described by the Guides. These field notes populated the blank base map, taking the form of mark-making, symbols, sketches or written words, which help indicate the route taken by the pair of contributors, densities of interest, and the data revealed by the Guides. The roughly recorded field mappings are shared here, and also provided raw data for the production of larger, more refined maps. Both the field maps and the finished maps reveal the content of each exploration, as well as the Recorders’ visual styles, techniques, and approaches to mapping. Through a repetition of this process, the Hadden Park Map Exchange produced a series of finished maps. When viewed as a set, the maps may begin to reveal patterns or loci about the site, as well as display the diversity of site observations and cartographic approach amongst the participants. On the Observation of Place Of what significance is the observation of a place? We see the city as a dynamic, live-configuration of constantly changing patterns, and focussed observation as a tool for studying this system. The physical, ephemeral and lived patterns present at any particular location and moment in time are a complex and delicately orchestrated ballet of interactions: no two moments will be exactly alike, nor will any two individuals notice things in an identical way. 7
Through the Hadden Park Map Exchange, we have sought to design a process that continually gathers information about one particular site in a way that is qualitative, subjective, expansive and unconventional. Like a game or a science experiment, the rules and consistent practices are intended to reveal differences and discoveries. Though the common measures included a pairing of participants, a base map of a defined site, and a set of instructions, the chosen route and findings remained open to interpretation. Through a repetition of this process we have accumulated a set observational recordings, or field notes, from a variety of participants. The information is not comprehensive or complete, but rather provides a series of snapshots into moments experienced at the park in 2014.
When studying a site, a number of subjective considerations come into play even before an act of observation has occurred: these pertain to the place’s historical and existing condition, as well as the lens through which that observer engages in the world on a regular basis. What happens when a person—or in our case, pairings of people—are brought to a site to engage with a real-time and in-the-flesh process of observation? Will they ask the same kinds of questions, see things the same way, or make the same kinds of marks on a page, as they would have made if looking at photos or a Google map of the place instead? How would their observations differ if they came at a different time of day, or if the weather had been different? Physical presence and happenstance conditions are crucial to this project.
How does one’s own specific lens inform the process of observation? What does it mean to pay attention to a place in relation to intuitive knowledge and senses in such a way that specific thoughts and reactions to that place are articulated? What does it tell us when we observe a place with awareness? This project reveals moments of interaction between people and place.
On this topic we look back nearly sixty years to Guy Debord and the Situationist International, who decried the city as a passively absorbed spectacle, reconceptualizing it as a space of free-form exploration and play. The Situationists’ activity of “dérive,” or drift, called upon students, activists, artists, architects, and everyday citizens to move through the city in ways that countered their habitual paths and biases, to achieve a state of heightened observation and habitation. One of the basic situationist practices is the dérive, a technique of rapid passage through varied ambiences. Dérives involve playfulconstructive behaviour and awareness of psychogeographical effects, and are thus quite different from the classic notions of journey or stroll. [...] In a dérive one or more persons during a certain period drop their relations, their work and leisure activities, and all their other usual motives for movement and action, and let themselves be drawn by the attractions of the terrain and the encounters they find there. Chance is a less important factor in this activity than one might think: from a dérive point of view cities have psychogeographical contours, with constant currents, fixed points and vortexes that strongly discourage entry into or exit from certain zones.
The Hadden Park Map Exchange adapted the principles of the dérive, bound in this case by a particular set of constraints. By sending participants out on an unguided, destinationless observational mission, we encouraged an approach of conscious looking and moving through space. In pairs, one person carried 8
a clipboard and took notes while the other provided a guided tour based on in-situ decisions. Engagement with surroundings was formalized by the simple prop of a clipboard and mental/ mechanical act of mapping. Sentient, physical inhabitation of a place was the basic methodology for the participation component of the Hadden Park Map Exchange. Awareness of place may help play a role in awakening one’s own being. I am in this place, I say to myself. Have I not just inhaled its very molecules into my nostrils and is my physical and mental self not affected by being here in some way? Am I not affecting this place by my own being here, walking, breathing, recording, and behaving in certain ways?
A place is a space that has been activated through awareness of the observer and observed combined. It is both where we are and who we are - what we observe about a place and its components might be as revealing about ourselves as the location in the world. The site of Hadden Park provided a basic and unfixed set of existing conditions that participants entered as their own sensing and knowing beings. From this, base maps had notes added to them, fixing a particular interrelationship between a person (or persons) and a place as a series of marks on paper. What we have found in our experiments through the Map Exchange is that while some observational patterns emerge amongst a series of sessions—such as texture and patterns in nature, built patterns, sensory experience (particularly sound), imagined narrative, and site uses/activities—the field notes reveal a set of interpretations between people and place that are remarkably different. Individual interpretations of these patterns are so varied as to defeat the purpose of categorization, and opens the question of how differently we as unique beings see and interpret the world. — “Théorie de la dérive” was published in Internationale Situationniste #2 (Paris, December 1958). A slightly different version was first published in the Belgian surrealist journal Les Lèvres Nues #9 (November 1956) along with accounts of two dérives. This translation by Ken Knabb is from the Situationist International Anthology (Revised and Expanded Edition, 2006). 9
The Site at Hadden Park Vancouver, British Columbia
The site for this project is defined by the shoreline to the north and west of Kitsilano Point; it extends east to Chestnut Street and south to McNicoll Avenue. The vicinity includes public park land and beach, city streets and alleys, privately owned homes, marinas, museums, and liminal spaces in between. It is approximately the size of four city blocks. The site was chosen as a place rich with social and ecological history, many factors of which are still at play. Traditionally, this land was used by both Musqueam and Squamish First Nations for seasonal hunting and fishing. In 1877 the Squamish First Nation was allotted 86 acres of land directly neighbouring what is now Hadden Park. Parcels of this land were subsequently taken one by one by the Province and Federal government for the building railways and other uses, including defence during WWII. In 1928, Harvey Hadden purchased a block of land from the Canadian Pacific Railway, including the point at the north end of Kitsilano beach, which he then donated to the Vancouver Parks Board with the intention to develop the beach area for public bathing. The park became known as Hadden Park. Streetcars brought day-trippers to the area and a popular destination for colonial immigrants was born. 10
Hadden Park changed in shape as the coastline was adjusted for the construction of a small marina and the addition of extra land during WWII. The existing Hadden Park caretaker’s Field House (with public washroom and concession stand attached) was also added during WWII. In 1958, a totem pole carved by the Kwakwaka’wakw First Nation was erected in Hadden Park, and shortly thereafter, the Vancouver Maritime Museum was added to the site. Development of single family homes on nearby streets brought a predominantly white population to the area which succeeded in protesting the development of seaside industry in the 1950s. Around this same time, local residents were granted a request to build a walking path along the Hadden Park ridge. In the 1980s, this path was renovated to connect with the Vancouver Seawall around False Creek. A plan released in October 2013 to add a twelve foot wide bike lane beside the existing foot path at Hadden Park which would connect the Seawall further to Jericho Beach was met with fierce resistance from many local residents. The plan was defeated in 2014. The beach that Harvey Hadden intended for public bathing became a designated off-leash zone for dogs in the 1990s. This decision, while welcomed by many, has continued to cause uproar in the area. Public swimming, along with beach volleyball, basketball, sunbathing, and other fashionable leisure activities are the main attraction at Hadden Park’s neighbouring Kitsilano Beach. Socially, Hadden Park has become Kitsilano Beach’s quiet and distinct alter-ego. The site of this mapping project encompasses a rich mix of Vancouver’s past and present, and it is also ecologically complex. Tides change the appearance of the shore throughout each day, revealing large granite rocks grown over with barnacles, mussels, and sea kelp. Sand and pebbles come and go. A steep cliff is covered with thick thorny blackberry bushes that feed the local birds and wildlife. There is a maple grove lined with soft grasses, planted at the time of Harvey Hadden. It is not uncommon to hear numerous types of birds at one time while sitting in the park, or to see seals swimming nearby.
As a means of testing the exchange process, artists in residence at Ten Fifteen Maple, the Field House at Hadden Park, were asked to participate in preliminary mapping excursions for the Hadden Park Map Exchange. These notes were not developed into finished maps, but helped develop a consistent system that was used in subsequent mappings.
Tuesday, July 2, 2013 18° – Overcast
Justine Chambers’ interests lie in collaborative creation and re-imagining dance performance. She is drawn to the movement of all bodies, and is focused on the dances that are already there – the social choreographies present in the everyday. Her recent choreographic projects include: Family Dinner, Enters and Exits and COPY (a collaboration with Josh Hite). She is a founding member of projet bk and one of five artists in residence at Ten Fifteen Maple. Recent collaborative projects include Light was the Night with Claudia Fancello, Is there anything at all left to be done with Marilou Lemmens and Richard Ibghy, The Working Move with Brendan Fernandes, Stack of Moves with Jen Weih, and We’re Making a Band with Ben Brown. With Rebecca Bayer.
Friday, July 12, 2013 16° – Mix of sun and clouds
Friday, January 24, 2014 8° – Sunny
Josh Hite has shown work in galleries and festivals in North America, Europe, Asia and Australia. He is a member of the Vancouver Soundwalk Collective and part of Ten Fifteen Maple, a two-year artist residency exploring multiple waterfront parks in Vancouver. He also regularly collaborates with theatre and dance companies. Josh has a BA in Philosophy, an MFA in Visual Art and teaches photography and video at the University of British Columbia, performance studies at Capilano University and photography with Continuing Studies at Emily Carr University of Art + Design in Vancouver.
Billy Marchenski graduated from the Theatre program at SFU. He is a founding member of the Jessie nominated company, Screaming Flea. Billy has worked for companies such as Battery Opera, Radix, Helen Walkley, Leaky Heaven Circus, Theatre Terrific, Caravan Farm Theatre, Co.Erasga Dance, Peter Chin, Boca Del Lupo, and Felix Culpa among others. He is currently pursuing his interests in devised work, film, and contact improvisation. With Rebecca Bayer.
With Laura Kozak.
Brian Chatter ton and Paul Crowley Thursday, March 6, 2014 – 5:00 pm 6° – Scattered Showers
Brian Chatterton is a Paleontologist and Professor Emeritus at the University of Alberta. His research and life-long interest in trilobites, insects, conodonts, brachiopods, rostroconchs, machaeridians, bivalves, sponges, fishes, and dinosaurs have led him to every continent except Antarctica, publishing over 120 papers in scientific journals and 23 refereed monographs. He studied at Trinity College Dublin and the Australian National University, and has served as Chair of the Department of Geology at the University of Alberta and Executive Director of the Canadian Geoscience Council.
Paul Crowley is an architectural and graphic designer based in Vancouver. He holds a Bachelor’s degree in Environmental Science from the University of Guelph, and a Master’s in Architecture from the University of British Columbia. He is currently employed at Bricault Design, and his most recent projects have included restaurant design, logo and identity work, food packaging and exhibition design.
Developed into One day, all of this will be underwater 14
Javier Campos and Charlotte Falk Saturday, April 26, 2014 – 3:00 pm 15° – Mainly Sunny
Javier Campos earned his degree in Architecture from the University of British Columbia in 1996 after completing an undergraduate degree in Architectural History. Prior to joining forces with Michael Leckie in 2008 to create Campos Leckie Studio, Javier founded the Design Collective, whose modernist work was published nationally and internationally. During that time Javier was also a member of Acton Ostry Architects where, as lead designer, his projects were widely published and garnered numerous design awards. Along with Institutional and Commercial projects, Javier headed a multi-award winning accessible home project that earned accolades not only for aesthetics but also for its ability to seamlessly integrate the client’s specific program requirements for accessibility. Javier has also been involved in the creation of multiple Public Art projects and has won several competitions with Vancouver artist Elspeth Pratt. Their latest commission, completed in February 2010 for the 2010 Vancouver Olympics, is entitled Sight Works and was part of the Richmond Olympic Oval Precinct. Javier participates as a thesis advisor and guest critic at the University of British Columbia School of Architecture and Landscape Architecture as well as The John H. Daniels Faculty of Architecture, Landscape and Design at the University of Toronto.
Charlotte Falk is an artist and designer currently residing in Vancouver, British Columbia. She holds a Master of Architecture (2012) from the University of British Columbia and a Bachelor of Design (2006) from the University of Alberta where she studied Industrial Design, Visual Communication Design and Visual Art. Charlotte’s practice lies at the convergence between analog and digital media. She has worked with a range of materials at varying scales; producing work that includes painting, furniture, sculpture, drawing, graphic design, temporary installations, and medium to large scale permanent public art installations. She has collaborated with artists, architects, landscape architects, graphic designers, industrial designers, structural engineers, artisans, and fabricators. From 2011 to 2014, Charlotte worked as a project designer and project manager for a local public artist, developing large scale public art installations in cities across North America. Prior to that, she co-founded, published and artdirected a nationally-distributed design magazine.
Developed into Untitled 16
Craig Johnson and Laura Kozak Thursday, July 3, 2014 – 4:00 pm 22° – Mainly Sunny
Craig Johnson is a journeyman carpenter and owner of Carpentry by CGJ. He has been building houses in the lower mainland and sea-to-sky corridor for over fifteen years.
Laura Kozak is a designer, project coordinator, and cartographer. Through an independent design practice that spans graphic design, cartography, architecture, and urban design, she has contributed to projects for 221A Artist Run Centre, AICAD, ASIR Studio, CityStudio Vancouver, the Helen Pitt Gallery, Jill Anholt Studio and Spacing Vancouver. A core interest in collaborative design of the urban environment informs her research and teaching practice. Laura holds a Master of Advanced Studies in Architecture from UBC and a BFA from Emily Carr.
Ross Kelly and Andy Guiry Sunday, July 20, 2014 – 1:00pm 18° – Cloudy with Light Mist
Ross Kelly is a photo-based artist, currently residing in Vancouver, Canada. Originally from Ireland, Kelly studied Geology at the London Imperial College of Science, Technology and Medicine and Psychology at the American College in Dublin. He also has a diploma in Photography and postgraduate diploma in Art History from the University of British Columbia. This diverse background reflects itself in Kelly’s photographic practice, where, never satisfied with the limits of the traditional single frame photograph, he tries to push the edges of what the camera can capture and what the resulting image can communicate. He does this through the use of collage, seriality, and by presenting the imagery in a range of contexts and situations. His wider practice incorporates various mapping and public art projects. His work has been exhibited in galleries in Canada, Ireland, the UK, Tokyo, Hong Kong and Taiwan. He is currently a candidate in the low residence MAA program at Emily Carr University of Art and Design.
Andy Guiry currently resides in North Saanich on Vancouver Island. He is a recent UBC SALA M. Arch graduate and is currently working as an Intern Architect at Cascadia Architects in Victoria. He is interested in expanding the realm of sustainability, perception, and ethics in architectural discourse and practice. His current personal project, You are Here. This is Now. explores the ethical potential of the role of perception in the act and object of architectural representation.
Developed into Observed auditory sensations as recorded while walking 20
Maria King and Fan-Ling Suen Sunday, September 28, 2014 – 1:30 pm 17° – Mainly Sunny
Maria King is a grade five and six teacher at Queen Mary Elementary School. She is a lover of animals, nature, poetry, art, beauty and creativity, and loves mapping, investigation, questioning, and finding patterns in the ebb and flow of life. She is a graduate of the University of Illinois Masters in Art Education program.
Fan-Ling Suen’s sculptural practice investigates the complex nature of human relations and how we understand ourselves within the framework of institutions—particularly those that structure childhood experience. Her work navigates issues of memory, longing and attachment through a combination of popular fiction, children’s literature, and psychoanalytic theory. She is a graduate of the University of British Columbia’s Masters of Fine Arts program. She has exhibited in Vancouver, Toronto and London, Ontario.
Developed into Stop, Look and Listen 22
Justin Langlois and Lisa Parker Sunday, September 28, 2014 – 1:30 pm 17° – Mainly Sunny
Justin Langlois is an artist, educator, and organizer working across media and social practices. His practice explores collaborative structures, critical pedagogy, and custodial tools for enacting divergent possibilities for gathering, learning, and making. He is currently an Assistant Professor in the Faculty of Culture + Community at Emily Carr University of Art and Design.
Lisa Parker is a landscape architect with the City of North Vancouver’s Parks and Environment Dept. She studied coastal geology and environmental studies at the University of California Santa Cruz before moving to Vancouver to earn her Masters in Landscape Architecture at the University of British Columbia. Her professional interests are stormwater and coastal management. Lisa finds herself quite funny most days and clocks in for whatever is needed.
Developed into Stick or The Hole 24
Alex Muir and Alex Grunenfelder Wednesday, October 1, 2014 – 5:30 pm 15° – Overcast
Alex Muir is an art labourer and researcher with ongoing involvements at VIVO, the Western Front, CFRO, and the LIVE performance biennale. He has participated in the digitization, installation, and duration of numerous projects engaged with Vancouver’s video histories including Vancouver 50 (2011), Anamnesia (2012), and Lucky Pennies (2014). He has also helped to facilitate the No Reading After the Internet salon series in Vancouver.
Alex Grunenfelder is a Vancouver-based entrepreneur who maintains interdisciplinary practices in art and design. He studied philosophy, art, and graphic design at McGill University and the Nova Scotia College of Art and Design. An interest in combining the technical and collaborative methods of design with the speculative, critical, and social discourse of the liberal arts led him to become a founding member of the Vancouver Design Nerds Society in 2004. He is currently a partner in several communications businesses and a director of several not-for-profit societies. Ongoing areas of investigation include the ontology of urban development and the interdependence of language and perception. Projects include Green Building Audio Tours, Cube Living, Air Tasting, wordsandpictures.info, and Factory.
Developed into Hadden Park Vancouver 26
Andrew Pask, Bopha Chhay and Sydney Har t Wednesday, October 1, 2014 – 5:30 pm 15° – Overcast
Andrew Pask is an urban planner at the City of Vancouver, as well as the founder and director of the Vancouver Public Space Network (VPSN). As a planner, Andrew works on creating neighbourhood-scale policy to foster and support compact, livable communities. His most recent work focuses on the Grandview-Woodland Community Plan. Andrew received his training as an anthropologist and urban planner, studying in Toronto and Amsterdam. He has worked on a wide-range community development projects with local governments and non-profits in British Columbia and Ontario.
Bopha Chhay is a writer based in Vancouver. She is the cofounder and editor of livedspace, a research and publishing organization investigating the social production of space in relation to contemporary cultural production, through publishing and curatorial projects. Sydney Hart is an artist and writer based in Vancouver. He is a founding co-editor of livedspace, a research and publishing organisation investigating the social production of space in relation to contemporary cultural production. He holds an MA in Aesthetics and Art Theory from the Centre for Research in Modern European Philosophy, UK.
Developed into Hadden Park Map (Whose Heritage?) 28
Alexandru Balasescu and Jill Henderson Friday, November 21, 2014 – 1:00 pm 10° – Heavy rain
Alexandru Balasescu is an anthropologist, writer, and occasional curator who specializes in material culture, the body, urbanism, and cultural aspects of economy. He holds a Ph.D. from UC Irvine and is the author of Paris Chic, Tehran Thrills, Aesthetic Bodies, Political Subjects (ZetaBooks, 2007), and has published extensively in international journals and taught at the National School of Political and Administrative Studies (Bucharest); American University (Paris); University of California, Irvine; Royal University for Women (Bahrain); and Galatasaray University (Istanbul). He worked as deputy director for the Romanian Cultural Institute ‘Dimitrie Cantemir’ in Istanbul, and has collaborated with artists, designers, and curators for projects in Turkey, the US, Romania, and BosniaHerzegovina. Alec Balasescu has a significant experience in forecasting for industrial design. He is currently based in Vancouver and researches aspects of physiology, ecology, energy, and society.
Jill Henderson graduated from the Glasgow School of Art with a Masters in Fine Art in 1993. The Vancouver-based Scottish/ Canadian artist has exhibited extensively internationally. Notable exhibitions include; The National Review of LIVE ART, ICA, (London, UK), Beauty #2, Power Plant (Toronto), Art Gallery of Ontario (Toronto), Transmission Gallery (Glasgow), Art Metropole (Toronto), Catalyst Arts (Belfast), Hales Gallery (London, UK), Angelus Novus (Antwerp), Brasilica (Vienna) and Vox Populi (Philadelphia), Greater New York, PS1/MoMA, New York City (2000), Orange Marble (2001), Taipei, Taiwan, Art Directors Club (NYC), Lothringer 13 (Munich), Morris and Helen Belkin Gallery (Vancouver), Manif d’Art 2 (Quebec), The Americas Society (NYC) and solo shows at The Helen Pitt Gallery (Vancouver), The New Gallery (Calgary), and the Contemporary Art Gallery (Vancouver). Henderson was also cofounder of Free Parking, a gallery in downtown Toronto and cofounder of the Drawing Salon, a mobile drawing-based project.
Developed into Blocky Monsters Are Not Your Friends 30
Max Ritts and Kristen Roos Sunday, November 23, 2014 – 1:00 pm 10° – Mainly Sunny
Max Ritts is a geographer with interests in noise politics, indigenous social movements, environmental health justice, and political economy. He is the editor of the Gitga’at Guardian, a newspaper covering community-development issues in Hartley Bay, BC, and a doctoral candidate at UBC. He has recently returned to Vancouver from two years living in Prince Rupert and Hartley Bay.
Kristen Roos is a Vancouver based sound artist. His exploration of underground, low frequency and electromechanical sounds is a prominent feature of his work, including his site-specific installation Ghost Station (2007), which utilized an unused Toronto subway station and subway sounds. Roos has been interested in tactile, droning electromechanical sounds since he was a toddler, when he would enjoy pressing his head up against washing machines and dishwashers. The muted sounds and tactile vibrations of Underground (2012) implicitly suggest this primal association, mingling it with the deep droning noises of modernization, and labor, the spectral, resonant shimmer of the past, present and future. He has exhibited and performed in Canada, Sweden, and the UK. His writing on sound and radio art appears in the Errant Bodies publication Radio Territories, and the New Star Books publication Islands of Resistance: Pirate Radio in Canada.
Developed into Electrosmog High Frequency Recordings 32
Michael Tenzer and Travis Stasney Sunday, November 23, 2014 – 1:00 pm 10° – Mainly Sunny
Michael Tenzer is a musician whose interests span the globe and whose dedicated achievements cover all of the kinds of things musicians do: performance, composition, research, teaching and mentoring, analyzing, thinking and writing about music, promoting interest in the world’s finest musics, and envisioning what can be done to best shape our future world of music. He currently teaches in the School of Music at the University of British Columbia.
Travis Stasney is an architectural designer at Bricault Design.
Carla MacLean and Raneen Nosh Sunday, November 23, 2014 – 1:00 pm 10° – Mainly Sunny
Carla MacLean is a faculty member of Kwantlen Polytechnic University. Her research interests explore social and cognitive psychology in investigation. Compelling issues that she is particularly interested in are ways to support the quality and quantity of witness and victim recall and the effect of context and bias on witness recollection and the investigative process. A central feature of Carla’s work is that she is invested in collaborating with investigation practitioners whose peers may be the end users of her research.
Raneen Nosh is a Vancouver-based architectural designer who has recently completed her Master of Architecture. With a background in industrial and graphic design, Raneen operates in a cross-discipline format bridging the fields of urbanism, architecture, product design, furniture, installation, and sound. Her work explores how design can challenge the imagination while exploring themes such as the phenomenological experience, domesticity, the banal, infrastructure, network systems, complexity, the systemic nature of technology, and the future condition of the built environment.
Developed into Public Space + Memory – The Internet Era & The Shifting Use of The Park 36
Joel Good and David Gregory Sunday, November 23, 2014 – 1:00 pm 10° – Mainly Sunny
Joel Good is a Building Performance Design Consultant with RWDI Engineers and Scientists. Joel applies his mechanical and environmental engineering background to create comfortable, sustainable designs that harness a site’s natural energy sources. Joel has collaborated on building and masterplan design teams in a wide range of climate types: from the moderate west coast of North America to the hot and cold extremes of Northern Russia, Eastern China, and the Middle East.
David Gregory graduated from Emily Carr University in 2014 with a BFA in Photography. His photographic work regularly focuses on Vancouver as both a subject and a backdrop, addressing wider ideas about public and private space, vernacular architecture, consumerism, media, surveillance, and voyeurism.
Developed into Natural Inclination 38
Jhennifer Pabillano, Linna Zeibin and Lisa Cinar Sunday, November 30, 2014 – 1:00 pm -3° – Mainly Sunny
Jhenifer Pabillano is a nice person who has lived in Kitsilano for ten years, and currently works as the social media strategist for the City of Vancouver. She reads a lot, loves creative projects, and once sat at a table near Nicole Kidman in a restaurant. Linna Zeibin is three years old and has lived all her life in Kitsilano. She enjoys gymnastics, blowing bubbles, searching for treasure, and picture books where you have to find something small in the picture. Linna was thrilled to visit the Hadden Park dog beach as part of this project, which prompted her to say the following to her mother: “If you don’t get me a puppy, I will step on your toes!”
Lisa Cinar is an illustrator, writer and overall enthusiast of picture books and all things related. She has now been faculty at ECUAD for over four years and enjoys teaching a series of classes on Picture Book Illustration in the university’s Continuing Studies area as well as curriculum classes as sessional faculty. Lisa is also owner and designer at the online shop Draw Me A Lion. She has written and illustrated two picture books: The Day It All Blew Away, which was nominated for the Christie Harris Illustrated Children’s Literature Prize in 2008, and Paulina P. for Petersen.
Developed into Our Day in the Park 40
David Shewell and Erick Villagomez Sunday, November 30, 2014 – 1:00 pm -3° – Mainly Sunny
David Shewell is the owner and operator of Diptera Projects Inc. He has twenty-five years of experience in commercial construction management. David is a project manager, with years of estimating and site supervision under his belt. Experienced in all areas of construction, his primary focus is Tenant Improvement work—managing projects ranging from $50,000 to $1.5 million. David established Diptera Projects in 2006.
Erick Villagomez is an educator, designer, and illustrator based in Vancouver. Constantly drawing and painting digitally, he works across a wide range of design disciplines, including cartography, information design, architecture, and urban design. Erick is also a regular contributor to Spacing Vancouver - an online magazine focused on urban landscapes - where he maintains a bi-weekly urban sketching column called “Visual Thoughts”. You can see some of his artistic gallivants at evillago.tumblr.com
Developed into Framing Hadden: A Leisurely Stroll with David Shewell 42
Marc Bricault and Genta Ishimura Sunday, November 30, 2014 â&#x20AC;&#x201C; 1:00 pm -3Â° â&#x20AC;&#x201C; Mainly Sunny
Marc Bricault is the principal of Bricault Design. He is based in Vancouver, Canada, and pursues projects in architecture, interior design, graphic design, and product development.
Genta Ishimura is a Vancouver-based architectural designer. He has studied and worked in the field of architecture for over seven years, focusing primarily on design + build projects at the human scale. His practice spans architecture, design + build, and community engagement, and he has contributed to projects for studioCAMP, Organelle Design, the City of Vancouver, Britannia Community Centre, and the Vancouver Tool Library.
Developed into S.U.P.P. (Super Urban Paddle Park) 44
Marc Bricault and Rafaela Kirloss Sunday, November 30, 2014 – 1:00 pm -3° – Mainly Sunny
Marc Bricault is the principal of Bricault Design. He is based in Vancouver, Canada, and pursues projects in architecture, interior design, graphic design, and product development.
Rafaela Kirloss is an architectural designer based in Vancouver. She holds an M.Arch from the University of British Columbia and an M.C.P from the University of Pennsylvania. She has worked in Philadelphia, Los Angeles, Toronto, and Vancouver on a range of architectural and urban projects. Rafaela previously danced and choreographed with a number of dance companies in Los Angeles, working with ideas of relating the body to the space it inhabits. She currently lives and works as an Intern Architect in Vancouver.
Developed into Dreamscape 46
Infinite Mappings “The whole concatenation of wild and artificial things, the natural ecosystem as modified by people over the centuries, the built environment layered over layers, the eerie mix of sounds and smells and glimpses neither natural nor crafted—all of it is free for the taking in.” (Stilgoe, 1999) James Corner gave us The Agency of Mapping, and with it the reminder that maps can be more than “authoritarian, simplistic, erroneous and coercive”. Rather, mapping can be an act of optimism, discovery and exploration; an opportunity to go beyond what Deleuze and Guattari refer to as tracing, and to “remake territory over and over again, each time with new and diverse consequences.” Recognizing the site for this project as a complex palimpsest of histories and ambitions, and that the condition of complexity is typical of an urban environment, we set out to design a process that would decompress our understanding of the site at Hadden Park. The process was driven by two areas of inquiry: first, how do one’s own interests, curiosities, or expertise impact an interpretation of a space? What might a carpenter notice about the way a house is constructed that others would miss, or how would a child negotiate or see potential in a park space differently than an adult? The second area of inquiry concerned the translation of live observation into field notes and, in some cases, more developed 48
maps: how would a range of representational approaches expand an understanding of a space? What new information would be revealed if the process of mapping were to be repeated with a range of map-makers, each with a practice of visually representing their ideas? These two sets of questions were the impetus for the guiderecorder pairings in this repetitive exchange process. Each session was different, and informed as much by the season and weather as by the participants themselves. What follows are brief notes from some of our sessions. [Page 12] Braving the chilly evening mist, Brian Chatterton and Paul Crowley hug the shoreline, examining rock formations, textures, flora and land masses. Tide’s out - good for looking at beach boulders. Rocks and patterns of movement provide evidence of other times. A Xenolith is a rock which becomes enveloped in another rock during that rock’s formation. The rocks on the point have been imported. Barnacles are not mollusks. One day, all of this will be underwater. [Page 14] Charlotte Falk arrives wearing a shocking and amazing neon yellow jacket. Javier Campos shows up after completing an 80 km cycling trip to Squamish. They have almost identical hairstyles, and return to the Field House after an unconventional visit to the Maritime Museum. The residential blocks have lots of styles jumbled together: large, historical homes, three-story walk-ups that indicate a period of neighbourhood rundown, and developer houses. This is a-typical in Vancouver, evidence of less controlled zoning. The new houses have shoddy detailing like shoulder pads: simulacra of power. One might have a ‘conversation pit’. [Page 16] Craig Johnson and Laura Kozak walk the residential streets with Sunny on a long leash drinking ginger beers from glass bottles.
Demo, HAZMAT, demo and excavator, framers, plumbers, electricians, mechanical, roofers, exterior, interior. Lots of good candidates for renos.
-50 + Lovin It -Impatience -Reunion
[Page 18] Ross Kelly and Andy Guiry arrive with some ideas of how the project might unfold. They choose to focus on the auditory sense, and explore the entire Hadden Park site with acute attention to detail.
[Page 24] Climbing fences, peering through bushes and sending proxies into public washrooms, Alex Grunenfelder and Alex Muir scour the site for evidence of mark-making, and come out speculating why it’s so hard to get a good burger in this town.
There are pockets of sounds, a wide variety from very subtle to very loud and striking. Leaves on shoes. Rain on umbrella. Kids playing in the distance. Boat motors. String instruments at a tented garden party. “I heard it through the grapevine.” Brakes and acceleration. Crunch crunch. Yadda yadda. Slam, beep-beep! CAW - CAW - CAW. [Page 20] Fan-Ling Suen and Maria King are energetic and comprehensive in their approach, traversing the site to find patterns and clusters. They describe and notate and discuss immediately following their mapping session, building a complex visual transcription of their discoveries. Boats, people, dogs and youth all migrate to each other, finding their cluster. People hug the pavement, but walking on grass feels nicer. The skyline flirts with the mountain line. Beautiful rocks have the texture of dead toenails. [Page 22] Lisa Parker and Justin Langlois meet for the first time and quickly devise a game. The rules are to sit in one location in a single position, choose a scenario to observe until a story develops, and then move to the next stop. They spend about ten minutes in each location. -Love? -Girl Power: a woman in her late twenties paddle-boards alone parallel to the shore. She bought a Groupon for paddle-boarding with her ex when they were dating. They broke up before they had a chance to use it: she decided to go anyway. -Stick or The Hole: a dog faces a dilemma.
Parks and gardens are a form of mark-making. The benches here refer to this specific time and place, as contemplative, commemorative and reflective. They demonstrate a safe form of leisure. Is mark–making a positive/constructive or negative/ destructive act? [Page 26] Bopha Chhay, Sydney Hart and Andrew Pask are brilliant questionaskers, and interrogate the lingering evidence of the site as a contested space. What is the motivation for preserving the park in its ‘natural state’? What does ‘natural state’ mean? Is preservation of this state itself an unnatural act? [Page 28] The day Alec Balasescu and Jill Henderson come to map is a downpour. They accept the weather, and set out with waterproof paper and an umbrella. A reimagined society is observed: a barbarian, hierarchical society of shame. Slippy, shiny matter pervades: elites and blocky monsters go about their business, with wise-guides and bi-peds moving among them. Large cleaning units for the blocky monsters perch along the landmass. More research is needed to form a complete understanding of the site. [Page 30] Michael Tenzer, Travis Stasney, Raneen Nosh, Carla MacLean, Joel Good, David Gregory, Kristen Roos and Max Ritts gather to make 49
maps on a beautiful Sunday afternoon. The pairs scatter in four directions, and we do our best to track them down to take some photos. Back at the Field House, a conversation unfolds like a stream of consciousness: ...We saw some boats and we saw some signs. There was the sign about the museum, and there was the rain one, and there was the one at the point, and then we stood and looked at the mural on the side of the museum for a while...A memory is a composite of colour, shapes, emotions, thoughts. The mood that you’re in when you’re in a place shapes your recollection of that place, becoming part of your memory’s feedback loop. You repaint a space every time you experience it...The design of buildings here is not affected by wind or sun conditions. Maritime Museum, the Museum of Vancouver, they don’t really respond to being in this place. The attitude towards view has also changed over time. This week would have been perfect for a shipwreck...Smart meters - little bursts of information. Weird oscillating frequencies, one almost like a violin. Using Electrosmog Receiver to catch high frequencies and make them audible. Cordless phones have a very strong signal. Someone said: “There’s some Shaw stuff over there.” Do unheard frequencies affect brain patterns?...We have to actually attend to the perception in order to retain it. Sound has a five-second hold. The psychological present... [Page 38] Linna Zeibin, Jhenifer Pabillano and Lisa Cinar are excited to set out together: Linna leads the way. It is bright and freezing cold outside, and everyone comes back for hot cocoa and cookies at the end. Today we are finding treasure! What is ‘treasure’? There are all kinds of treasure. On the beach there are a lot of dogs—mostly grey dogs. And there are a lot of boats. It’s fun to pretend to be a duck! [Page 40] Erick Villagomez and David Shewell seem to have a lot to talk to each other about immediately. They explore the park very slowly, progressing only a short distance from the Field House. 50
Framing (of trees) leads to discussions on lines, steps, viewpoints, parks, contemplation, particular things to view. The richness of regular coming here; contemplation as a form of recreation. [Page 42] Genta Ishimura, Rafaela Kirloss, and Marc Bricault go the opposite direction we expect them to, and come back with poetic and anthropomorphic speculations on some of the things they encountered on the beach. Textures, and a recurring stripe. ‘Human torso’ tree bark - of a certain age. Jackson Pollock moss. Something emerges from the shadows; a bench is dreaming of itself. Are the rocks coming or going? What plans do the rocks have? The group visits the edges; gathers with the ‘perimeter people’. – Rebecca Solnit wrote that “every place is if not infinite then practically inexhaustible, and no quantity of maps will allow the distance to be completely traversed. Any single map can depict only an arbitrary selection of the facts on its two-dimensional surface.” We ask: these infinite two-dimensional surfaces, the maps we make: are they arbitrary or not arbitrary? How people interact with place is an ongoing investigation and learning experience, a kind of contemporary anthropology. As a means for opening and continuing this project, we invite a future practice of mapping which may come today or tomorrow. — James Corner, “The Agency of Mapping: Speculation, Critique and Invention,” Mappings. London: Reaktion Books, 1999. Rebecca Solnit, Infinite City: A San Francisco Atlas. University of California Press, 2013. John Stilgoe, Outside Lies Magic: Regaining History and Awareness in Everyday Places. New York: Bloomsbury, 2009.
Infinite Mappings The mapping sessions at Hadden Park collected here took place from March – December of 2014, and began with a group of participants known to the organizers. Gradually that group has grown to include scientists, anthropologists, contractors, composers and children. The findings are not comprehensive, nor are they intended to be: rather, the process is meant to be ongoing and have the possibility for infinite expansion. With that in mind, we have included a blank base map at the end of this publication as an invitation to all to participate in the exchange. The rules are simple: 1. Meet a partner at the Hadden Park Field House, located at 1015 Maple Street. 2. Choose who will be a ‘Guide’ and who will be a ‘Recorder’. These roles are open to interpretation and the process can be collaborative. 3. Explore the site defined by the base map for about one hour, recording your findings as you go.